A Prism–Grating–Prism Spectral Imaging Approach

Dirk, Carl W.; Delgado, Monica F.; Olguin, Marco; Druzik, James R.

doi:10.1179/sic.2009.54.2.77

Cited by 10 publications

(6 citation statements)

References 1 publication

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“…Under any circumstances, this study has shown to scattering effective on optical parameters. These parameters can be useful for production of grating prism or monochromators which is use to selective wavelength for optical devices [20][21][22]. …”

Section: Resultsmentioning

confidence: 99%

Optical and structural properties of zinc iodine thin films

Kariper

2015

Optical Materials

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Section: Resultsmentioning

confidence: 99%

Optical and structural properties of zinc iodine thin films

Kariper

2015

Optical Materials

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“…The formation of the image-cube is done using the scan mirror to sweep the image of the painting across the slit of the spectrometer, thus building up a slice of the cube one line at a time. This approach omits the need to slide the camera in front of the painting surface as is done in most systems [2,3] and provides for a compact system.…”

Section: Resultsmentioning

confidence: 99%

“…Most of the imaging-based methods have been developed from successful, site-specific, in situ analysis methods that do not require samples. These include reflectance [2][3][4], luminescence [4,5], and x-ray fluorescence (XRF) [6] spectroscopies. Reflectance and luminescence spectroscopies provide information about electronic transitions [5,[7][8][9][10][11][12][13].…”

Section: Introductionmentioning

confidence: 99%

Visible and infrared imaging spectroscopy of paintings and improved reflectography

et al. 2016

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Background: Imaging spectroscopy, the collection of spatially co-registered images in many contiguous spectral bands, has been developed for remote sensing of the Earth utilizing reflectance or luminescence. In this paper we summarize findings on the application of imaging spectroscopy to works of art in order to identify and map artists' pigments, improve the visualization of preparatory sketches, and identify non-original material.Methods: Two types of novel hyperspectral cameras, one operating from the visible to near-infrared (VNIR, 400-900 nm) and the other in the shortwave infrared (SWIR, 950-1700 nm), have been used to collect diffuse reflectance spectral image cubes from a variety of paintings. The resulting cubes (400-1700 nm, 310 spectral bands) were calibrated to reflectance and the resulting spectra compared with point-based spectra collected with a fiber reflectance spectrometer (350-2500 nm). In addition, a calibrated multispectral camera (600-950 nm, eight spectral bands) was used to obtain luminescence spectral image cubes after exciting paintings at blue wavelengths.Results: False-color images obtained from the SWIR imaging system are shown to give improved visualization of changes from paintings having large and complex reworkings, e.g. Pablo Picasso's The Tragedy (1903). False-color images and reflectance spectra allowed definitive identification of restoration in a late 13th century Sienese painting that cannot be seen by traditional infrared reflectography. Spectral image processing on the reflectance image cubes have been used to identify the primary pigments or pigment mixtures. For example, the primary pigments and their distribution in Picasso's Peonies (1901) was determined and compared with x-ray fluorescence (XRF) analysis and scanning electron microscopy-energy dispersive x-ray spectroscopy (SEM-EDS). Conclusion:The results show that the combination of both the SWIR reflectance data and the luminescence data provides a more robust ability to assign the pigments than with visible spectroscopy alone. Also highlighted is the utility of reflectance imaging spectroscopy in the SWIR region to better reveal specific paint changes, including changes in the drawings and markings made by the original artist, or changes made by a subsequent conservator such as a fill.

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“…In most of these cases, the image processing has been limited to analysis of a handful of spectra and some principal component analysis (Melessanaki et al, 2001;Attas et al, 2003). Given the desire to minimize light exposure during analysis of light-sensitive artworks (Ashley-Smith et al, 2002), one is forced into a trade between spatial and spectral resolution (Delaney et al, 2005;Dirk et al, 2009). That is, for fixed lighting conditions one has to trade the size of pixel at the artwork (spatial sampling) for width of the spectral sampling.…”

Section: Introductionmentioning

confidence: 99%

Use of imaging spectroscopy, fiber optic reflectance spectroscopy, and X-ray fluorescence to map and identify pigments in illuminated manuscripts

Delaney

Ricciardi

Glinsman

et al. 2014

Studies in Conservation

136

127

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Paper Conservation Department, National Gallery of Art, Washington, DC, USA A paradigm using multispectral visible and near-infrared imaging spectroscopy is presented to semiautomatically create unbiased spectral maps that guide the site selection for in situ analytical methods (e.g. fiber optic reflectance spectroscopy and X-ray fluorescence) in order to identify and map pigments in illuminated manuscripts. This approach uses low spectral resolution imaging spectroscopy to create maps of areas having the same spectral characteristics. This paradigm is demonstrated by analysis of the illuminated manuscript leaf Christ in Majesty with Twelve Apostles (workshop of Pacino di Buonaguida, c. 1320). Using this approach the primary pigments are mapped and identified as azurite, lead-tin yellow, red lead, a red lake (likely insect-derived), a copper-containing green, brown iron oxide, and lead white. Moreover, small amounts of natural ultramarine were found to be used to enhance the blue fields around Christ, and a red lake was used to highlight different colors. These results suggest that the proposed paradigm offers an improved approach to the comprehensive study of illuminated manuscripts by comparison with site-specific analytical methods alone. The choice of broad spectral bands proves successful, given the limited palette in illuminated manuscripts, and permits operation at the low light intensity required for examination of manuscripts.

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A Prism–Grating–Prism Spectral Imaging Approach

Cited by 10 publications

References 1 publication

Optical and structural properties of zinc iodine thin films

Optical and structural properties of zinc iodine thin films

Visible and infrared imaging spectroscopy of paintings and improved reflectography

Use of imaging spectroscopy, fiber optic reflectance spectroscopy, and X-ray fluorescence to map and identify pigments in illuminated manuscripts

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