Volume XLII-2/W11
Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLII-2/W11, 469-474, 2019
https://doi.org/10.5194/isprs-archives-XLII-2-W11-469-2019
© Author(s) 2019. This work is distributed under
the Creative Commons Attribution 4.0 License.
Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XLII-2/W11, 469-474, 2019
https://doi.org/10.5194/isprs-archives-XLII-2-W11-469-2019
© Author(s) 2019. This work is distributed under
the Creative Commons Attribution 4.0 License.

  04 May 2019

04 May 2019

A WORKFLOW FOR GEOMETRIC COLOUR PHOTOGRAPHY OF PAINTED SURFACES

A. Dhanda1, G. Scarpa2, S. Fai1, and M. Santana Quintero1 A. Dhanda et al.
  • 1Carleton Immersive Media Studio (CIMS), Carleton University, Ottawa, Canada
  • 2The Factum Foundation, Madrid, Spain

Keywords: Painting, Photography, Photogrammetry, Orthophoto, 16-bit, Colour, Archiving

Abstract. Colour fidelity is vital when documenting painted surfaces. The 2.5D nature of many painted surfaces makes orthophotos and digital surface models (DSMs) common products of the documentation process. This paper presents a workflow to combine photographic and photogrammetric methods to produce aligned colour and depth (orthophotos and DSMs). First, two photogrammetric software (Agisoft Photoscan and Capturing Reality Reality Capture) were tested to determine if they adjusted the colour data during the processing stages. It was found that Photoscan can produce 16-bit orthophotos without manipulating the data; however, Reality Capture is currently limited to 8-bit results. When capturing a surface using photogrammetry, it is common to use the same data for colour and depth. The presented workflow, however, argues that better colour accuracy can be achieved by capturing the two datasets separately and combining them in photogrammetric software. The workflow is demonstrated through the documentation of an unnamed religious painting from the 17th century.