The study of painting in the infrared range. Questions...
 

Hello, dear friends.
Please share the knowledge in question survey of painting in the infrared range.
Primarily interested in the possibility of conducting this kind of research in modern cameras.
The second question relates to the use of sources of infrared radiation and their location (for painting or paint layer).
Interested in EVERYTHING.
Information on the Internet gives only a General idea.
Read:
http://art-con.ru/node/295
http://nesusvet.narod.ru/ico/books/r...storation2.htm
http://bo0k.net/index.php?p=achapter...2793&chapter=1
The result - some questions...
If anyone knows how to do this, please share Your knowledge.

Know the experts conducting technological research works of easel painting. Whether they will be someone to teach online for free - issue.

[QUOTE=Кирилл Сызранский;3279431]know It experts, conducting technological research works of easel painting. Whether they will be someone to teach online for free - vopros@

Yes, You are right. But studies in the infrared range is only episode. No other data to give a complete story not to be. And "young" to teach for free even "episode" probably will not. But there is also the "old men" of the USSR. On them and hope.
I don't think hint how the "heat" of the canvas will reveal all the mysteries and bring forth a new competitor-expert. I have another specialty (technical). But the camera has. And I want to try in this area.
Sincerely,

Cake, watching the work on the picturesque layer. IR radiation allows one to see the preparatory drawing. Very well sometimes visible if GE rice caused a lead pencil.

uriart thank you!
As I understand You, an infrared camera is directed to the picturesque layer.
And where to post the source of infrared radiation? From the picturesque layer, or on the reverse side?
Sincerely,

Cake, You understand it correctly. Look on the front side,i.e. pictorial layer. Not on the reverse side of the canvas!

So, first steps and first conclusions in the study of painting with a thermal imager.
The first is that the emissivity of the device should be put equal To-0.3 (copper) or less. When the ratio is equal to "paper" or "plastic" device does not see the picturesque image.
The second is that the camera "sees" through the canvas when placing the source of infrared radiation from the side of the paint layer (on clearance).
Third is that you have to look at black and white, not color mode.
Fourth - what "first" and "second" and "third" may be erroneous steps in the wrong direction, but that there is something there...
Sincerely,

uriart, unfortunately you confused with RENGO ... in RENGO visible drawing lead pencil and infrared photo clearly visible late entries and toning. that is, areas of the same color and tone but made different in composition paints will have on the photo clear boundaries.

Cake, TTI traditionally used cameras, and the emitter and the camera charged a special infrared film and long exposures. Anyway I was taught when as a student I took a course in the laboratory of the Hermitage. Although now maybe everything differently.
Good luck in your experiments

Oleg Nazarov, thanks!
I was reading about infrared film. And about the filters too.
Difference between the imager and infrared film is not seen, because both allow you to transfer thermal radiation in the visible spectrum.
The imager this function is performed by the lens of Germany and the matrix.
It may be that prolonged exposure and this is a fundamental difference. The imager there is no such function.
I ask You to tell which side is the source of infrared radiation: from the front (on reflection) or reverse (on clearance).
I get that a clearer picture is first uniformly warm side of the canvas to a temperature of 40-60 degrees Celsius and then put it aside and watch the cooling thermogram picturesque layer from the front side.
Sincerely,

CakeCannot be so warm! it is dangerous to work. 60 degrees was beyond restoration on irreversible processes go!!!

And this was done so: from the front side included lamp IR ( don't remember what they were called but there were several pieces with different wavelengths) at a decent distance of 2-3 meters the rest of the light was off and was shooting ( nothing to heat is not necessary) extract 20-30 minutes.
The whole point is that different materials on different reflect or absorb the invisible rays of the spectrum and this difference is visible on the film.
heat is nothing to do with.

Oleg Nazarov, he himself will heat that will heat itself.
In the artist!

Thank you!
I will try and so too.
It turns out that after preliminary heating and cooling picturesque layer of the thermal imaging camera sees IR radiation of different colors having different temperature from the uniform heating of the cooling with different intensity. Moreover, simultaneously.
On prolonged heating paint layer IR film sees the process of reflection (radiation) wave infrared spectrum of colors in time (30 minutes) as a single frame...
Please tell the temperature. To what degree "heat"? Because the invisible infrared spectrum is still warm.
Thank You again for your help!

P. S. "Experiments" put on foolish "bargain". Good - shore...

[QUOTE=олег назаров;3287581]Cake, ( nothing to heat is not necessary) extract 20-30 minut@
It seems understood.
Irradiation painting layer sources of infra-red spectrum should start with room temperature. The final warming the top colors when working with infrared film is not fixed. It will be insignificant.
Thank you!

[QUOTE="Пряник;3287641"]Please tell temperature. To what degree "heat"? Because the invisible infrared spectrum is still teplo@
in this case it is not the heat but rather light. the surface of the picture in General is not cool! (well, maybe a few tenths of a degree) lamp feels more like a red photo-lantern and not on the heat reflector and is three metres.