A new methodology for comparing IR reflectographic systems

Gargano, Marco; Ludwig, Nicola; Poldi, Gianluca

doi:10.1016/j.infrared.2006.06.013

Cited by 50 publications

(39 citation statements)

References 7 publications

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“…In another study, the best instrument for imaging underdrawings was qualitatively determined by using cameras with different spectral sensitivities (a Hamamatsu lead sulphide vidicon camera and a Photometrics silicon CCD) and broad band near infrared filters (750nm, 800nm, 900nm and 1000nm) to image test panels of oil paints (based on 24 pigments) painted over a set of 7 common underdrawing materials [16]. A more recent study was conducted on 17 pigments (14 in oil binding medium and 3 in egg tempera binding medium) through both measuring the spectral transmittance (400−2500nm) and comparing contrasts of mock underdrawings under different paints using cameras of different spectral sensitivities [17]. A recent qualitative study was conducted on 47 commercial oil paints at 823nm and 1550nm using available OCT instruments [18].…”

Section: Introductionmentioning

confidence: 99%

Optimum spectral window for imaging of art with optical coherence tomography

et al. 2013

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Optical Coherence Tomography (OCT) has been shown to have potential for important applications in the field of art conservation and archaeology due to its ability to image subsurface microstructures noninvasively. However, its depth of penetration in painted objects is limited due to the strong scattering properties of artists' paints. VIS-NIR (400 nm -2400 nm) reflectance spectra of a wide variety of paints made with historic artists' pigments have been measured. The best spectral window with which to use optical coherence tomography (OCT) for the imaging of subsurface structure of paintings was found to be around 2.2 µm. The same spectral window would also be most suitable for direct infrared imaging of preparatory sketches under the paint layers. The reflectance spectra from a large sample of chemically verified pigments provide information on the spectral transparency of historic artists' pigments/paints as well as a reference set of spectra for pigment identification. The results of the paper suggest that broadband sources at ~2 microns are highly desirable for OCT applications in art and potentially material science in general.

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Section: Introductionmentioning

confidence: 99%

Optimum spectral window for imaging of art with optical coherence tomography

et al. 2013

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“…For this reason, there is a deep knowledge of the response of black painting media. We performed long wave infrared reflectography (with sensitivity ranging 1000-2500 nm) because, in this range of wavelength, carbon black pigments are strong absorber while iron-gallic ink are transparent [10]. There are some other materials, such as hematite (iron oxide) which have instead an intermediate behaviour at these wavelengths.…”

Section: Painted Decorationsmentioning

confidence: 99%

A multidisciplinary materials characterization of a Joannes Marcus viol (16th century)

et al. 2014

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Background: Several musical instruments in the past centuries were decorated with engravings, inlays, or paintings. This paper focuses on an integrated approach to detect and characterize the kind of dyes when used for the decorations. The multi analytical campaign was performed on a viol made by Joannes Marcus in the second half of the 16 th century. The instrument has been shattered during World War II, and the fragments are now held in Conservatorio Giuseppe Verdi in Milan; they still conserve the original black and white purflings and the painted decorations. The study is of critical importance since Joannes Marcus worked in the sixteenth century and, in this very period, some executive features were introduced in musical instrument making, which are now veritable standards for this kind of instruments.

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“…Several studies have summarized the results of experiments aimed at finding the 'optimal' spectral transmission window for pigments and paints used by artists [1,[4][5][6]. In general, such studies have found increasing transmission of light starting around ~700 nm and peaking at about ~2000 nm.…”

Section: Introductionmentioning

confidence: 99%

“…Thus it is not surprising infrared reflectography is often implemented such that the reflected light is collected over a broad spectral band out to or near 2000 nm. However, the optimal window is not solely determined by the transmission of light through the paint layers [4,5], given the variety of underdrawing materials employed by artists as well as tinted ground layers, both can affect the contrast of the underdrawing.…”

Section: Introductionmentioning

confidence: 99%

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A high sensitivity, low noise and high spatial resolution multi-band infrared reflectography camera for the study of paintings and works on paper

et al. 2017

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Background: Infrared reflectography (IRR) remains an important method to visualize underdrawing and compositional changes in paintings. Older IRR camera systems are being replaced with near-infrared cameras consisting of room temperature infrared detector arrays made out of indium gallium arsenide (InGaAs) that operate over the spectral range of ~900 to 1700 nm. Two camera types are becoming prevalent. The first is staring array infrared cameras having 0.25-1 Megapixels where the camera or painting is moved to acquire tens of individual images that are later mosaicked together to create the infrared reflectogram. The second camera type is scanning back cameras in which a small InGaAs array (linear or area array) is mechanically scanned over a large image formed by the camera lens to create the reflectogram, typically 16 Megapixels. Both systems have advantages and disadvantages. The staring IR array cameras offer more flexible collection formats, provide live images, and allow for the use of spectral bandpass filters that can provide reflectograms with better contrast in some cases. They do require a mechanical system for moving the camera or the artwork and post-capture image mosaicking. Scanning back cameras eliminate or reduce the amount of mosaicking and movement of the camera, however the need to minimize light exposure to the artwork requires short integration times, and thus limits the use of spectral bandpass filters. In general, InGaAs cameras are not sensitive in the 1700 to ~2300 nm spectral region, which has been identified in prior studies as useful for examining paintings with copper green pigments or thick lead white paints. Prior studies using cameras with sensitivity from 1000 to 2500 nm have found in general the performance at wavelengths longer than 1700 nm degraded relative to the performance at shorter wavelengths. Thus, there is interest in a camera system having improved performance out to 2500 nm that can utilize spectral bandpass filters.

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A new methodology for comparing IR reflectographic systems

Cited by 50 publications

References 7 publications

Optimum spectral window for imaging of art with optical coherence tomography

Optimum spectral window for imaging of art with optical coherence tomography

A multidisciplinary materials characterization of a Joannes Marcus viol (16th century)

A high sensitivity, low noise and high spatial resolution multi-band infrared reflectography camera for the study of paintings and works on paper

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