 I am Shayda. I am a curator at Koch University's Resource Center for Anatolian Civilizations, namely Anamet in Istanbul, Turkey. Our center is an international hub for archaeologists and art historians where they conduct their research when in Turkey. Anamet also has a gallery which is located right in the center of Istanbul and we organize temporary exhibitions in collaboration with international institutions, museums, resource centers, archives and many private collections. In my presentation I will give examples from three exhibitions that I organized in order to discuss the role of collections of archaeological photography in the transfer of knowledge. Photography is a key component of archaeological documentation since the formalization of this discipline in the mid-19th century. Carefully developed documentation of archaeological finds as well as photographic archives of excavations offered the opportunity to provide evidence returning an artifact or a cultural object to its former life. As Peter G. Doral explained, as long as archaeological excavations continuous and as long as artifacts are studied and conserved there will be a need for accurate visual records. In recent years a great number of investments has been made in digitizing photographic collections and excavation documents through initiatives based on museums, libraries and university archives. These digitizing projects brought an unprecedented access to an interpretation of information. Today I will present case studies from photographic collections of international archaeological excavation projects in Turkey. You see the names of the exhibitions on the screen discussing the collection management from a public engagement perspective. These three exhibitions are prepared from the archives of excavation projects and that have been developed with the aim of gaining widespread visibility and enabling new perspectives beyond offering resources for academic research. The first example is from 2014 the exhibition entitled Antioch on the Oran press early explorations in the city of Mosaic. The project has an implementation history that took decades to finalize. The exhibition tells the story of the discovery of the world-renowned mosaics of the Hatay programs in southeast Turkey unearthed by the committee for the excavation of Antioch on the Oran test spearheaded by Princeton University between 1932 and 1939. The mosaics are now in display in Hatay Archaeological Museum. These mosaics are the most prominent testimonials to the cultural and economic belt of Roman and early Byzantine Antiochia. The photographic collection that was subject to our exhibition is housed in Princeton University's Department of Art and Archaeology Research Photographs archive which includes 5700 photographs and negatives from the excavations of the site and its objects. Those photos were taken by the excavation team to document the archaeological work carried out and the mosaics as they first discovered hidden under the roads, squares and gardens of modern day Hatay. So what is the story behind them when they when those significantly precious artifacts were first discovered in situ? Curated by Murat Akar our exhibition intended to show what the sites looked like at the time of the excavations in the 30s. The project initiators Scott Redford, Sherry Kenfield and Hatice Pamir prepared a selection from the Princeton University Research Archive to illustrate the living conditions of the time. In addition this curatorial selection aimed to reconstruct the ambience and appearance of ancient Antiochia by including photographs of public baths, luxurious villas and markers. Those photos are documented the technical level of Antiochia citizens. The exhibition linked the present and the past and showed how they were intermingled during the years of excavations led by Princeton University. Thanks to the realization of the project we also published an exhibition catalogue which is available for those who would like to examine the story of the discovery of Hatay musics in detail. Back in the 1930s discoveries from the city center and Roman villas received worldwide attention from public and academic circles. Yet the story of these early explorations had never been presented altogether in an exhibition context until Anamet Gallery was open. The exhibition project was initially developed in 2003 and could only be implemented as I said until Anamet Gallery was opened in 2012. It took 10 years to realize this exhibition. So imagine like organizing your photography, archaeology photography exhibition in 10 years. It sounds long but I take it as an optimistic evidence that the realization of this project is a very promising example for researchers and archivists who would like to raise awareness and bring their photographic research collections and lights which are waiting in the old shelves of the many archives and libraries today. Coming to the next example in 2005 we organized another archaeological archive exhibition in collaboration with the University of Liverpool. This exhibition was entitled John Garstang's Two Steps Across Anatolia and it was curated by archaeologist Ellen Greaves from the archaeology department of the University of Liverpool. Professor John Garstang, who was the founder of the British Institute of Archaeology at Ankara, was an important figure in the archaeological research in Turkey. Two of his most significant contributions were his 1907 Anatolia survey and his use of photography as a means of recording archaeological discoveries. Garstang's survey of Anatolia and northern Syria established the full extent of the ancient high-tight empire for the first time and effectively laid the foundation of high-tight historical