The need to digitize heritage objects is now widely accepted. This article presents the very fashionable context of the creation of ''digital twins''. It illustrates the diversity of photographic 3D digitization methods, but this is not its only objective. Using a selection of objects from the collections of the mus{é}e d'Arch{é}ologie nationale, it shows that no single method is suitable for all cases. Rather, the method to be recommended for a given object should be the result of a concerted choice between those involved in heritage and those involved in the digital domain, as each new object may require the adaptation of existing tools. It would therefore be pointless to attempt an absolute classification of 3D digitization methods. On the contrary, we need to find the digital tool best suited to each object, taking into account not only its characteristics, but also the future use of its digital twin.