The B+W 420, a UV cut-off filter, is necessary to stop the UV reflected from the subject. A modified full spectrum camera becomes even more sensitive to UV light and therefore UV reflected must be shielded otherwise the images will be dominated by the purple color due to UV light. So far the B+W 420 filter works fine and there would be no need to replace it. It has been used by CHSOS in a number of art examination studies [2, 3] and for the workflow method for pigments identification  and it works fine in the panoramic photography set up . The limits of the B+W 420 filter become obvious when it is necessary to take a close up UVF image of the subject. B+W 420 has a comparable transmittance curve as the interferential UV/IR filter. The difference is that the B+W 420 is fluorescent itself under UV light. If the picture is taken from a distance and the UV lamp are at a close angle, the reflected UV light that hits the filter is a fraction of the UV fluorescence and the excited fluorescence of the filter doesn’t affect the image. On the other hand, if a close up UVF photo is taken the amount of UV hitting the filter could affect considerable the image quality.
Pigments Checker is for photographers, conservators and scientists interested in technical documentation of paintingss. It has 54 swatches of historical pigments designed for infrared photography, ultraviolet photography and other technical photographic methods for art examination. Check it out!
Pigments Checker is a collection of 54 swatches of historical pigments that have been applied using gum arabic as a binder on a cellulose and cotton watercolor paper, acids and lignin free. This paper is not treated with optical brighteners, it’s slightly UV fluorescent, and it reflects IR. Two cross-hair lines, 0,2 mm (vertical) and 0.4 mm (horizontal) are printed on each swatch of paper before the application of paint, in order to have a means to evaluate the pigments’ transparency in the IR and IRR imaging. Among all the pigments and their varieties ever used in art these pigments collection select the most used ones from antiquity to early 1950’.
 Luis Bravo Pereira “UV Fluorescence photography of works of art: replacing the traditional UV cut filters with interference filters” International Journal of Conservation Science, 1, 3, 2010, pp. 161-166.  A. Cosentino, S. Stout, R di Mauro, C. Perondi “The Crucifix Chapel of Aci Sant’Antonio: Newly Discovered Frescoes” Archeomatica, 2, 36–42, 2014.  A. Cosentino, M.C. Caggiani, G. Ruggiero, F. Salvemini “Panoramic Multispectral Imaging: Training and Case studies” Belgian Association of conservators Bulletin, 2nd Trimester, pp 7–11, 2014  A. Cosentino “Identification of pigments by multispectral imaging a flowchart method” Heritage Science, 2:8, 2014.  A. Cosentino “A practical guide to Panoramic Multispectral Imaging” e-conservation Magazine, 25, pp 64–73, 2013. [ws_table id=”4″]