UV-Vis Luminescence imaging techniques/ Técnicas de imagen de luminiscencia UV-Vis

Ever since its first introduction in the field of conservation, the role of UV-VIS luminescence/fluores-cence (UVL and UVf, respectively) imaging has been expanding.The unique and significant contribution of this technique for investigation of cultural heritage has led to the development of new methodol-ogies and applications. Each chapter in this volume can be read independently. While this means that some repetition may occur between the individual chapters, in particular regarding the explanation of terminology and methodology, such overlap provides interesting op-portunities for cross-comparison of both terminol-ogy and methodology. In addition, it highlights similarities and differences between different situations in the practical applicationFuster López, L.; Stols-Witlox, M.; Picollo, M. (2020). UV-Vis Luminescence imaging techniques/ Técnicas de imagen de luminiscencia UV-Vis. Editorial Universitat Politècnica de València. http://hdl.handle.net/10251/138517EDITORIA

Image segmentation and pigment mapping of cultural heritage based on spectral imaging

The goal of the work reported in this dissertation is to develop methods for image segmentation and pigment mapping of paintings based on spectral imaging. To reach this goal it is necessary to achieve sufficient spectral and colorimetric accuracies of both the spectral imaging system and pigment mapping. The output is a series of spatial distributions of pigments (or pigment maps) composing a painting. With these pigment maps, the change of the color appearance of the painting can be simulated when the optical properties of one or more pigments are altered. These pigment maps will also be beneficial for enriching the historical knowledge of the painting and aiding conservators in determining the best course for retouching damaged areas of the painting when metamerism is a factor. First, a new spectral reconstruction algorithm was developed based on Wyszecki’s hypothesis and the matrix R theory developed by Cohen and Kappauf. The method achieved both high spectral and colorimetric accuracies for a certain combination of illuminant and observer. The method was successfully tested with a practical spectral imaging system that included a traditional color-filter-array camera coupled with two optimized filters, developed in the Munsell Color Science Laboratory. The spectral imaging system was used to image test paintings, and the method was used to retrieve spectral reflectance factors for these paintings. Next, pigment mapping methods were brought forth, and these methods were based on Kubelka-Munk (K-M) turbid media theory that can predict spectral reflectance factor for a specimen from the optical properties of the specimen’s constituent pigments. The K-M theory has achieved practical success for opaque materials by reduction in mathematical complexity and elimination of controlling thickness. The use of the general K-M theory for the translucent samples was extensively studied, including determination of optical properties of pigments as functions of film thickness, and prediction of spectral reflectance factor of a specimen by selecting the right pigment combination. After that, an investigation was carried out to evaluate the impact of opacity and layer configuration of a specimen on pigment mapping. The conclusions were drawn from the comparisons of prediction accuracies of pigment mapping between opaque and translucent assumption, and between single and bi-layer assumptions. Finally, spectral imaging and pigment mapping were applied to three paintings. Large images were first partitioned into several small images, and each small image was segmented into different clusters based on either an unsupervised or supervised classification method. For each cluster, pigment mapping was done pixel-wise with a limited number of pigments, or with a limited number of pixels and then extended to other pixels based on a similarity calculation. For the masterpiece The Starry Night, these pigment maps can provide historical knowledge about the painting, aid conservators for inpainting damaged areas, and digitally rejuvenate the original color appearance of the painting (e.g. when the lead white was not noticeably darkened)

Digital Techniques for Documenting and Preserving Cultural Heritage

In this unique collection the authors present a wide range of interdisciplinary methods to study, document, and conserve material cultural heritage. The methods used serve as exemplars of best practice with a wide variety of cultural heritage objects having been recorded, examined, and visualised. The objects range in date, scale, materials, and state of preservation and so pose different research questions and challenges for digitization, conservation, and ontological representation of knowledge. Heritage science and specialist digital technologies are presented in a way approachable to non-scientists, while a separate technical section provides details of methods and techniques, alongside examples of notable applications of spatial and spectral documentation of material cultural heritage, with selected literature and identification of future research. This book is an outcome of interdisciplinary research and debates conducted by the participants of the COST Action TD1201, Colour and Space in Cultural Heritage, 2012–16 and is an Open Access publication available under a CC BY-NC-ND licence.https://scholarworks.wmich.edu/mip_arc_cdh/1000/thumbnail.jp

