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This contribution presents some examples of the application of ultraviolet fluorescence (UVF) photography and photogrammetry on cultural heritage objects and paintings. The used approach is based on low-cost systems sustainable in terms of costs for restorers and conservators, but, at the same time, able to supply valid and relevant information for a better knowledge of the preservation state, of previous restoration interventions and of possible superimposed materials. This knowledge is fundamental for planning and addressing the restoration activities, such as cleaning and consolidation, in the most appropriate way as possible. Specific cases studies will be reported concerning large paintings and 3D objects. In the first case, it has been necessary to acquire several images by dividing the surface into various parts, as function of the dimensions of the investigated area, and then by using photogrammetric tools to recompose the images into a single one (orthophotomosaic of the painting). In the second case, the UVF images are acquired all around the 3D objects and then processed in order to obtain a photorealistic model under ultraviolet fluorescence. The image acquisitions were obtained by using a digital camera equipped with different lens and filters. Lighting of the surfaces was obtained by UV projectors. The acquired images have been then processed through photogrammetric tools in order to obtain the final 2D and 3D ultraviolet fluorescence outputs of the investigated artworks that can be explored and profitably used for gathering metrically precise information and material response to UV radiation.
Lanteri et al. (Wed,) studied this question.