geography as it's known today. The exhibition was a partition of five years of research at the University of Liverpool where a team of technicians using the latest digital technology of that time digitized thousands of images from Garstang archives of delicate glass photographic negatives. Examples of Garstang's photo albums are kept in the archives of the Garstang Museum of Archaeology in Liverpool and in the British Institute at Ankara. What do the excavation photographs kept in the institutional archives tell us about the objects that are preserved in the museum collections? So imagine that Garstang photographs are showing some historical sites in Anatolia and those photographs are kept mostly in Liverpool. So this exhibition and the projects brought them together to have research on the artifacts. These images serve as an important source of primary research data for the academic community. As Ellen Greaves noted in the exhibition catalogue, the digitized images reveal details not only previously visible or studied for evidence of buildings, artifacts, and landscapes that have been irrevocably changed or lost in the intervening centuries since Garstang photographed them. For instance, as Negino's experiments in her article in the exhibition catalogue, the story of Garstang's most iconic discovery in Turkey, the carved stone reliefs of the Palace Gateway at Sakca Gözü, you see from on our exhibition space on the screen, that is now in the Museum of Anatolian Civilizations in Ankara, could also be traced by those photographs showing the initial discovery. So these two archaeological projects were developed from records kept from the excavation or field surveys from about a hundred years ago. They were both the first examples using photography in archaeological excavations for documenting. They are the first examples. So, however, new inferences are now possible with today's archaeological methodologies, modern photographic techniques, and digital applications. So, what is the role of photographic archives in cataloging, storing, preserving, and displaying the archaeological finds? Last year, together with one of the Çatalık Research Project archaeologists, Duygu Tarkan, who is with us today, we opened the exhibition entitled, The Curious Case of Çatalık at Yanamet Gallery in Istanbul. Çatalık is a UNESCO World Heritage List Neolithic Site located in Konya, Central Turkey. Known for its fascinating cutting-edge archaeological research methods and laboratory collaborations, Çatalık is presented through experiment-based digital display methods in our exhibition. Certainly, the image archive was a key source for us in preparing this exhibition. Çatalık Research Project has a very well-documented photography archive, kept by Jason Kinlan, who is a professional photographer experienced in archaeology projects documenting excavations and finds. As part of the exhibition, we invited the media artist Refika Nodol to develop a digital installation by using Çatalık Research Project's database of 250,000 finds. He reassessed about half a million pieces of available data, most of which were images. By employing machine learning algorithms to sort relations among these records, Nodol transformed this knowledge into an immersive media installation. So, Çatalık finds the objects that were discovered in Çatalık are also on display in Anutolian Civilizations Museum in Ankara that I'm going to explain more. Thanks to detailed and ordinated structure of the database, the machine intelligence could have been employed and made it possible to present a complex relationship between these images in a simpler fashion. Nodol ran 10 different trial sessions, scenarios, but my presentation won't allow me to explain all of them, but I would like to address one of them, which discovers the relation between photos and the information that the specialist provided in the database. This one scenario was called object detection, in which algorithms define the objects that are seen in the photos with greater speed and accuracy than any human being. So, it is not visible now here, but the machine intelligence was detecting the objects, naming their periods, showing their time, and their materials in nanoseconds, and the accuracy was more than any human being can define them. So, this artistic integration of an archaeological archive can be considered as an evidence why preserving, cataloging, and storing photographic collections of archaeological research projects are important. If photographic collections are well kept, their image database can also be used to identify objects of some geography, same geography or period, and help researchers to make broader interpretations on the archaeological collections faster than ever. To conclude, these three projects provide examples of different international archaeological research projects held in Turkey. Those research projects were conducted in different years. Although they employed different methodologies, they used the technology of photography for documenting their finds, with the belief that the photographic collections have the potential to tell about the artifacts a lot more than what is seen on the first look at those images. To achieve their documentation goal, they all used the most recent photographic techniques and equipment. As Peter G. Doyle argues in his article, the photographic image has a shorter life than many of the artifacts that they photographed. But the conservation and preservation of photographic images is the future now. By means of those three projects, well-documented photographic archives, they offer the opportunity to reconstruct the stories of the objects that are preserved in museum collections for future generations. Thank you.