The Effects of Multi-channel Visible Spectrum Imaging on Perceived Spatial Image Quality and Color Reproduction Accuracy

Two paired-comparison psychophysical experiments were performed. The stimuli consisted of six image types resultingfrom several multispectral image-capture and reconstruction techniques. A seventh image type, color-managed images from a high-end consumer camera, was also included in thefirst experiment to compare the accuracy of commercial RGB imaging. The images were evaluated under simulated daylight (6800K) and incandescent (2700K) illumination. The first experiment evaluated color reproduction accuracy. Under simulated daylight, the subjects judged all of the images to have the same color accuracy, except the consumer camera image which was significantly worse. Under incandescent illumination, all the images, including the consumer camera, had equivalent performance. The second experiment evaluated image quality. The results of this experiment were highly target dependent. A subsequent image registration experiment showed that the results of the image quality experiment were affected by image registration to some degree. An analysis of the color reproduction accuracy and image quality experiments combined showed that the consumer camera image type was preferred the least over all. The most preferred image types were the thirty-one-channel image type and both six-channel image types created using RGB filters along with a Wratten filter, with eigenvector analysis and pseudo-inverse transformations

Digital Techniques for Documenting and Preserving Cultural Heritage

This book presents interdisciplinary approaches to the examination and documentation of material cultural heritage, using non-invasive spatial and spectral optical technologies

Developing an imaging bi-spectrometer for fluorescent materials

Fluorescent effects have been observed for thousands of years. Stokes, in 1852, began the science of fluorescence culminating in his law of fluorescence, which explained that fluorescence emission occurs at longer wavelengths than the excitation wavelength. This phenomenon is observed extensively in the art world. Daylight fluorescent colors known as Day-Glo have become an artistic medium since the 1960s. Modern artists exploit these saturated and brilliant colors to glitter their painting. Multispectral imaging as a noninvasive technique has been used for archiving by museums and cultural-heritage institutions for about a decade. The complex fluorescence phenomenon has been often ignored in the multispectral projects. The ignored fluorescence results in errors in digital imaging of artwork containing fluorescent colors. The illuminant-dependency of the fluorescence radiance makes the fluorescence colorimetry and consequently spectral imaging more complex. In this dissertation an abridged imaging bi-spectrometer for artwork containing both fluorescent and non-fluorescent colors was developed. The method developed included two stages of reconstruction of the spectral reflected radiance factor and prediction of the fluorescent radiance factor. The estimation of the reflected radiance factor as a light source independent component was achieved by imaging with a series of short-wavelength cutoff filters placed in the illumination path. The fluorescent radiance factor, a light source dependent component, was estimated based on a proposed model, the abridged two-monochromator method. The abridged two-monochromator method was developed for reconstructing the bi-spectral matrix of a fluorescent color based on a calibrated UV-fluorescence imaging. In this way, one could predict the fluorescence radiance factor under any desired illuminant and consequently a better color evaluation and rendering could be obtained. Furthermore, this method easily fitted in a general system for spectral imaging of paintings containing both fluorescent and non-fluorescent colors. The abridged two-monochromator method could predict fluorescent radiance factor of a fluorescent color via prediction of the true emission and the number of absorbed quanta by a fluorescing specimen for a given viewing light source. The superiority of the abridged fluorescence spectral imaging to the traditional spectral and colorimetric imaging for a few light sources was confirmed using fluorescent and non-fluorescent targets. Additionally, an exploratory visual experiment using a paired-comparison method was performed to evaluate the performance of the abridged fluorescence spectral imaging in comparison to the traditional spectral and colorimetric imaging for rendering images of a reference painting. The abridged fluorescence spectral imaging had better performance than traditional spectral and colorimetric imaging in rendering images for daylight