Relationship between reflectance and degree of polarization in the VNIR-SWIR: A case study on art paintings with polarimetric reflectance imaging spectroscopy.

We study the relationship between reflectance and the degree of linear polarization of radiation that bounces off the surface of an unvarnished oil painting. We design a VNIR-SWIR (400 nm to 2500 nm) polarimetric reflectance imaging spectroscopy setup that deploys unpolarized light and allows us to estimate the Stokes vector at the pixel level. We observe a strong negative correlation between the S0 component of the Stokes vector (which can be used to represent the reflectance) and the degree of linear polarization in the visible interval (average -0.81), while the correlation is weaker and varying in the infrared range (average -0.50 in the NIR range between 780 and 1500 nm, and average -0.87 in the SWIR range between 1500 and 2500 nm). By tackling the problem with multi-resolution image analysis, we observe a dependence of the correlation on the local complexity of the surface. Indeed, we observe a general trend that strengthens the negative correlation for the effect of artificial flattening provoked by low image resolutions.

Logistic splicing correction for VNIR-SWIR reflectance imaging spectroscopy.

In the field of spectroscopy, a splicing correction is a process by which two spectra captured with different sensors in adjacent or overlapping electromagnetic spectrum ranges are smoothly connected. In our study, we extend this concept to the case of reflectance imaging spectroscopy in the visible-near-infrared (VNIR) and short-wave infrared (SWIR), accounting for additional sources of noise that arise at the pixel level. The proposed approach exploits the adaptive fitting of a logistic function to compute correcting coefficients that harmonize the two spectral sets. This short Letter addresses usage conditions and compares results against the existing state of the art.

Comparison of Imaging Models for Spectral Unmixing in Oil Painting.

The radiation captured in spectral imaging depends on both the complex light-matter interaction and the integration of the radiant light by the imaging system. In order to obtain material-specific information, it is important to define and invert an imaging process that takes into account both aspects. In this article, we investigate the use of several mixing models and evaluate their performances in the study of oil paintings. We propose an evaluation protocol, based on different features, i.e., spectral reconstruction, pigment mapping, and concentration estimation, which allows investigating the different properties of those mixing models in the context of spectral imaging. We conduct our experiment on oil-painted mockup samples of mixtures and show that models based on subtractive mixing perform the best for those materials.