“…In photographs taken using IR where the paint still effectively concealed the bloodstain, it was possible that (i) the IR radiation emitted from the tungsten halogen lamps was not strong enough to penetrate particular types of paints, (ii) the layer or layers were too thick to allow IR radiation to successfully transmit through the paint, (iii) a particular chemical constituent in the paint such as the pigment or binder was inhibiting IR penetration, or (iv) a combination of all three reasons. This supports the proposed conditions provided by Mairinger (12) under which the transparency of a paint layer depends on the interaction between IR radiation and the physical dimensions of the layers of paint.…”
Section: Discussionsupporting
confidence: 88%
“…Previous research into the interaction between IR radiation and paint determined that a layer of white paint could increase the degree of transmission when illuminated by IR radiation. Mairinger suggested the following factors that increase IR penetration through paint:i) the greater the wavelength of the incident radiation, ii) the smaller the thickness of the paint layer, iii) the smaller the number of particles in the layer (pigment/volume concentration) and iv) the lesser the difference of refractive indices of pigment and medium (, p. 42).…”
mentioning
confidence: 99%
“…i) the greater the wavelength of the incident radiation, ii) the smaller the thickness of the paint layer, iii) the smaller the number of particles in the layer (pigment/volume concentration) and iv) the lesser the difference of refractive indices of pigment and medium (, p. 42).…”
Bloodstain evidence is a highly valued form of physical evidence commonly found at scenes involving violent crimes. However, painting over bloodstains will often conceal this type of evidence. There is limited research in the scientific literature that describes methods of detecting painted-over bloodstains. This project employed a modified digital single-lens reflex camera to investigate the effectiveness of infrared (IR) photography in detecting latent bloodstain evidence beneath a layer or multiple layers of paint. A qualitative evaluation was completed by comparing images taken of a series of samples using both IR and standard (visible light) photography. Further quantitative image analysis was used to verify the findings. Results from this project indicate that bloodstain evidence can be detected beneath up to six layers of paint using reflected IR; however, the results vary depending on the characteristics of the paint. This technique provides crime scene specialists with a new field method to assist in locating, visualizing, and documenting painted-over bloodstain evidence.
“…In photographs taken using IR where the paint still effectively concealed the bloodstain, it was possible that (i) the IR radiation emitted from the tungsten halogen lamps was not strong enough to penetrate particular types of paints, (ii) the layer or layers were too thick to allow IR radiation to successfully transmit through the paint, (iii) a particular chemical constituent in the paint such as the pigment or binder was inhibiting IR penetration, or (iv) a combination of all three reasons. This supports the proposed conditions provided by Mairinger (12) under which the transparency of a paint layer depends on the interaction between IR radiation and the physical dimensions of the layers of paint.…”
Section: Discussionsupporting
confidence: 88%
“…Previous research into the interaction between IR radiation and paint determined that a layer of white paint could increase the degree of transmission when illuminated by IR radiation. Mairinger suggested the following factors that increase IR penetration through paint:i) the greater the wavelength of the incident radiation, ii) the smaller the thickness of the paint layer, iii) the smaller the number of particles in the layer (pigment/volume concentration) and iv) the lesser the difference of refractive indices of pigment and medium (, p. 42).…”
mentioning
confidence: 99%
“…i) the greater the wavelength of the incident radiation, ii) the smaller the thickness of the paint layer, iii) the smaller the number of particles in the layer (pigment/volume concentration) and iv) the lesser the difference of refractive indices of pigment and medium (, p. 42).…”
Bloodstain evidence is a highly valued form of physical evidence commonly found at scenes involving violent crimes. However, painting over bloodstains will often conceal this type of evidence. There is limited research in the scientific literature that describes methods of detecting painted-over bloodstains. This project employed a modified digital single-lens reflex camera to investigate the effectiveness of infrared (IR) photography in detecting latent bloodstain evidence beneath a layer or multiple layers of paint. A qualitative evaluation was completed by comparing images taken of a series of samples using both IR and standard (visible light) photography. Further quantitative image analysis was used to verify the findings. Results from this project indicate that bloodstain evidence can be detected beneath up to six layers of paint using reflected IR; however, the results vary depending on the characteristics of the paint. This technique provides crime scene specialists with a new field method to assist in locating, visualizing, and documenting painted-over bloodstain evidence.
“…In some cases, the FCIR images provided preliminary information about the pigments on the basis of IR spectral behavior, and, thanks to the comparison with FCIR images, the XRF results were extended within the whole painted area characterized by the same spectral color. For example, as observable in Figure 5, the yellow tone of the red dress of the woman suggests the presence of cinnabar used in the mixture due to the typical spectral response of this red pigment in FCIR imaging analysis [11][12][13].…”
The “Trionfo della morte” is a detached fresco painting dated at the half of the XV century. Its history is strictly connected with the history of Palermo and it is considered a symbol of the late Gothic period. Some small areas of the fresco were analyzed using a combination of non-invasive techniques and hand-held instrumentations (multispectral imaging analysis, X-ray fluorescence (XRF), and IR spectroscopy). The characterization of the nature of pigments used in its realization and restoration works was performed and some indications about its conservation state were obtained. More interestingly, some hidden details were revealed on the mysterious painting. They constitute additional evidence of the preciousness of the fresco.
“…Mairinger [13] included IR imaging examples that differentiated inks in graphic arts; increased legibility of obscured and faded texts; detected alterations, repairs, and underdrawings in paintings; differentiated materials on dyed textiles; and revealed obscured designs on pottery fragments. Gavrilov et al [14] used three IR techniques for the investigation of underdrawings and subsurface degradation of paintings.…”
Section: Applications For Paintings and Papermentioning
Reflected infrared imaging has been used as an investigation tool for paintings and paper conservation since the 1930s. The technique can reveal underdrawings, expose compositional changes, provide information about manufacturing process and technique, and differentiate materials. As digital camera technology and computing have evolved, the technique has continued to advance, improving the applications for cultural heritage documentation. However, there is very little published on the use of the technique for three-dimensional cultural heritage object documentation. The term object refers to three-dimensional works of art that include archaeological, ethnographic, historic, sculptural, decorative, and contemporary arts, composed of a wide variety of materials and combinations of materials. Some of these materials are similar to those in paintings and others are quite different, and the optical properties of the materials influence the interaction with infrared radiation and the imaging results. This paper looks at the current applications of reflected infrared imaging in conservation and research documentation and explores the fundamentals of why the technique is successful and how that success might transfer to the documentation of 3-D objects. Examples from an imaging case study with the Freud Museum are included to illustrate the arguments.
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