We have witnessed great interest and a wealth of promise in content-based image retrieval as an emerging technology. While the last decade laid foundation to such promise, it also paved the way for a large number of new techniques and systems, got many new people involved, and triggered stronger association of weakly related fields. In this article, we survey almost 300 key theoretical and empirical contributions in the current decade related to image retrieval and automatic image annotation, and in the process discuss the spawning of related subfields. We also discuss significant challenges involved in the adaptation of existing image retrieval techniques to build systems that can be useful in the real world. In retrospect of what has been achieved so far, we also conjecture what the future may hold for image retrieval research.

/pdf/image-retrieval-ideas-influences-and-trends-of-the-new-age-51whw4w7su.pdf

Image retrieval: Ideas, influences, and trends of the new age

Multispectral imaging has been applied to the field of art conservation and art history since the early 1990s. It is attractive as a non-invasive imaging technique because it is fast and hence capable of imaging large areas of an object giving both spatial and spectral information. This paper gives an overview of the different instrumental designs, image processing techniques and various applications of multispectral and hyperspectral imaging to art conservation, art history and archaeology. Recent advances in the development of remote and versatile multispectral and hyperspectral imaging as well as techniques in pigment identification will be presented. Future prospects including combination of spectral imaging with other non-invasive imaging and analytical techniques will be discussed.

/pdf/advances-in-multispectral-and-hyperspectral-imaging-for-34fxwu5b9k.pdf

Advances in multispectral and hyperspectral imaging for archaeology and art conservation

The sources and structures of dyes used to colour Western historical textiles are described in this tutorial review. Most blue and purple colours were derived from indigo—obtained either from woad or from the indigo plant—though some other sources (e.g. shellfish and lichens) were used. Reds were often anthraquinone derivatives obtained from plants or insects. Yellows were almost always flavonoid derivatives obtained from a variety of plant species. Most other colours were produced by over-dyeing—e.g. greens were obtained by over-dyeing a blue with a yellow dye. Direct analysis of dyes isolated from artefacts allows comparison with the historical record.

/pdf/the-natural-constituents-of-historical-textile-dyes-1fcbhls10b.pdf

The natural constituents of historical textile dyes

Many vision tasks such as scene segmentation, or the recognition of materials within a scene, become considerably easier when it is possible to measure the spectral reflectance of scene surfaces. In this paper, we present an efficient and robust approach for recovering spectral reflectance in a scene that combines the advantages of using multiple spectral sources and a multispectral camera. We have implemented a system based on this approach using a cluster of light sources with different spectra to illuminate the scene and a conventional RGB camera to acquire images. Rather than sequentially activating the sources, we have developed a novel technique to determine the optimal multiplexing sequence of spectral sources so as to minimize the number of acquired images. We use our recovered spectral measurements to recover the continuous spectral reflectance for each scene point by using a linear model for spectral reflectance. Our imaging system can produce multispectral videos of scenes at 30fps. We demonstrate the effectiveness of our system through extensive evaluation. As a demonstration, we present the results of applying data recovered by our system to material segmentation and spectral relighting.

/pdf/multispectral-imaging-using-multiplexed-illumination-50m3zti8lf.pdf

Multispectral Imaging Using Multiplexed Illumination

Spectral imaging technology, which records simultaneously spectral and spatial information about an object, was initially developed for remote sensing and has since been successfully applied to other areas of research. Although relatively new to the field of conservation, this non-invasive method of investigation has already provided promising results in the analysis of paintings and written documents, the characterization of materials and digital documentation. This article reviews the published literature relating to the application of multispectral and hyperspectral imaging for the study and conservation of works of art and presents some new perspectives offered by this innovative and fast-developing technology.

Multispectral and hyperspectral imaging technologies in conservation: current research and potential applications

The characterisation of lead fatty acid soaps in ‘protrusions’ in aged traditional oil paint

With the aim of providing a digital electronic replacement for conventional photography of paintings, a scanner has been constructed based on a 3000 X 2300 pel resolution camera which is moved precisely over a 1 meter square area. Successive patches are assembled to form a mosaic which covers the whole area at c. 20 pels/mm resolution, which is sufficient to resolve the surface textures, particularly craquelure. To provide high color accuracy, a set of seven broad-band interference filters are used to cover the visible spectrum. A calibration procedure based upon a least-mean-squares fit to the color of patches from a Macbeth Colorchecker chart yields an average color accuracy of better than 3 units in the CMC uniform color space. This work was mainly carried out as part of the VASARI project funded by the European Commission's ESPRIT program, involving companies and galleries from around Europe. The system is being used to record images for conservation research, for archival purposes and to assist in computer-aided learning in the field of art history. The paper will describe the overall system design, including the selection of the various hardware components and the design of controlling software. The theoretical basis for the color calibration methodology is described as well as the software for its practical implementation. The mosaic assembly procedure and some of the associated image processing routines developed are described. Preliminary results from the research will be presented.

High Resolution Colorimetric Imaging of Paintings.

A new multispectral system developed at the National Gallery is presented. The system is capable of measuring the spectral reflectance per pixel of a painting. These spectra are found to be almost as accurate as those recorded with a spectrophotometer; there is no need for any spectral reconstruction apart from a simple cubic interpolation between measured points. The procedure for recording spectra is described and the accuracy of the system is quantified. An example is presented of the use of the system to scan a painting of St. Mary Magdalene by Crivelli. The multispectral data are used in an attempt to identify some of the pigments found in the painting by comparison with a library of spectra obtained from reference pigments using the same system. In addition, it is shown that the multispectral data can be used to render a color image of the original under a chosen illuminant and that interband comparison can help to elucidate features of the painting, such as retouchings and underdrawing, that are not visible in trichromatic images.

A new multi-spectral imaging system for examining paintings

A New Multi-spectral Imaging System for Examining Paintings.

Optical coherence tomography (OCT) is a fast scanning Michelson interferometer originally designed for in vivo imaging of the eye. In 2004, our group along with two other groups first reported the application of OCT to art conservation and archaeology. Since that time we have been conducting a project to investigate systematically the potential of OCT as a new tool for non-invasive examinations of a wide range of museum objects and to design an OCT optimised for in situ use in museums. Here we present the latest results from this ongoing project, which include the determination of the optimum spectral windows for OCT imaging of paintings and painted objects executed using traditional techniques, and non-invasive imaging of the subsurface stratigraphy of painted layers at multiple wavelengths. OCT imaging in assisting spectral pigment identification and in measuring refractive indices of paint will also be presented to illustrate the potential of the technique.

/pdf/optical-coherence-tomography-for-art-conservation-and-1xdsm33bek.pdf

Optical coherence tomography for art conservation and archaeology

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