A workflow for the photogrammetric combination of non-invasive multispectral imaging techniques ranging from ultraviolet (UV) and visible (VIS) to near infrared (NIR) for the investigation of wall paintings is presented. Hereby, different methods for image analysis and visualisation techniques are discussed. This includes the combination of spectral bands in hybrid false-colour images and image analysis by applying NDVI/NDPI and PCA. The aim of the research is to generate a high-resolution photogrammetric image set, providing information on underdrawings, material differences, damages, painting techniques and conservation measures. The image data are superimposed with pixel accuracy in a geographic information system (GIS) for further analysis, tracing of observations and findings and the annotation of further information. The research is carried out on the ‘Adoration of the Shepherds’, an early Spanish Renaissance wall painting created in 1472 by Paolo de San Leocadio and Francesco Pagano in the Cathedral of Valencia. The wall painting is preserved in an unfinished condition, and half of it is represented by the initial plaster and preparation layers. This gives the possibility to compare and evaluate the observations of the finished areas as well as carry out an in-depth study of the working techniques.

Las pinturas rupestres constituyen uno de los ejemplos de mayor interés dentro del patrimonio prehistórico. Se trata de manifestaciones que están sujetas a un proceso de deterioro continúo condicionado por su ambiente natural.  A raíz de la declaración patrimonial de la Unesco de 1998, este tipo de manifestaciones ha venido estudiándose, catalogándose y conservándose de manera sistemática. De hecho, en los últimos años se está priorizando la implementación de sistemas de estudio no invasivo que puedan aportar datos de naturaleza conservativa o documental. El estudio con sistemas de imagen multibanda y multiespectral permitirá obtener información sobre las prácticas pictóricas; distinguir las secciones originales de las pinturas y descubrir superposiciones figurativas; o mejorar la visualización de pigmentos que, a menudo, se encuentran semi-borrados y por tanto resultan escasamente visibles.