We utilize a wide array of special photography techniques to look below the surface layer of a painting, including:
VIS — visible photography provides pictures of the work that acts as a backdrop for comparison with other multi-spectral representations.
RAK — Raking light allows for the documentation of aspects of surface topography and painting method, such as craquelure and brushwork.
UVF — Ultraviolet Fluorescence When a work is exposed to ultraviolet radiation, traditional or older varnishes give off a different color than retouches, making it possible to tell the difference between an original work and one that has been retouched.
UVR — Ultraviolet Reflected uses reflected ultraviolet light allows one to see fading ink and prints.
IRCCD — Digital Infrared Reflected allows one to see the underdrawings of paintings and pentimenti, or alterations in paintings.
IRFC — Infrared False Color is created by combining a visible picture and an infrared picture, thus making it possible to observe the different materials and retouches in the false color image.
IRF — Infrared Fluorescence makes the presence of substances like cadmium pigments visible
IRTR — Infrared Transmitted enables one to have a better visual representation of underdrawings and alterations, as well as certain paint layers that appear opaque to normal infrared light.
VISTR — Visible Transmitted allows the appearance of layers of paint and alterations by contrasting what is transparent and what is opaque in visible light.
IRR — Infrared Reflectography enables penetration of the paint layers in order to see the underdrawing, but the processing time is much longer than other techniques.
To learn more about multispectral imaging and its function in fine art authentication, contact us: