Practical notes on ultraviolet technical photography for art examination

Cosentino, Antonino

doi:10.14568/cp2015006

Cited by 82 publications

(72 citation statements)

References 14 publications

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“…The light emission produced depends on many factors, including the wavelength and bandwidth of the UV source, as well as the chemical composition and aging of the material. UVL has been widely used for the analysis of CH objects, especially for paintings and also pottery, where it is mainly exploited for the preliminary identification of pigments (Cosentino, 2015;Vak, 2013). UVL is also employed in conjunction with other TP and 3D modelling techniques, as tool for complete diagnostic analysis, including also metric evaluation of geometrical deformation .…”

Section: Multispectral Imagingmentioning

confidence: 99%

Mapping Vis and Uvl Imagery on 3d Geometry for Non-Invasive, Non-Contact Analysis of a Vase

Nocerino

Rieke‐Zapp

Trinkl

et al. 2018

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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ABSTRACT:The paper presents an investigation about the combination of multispectral and 3D imaging aiming at the analysis of the condition and preservation of an ancient vase. Visible-reflected (VIS) and -induced luminescence (UVL) images are mapped to 3D models produced with image-and range-based 3D modelling techniques. The case study is an Attic vase, part of the pottery collection of the Landesmuseum Rudolfinum (Carinthia, Austria) and temporarily stored in the Institute of Archaeology of the University of Graz, Austria. The aim of this study is to exploit the added-value provided by mapping multispectral imaging onto 3D geometry for a comprehensive knowledge of the condition of a restored Cultural Heritage (CH) item.

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Section: Multispectral Imagingmentioning

confidence: 99%

Mapping Vis and Uvl Imagery on 3d Geometry for Non-Invasive, Non-Contact Analysis of a Vase

Nocerino

Rieke‐Zapp

Trinkl

et al. 2018

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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“…An overview of the literature in this field permits to find all required technical set-up specifications for IR (Bridgman and LouGibson, 1963, Verhoeven, 2008, Cosentino, 2016, UV (Cosentino, 2015) and false-color (Aldrovandi et al, 1993, Aldrovandi et al, 2005 practices. Commonly, CH examination surveys are often done by simultaneous applications of TP techniques and at different time range (see Fig.1) according to object's specificity and context, sometimes including experimental or hybrid techniques (e.g RAK/IR (Cosentino et al, 2014).…”

Section: A Short Review Of Image-based Multimodality For Ch Studiesmentioning

confidence: 99%

“…Colorimetric calibration is done using a color checker in a preliminary picture for each spectral acquisition. Contrarily to VIS and IR there is not official standardized reference exist yet for UV calibration even if an aid for color balancing can be done using the AIC PhD target completed with known samples of emitters activated under UV radiation (Cosentino, 2015). Even tough it remains an open-issue concerning the time life of those UV charts, a short-term reliable solution could be the use of Target-UV TM and UV-Gray TM provided by UV Innovation TM despite of its cost.…”

Section: Setupmentioning

confidence: 99%

Multispectral Photogrammetric Data Acquisition and Processing Forwall Paintings Studies

Pamart¹,

Guillon²,

Faraci³

et al. 2017

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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ABSTRACT:In the field of wall paintings studies different imaging techniques are commonly used for the documentation and the decision making in term of conservation and restoration. There is nowadays some challenging issues to merge scientific imaging techniques in a multimodal context (i.e. multi-sensors, multi-dimensions, multi-spectral and multi-temporal approaches). For decades those CH objects has been widely documented with Technical Photography (TP) which gives precious information to understand or retrieve the painting layouts and history. More recently there is an increasing demand of the use of digital photogrammetry in order to provide, as one of the possible output, an orthophotomosaic which brings a possibility for metrical quantification of conservators/restorators observations and actions planning. This paper presents some ongoing experimentations of the LabCom MAP-CICRP relying on the assumption that those techniques can be merged through a common pipeline to share their own benefits and create a more complete documentation.

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“…The camera has been calibrated with the X-rite Color Checker Passport and its bundled software to create a camera profile for Adobe Camera Raw. The images were shot RAW and were then color corrected, using the camera profile, and white balanced [12][13]. For visible imaging the excitation was provided by two photographic white light fluorescent sources and the camera lens was fitted with B + W 486 band pass filter (c. 400-700 nm).…”

Section: Technical Photography (Tp)mentioning

confidence: 99%

Scientific investigation by technical photography, OM, ESEM, XRF, XRD and FTIR of an ancient Egyptian polychrome wooden coffin

Abdrabou¹,

Abdallah²,

Kamal³

2017

Cons. Património

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The focus of this study is to use a multi-analytical approach to map and identify the pigments used on a polychrome wooden coffin (Late Period), as well as to provide a deeper understanding of the painting techniques and the condition of the object. Moreover, the authors are significantly interested in the identification of the wood species. These were identified by observing the thin sections of samples under an optical transmission light microscope; the painted materials layered on the wood surface were analyzed by several scientific and analytical methods. Furthermore, the previous consolidation material and salts were also identified. The application of technical photography provided useful information about the spatial distribution of the surviving original pigments and the materials used in previous restoration interventions, in particular visible-induced luminescence, which played an important role to recognize spatial distribution of areas containing Egyptian blue, even if it is in traces or mixed with other pigments. However complete characterization of the pigments was only possible with the use of other techniques. ResumoEste estudo pretende usar uma abordagem multi-analítica para mapear e identificar os pigmentos usados num sarcófago de madeira policromada (Época Baixa), assim como proporcionar um mais detalhado conhecimento das técnicas de pintura e do seu estado de conservação. Além disso, os autores estão especialmente interessados na identificação das espécies de madeira. Estas foram identificadas através da observação, ao microscópio óptico de transmissão, de lâminas delgadas e a camada cromática sobre a madeira foi analisada com o recurso a diferentes métodos de exame e análise. Além disso foram igualmente identificados o material de consolidação utilizado numa intervenção anterior e os sais. A fotografia técnica proporcionou informação útil sobre a distribuição espacial dos pigmentos originais e dos materiais usados em anteriores intervenções. A luminescência visível induzida foi sobremaneira útil para se perceber a distribuição do azul egípcio, mesmo quando em concentrações vestigiais ou misturado com outros pigmentos. No entanto, a caracterização detalhada dos pigmentos só foi possível através dos outros métodos usados.

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Practical notes on ultraviolet technical photography for art examination

Cited by 82 publications

References 14 publications

Mapping Vis and Uvl Imagery on 3d Geometry for Non-Invasive, Non-Contact Analysis of a Vase

Mapping Vis and Uvl Imagery on 3d Geometry for Non-Invasive, Non-Contact Analysis of a Vase

Multispectral Photogrammetric Data Acquisition and Processing Forwall Paintings Studies

Scientific investigation by technical photography, OM, ESEM, XRF, XRD and FTIR of an ancient Egyptian polychrome wooden coffin

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