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Infrared False Color photography (IRFC)
Infrared False Color (IRFC) photography is an integral part of technical photography documentation and is widely used to detect retouching and to support the tentative identification of pigments. Originally developed as a photographic film for applications unrelated to art, it was soon adopted for the study of paintings and has since become a familiar tool for art conservators. IRFC has been used primarily for the preliminary assessment of artworks, for example to distinguish between pigments such as azurite and ultramarine in Old Master paintings.
Although this method does not provide the level of accuracy achievable with analytical techniques, its speed and ease of implementation—whether using filters or modified digital cameras—make it one of the most commonly employed imaging methods in art conservation laboratories.
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Experimental setup
The experimental setup for IRFC does not require any specialized hardware. Standard visible and infrared images are acquired and then processed using software to replicate the effect of historical infrared false color film.
To create an IRFC image, the visible green (G) and visible red (R) channels are reassigned to the blue (B) and green (G) channels of the IRFC image, respectively, while the red (R) channel is replaced by the infrared image. As a result, pigments that appear similar in visible light may exhibit different IRFC colors depending on their behavior in the infrared region. For example, malachite absorbs infrared, red, and blue radiation; therefore, only its green component contributes to the IRFC image, resulting in a blue appearance. In contrast, viridian also reflects infrared radiation, so its IRFC color arises from the combination of the infrared (red channel) and visible green (mapped to blue), producing a purple hue.
Applications in Art examination
Infrared False Color (IRFC) photography is part of Technical Photography documentation and is used to detect inpaints and support the tentative identification of pigments. By combining visible and infrared information into a false-color image, IRFC enhances differences in material response, making retouches and compositional variations more apparent. While IRFC does not provide definitive identifications, it is a well-established tool for highlighting areas of interest and guiding further analytical investigations. For reference, the Pigment Checker can be used to explore the range of false colors produced by different pigments under IRFC imaging.
Tentative identification of pigments
Pigment identification based on IRFC (Infrared False Color) should be considered tentative, as multiple factors can influence the observed false colors. These include the specific spectral sensitivity of the imaging system, the illumination conditions, the pigment’s chemical composition and particle size, surface coatings or varnishes, aging and degradation processes, and interactions with underlying or adjacent layers.
Mapping retouches on paintings
IRFC (Infrared False Color) is highly effective for the rapid differentiation of materials such as paints and inks. It provides immediate visual contrast between substances with different infrared reflectance or absorption properties, making it a valuable first-line diagnostic tool. Compared to more precise but significantly more time-consuming techniques—such as multispectral imaging or XRF mapping—IRFC offers a much faster assessment, allowing conservators to quickly identify areas of interest and guide subsequent, more detailed analyses.
Binders and supports
IRFC is generally not significantly influenced by different painting techniques, as infrared images are only minimally affected by the nature of the binders. On the other hand, the support can play an important role. In wall paintings, for example, the high infrared reflectance of the mineral substrate can lead to a more reddish appearance in IRFC images. In general, brighter infrared responses tend to shift the false color toward stronger red components.
How to Create IRFC Images
We provide step-by-step guidance on how to process your visible and infrared images and combine them into an IRFC image. With the Technical Photography KIT, IRFC imaging becomes simple and efficient. Explore our FREE online course on Technical Photography for Art Examination.
IRFC with special filters
False color images can also be acquired using dedicated filters, such as the XNite BP1 (images obtained with this filter are often labeled as BP1). However, this approach is generally not recommended. The XNite BP1 transmits visible light approximately in the 350–660 nm range and infrared radiation above ~800 nm, allowing it to function as a simplified alternative to the IRFC method, albeit with significant limitations.
Digital color cameras employ CCD or CMOS sensors whose photosites are inherently broadband and cannot distinguish wavelengths. To produce color images, they rely on a color filter array (CFA), which separates incoming light into red, green, and blue components. Importantly, the CFA is largely transparent to near-infrared radiation, meaning that infrared transmitted by the BP1 filter is detected by all three types of photosites.
Because the BP1 filter cuts off most of the far-red portion of the visible spectrum, the signal recorded in the red channel is dominated by infrared radiation. As a result, the images produced with BP1 can resemble IRFC images, since they combine visible and infrared information and can still differentiate materials with different infrared reflectance.
However, compared to standard IRFC imaging, the BP1 method is less effective. Infrared radiation is not confined to a single channel but contributes to the red, green, and blue channels simultaneously, reducing the ability to generate distinct and diagnostically useful false colors for different pigments.
The main advantage of the BP1 approach is its simplicity: no post-processing is required, making image acquisition significantly faster. For this reason, it can be particularly useful for the rapid documentation of large artworks, such as wall paintings, where full IRFC processing may be impractical or time-consuming.
Resources
| Publications on Infrared False Color Photography (IRFC) |
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| A. Cosentino “Infrared Technical Photography for Art Examination” e-Preservation Science, 13, 1-6, 2016. |
| A. Cosentino “Identification of pigments by multispectral imaging a flowchart method” Heritage Science, 2:8, 2014. |
| A. Cosentino “Effects of Different Binders on Technical Photography and Infrared Reflectography of 54 Historical Pigments” International Journal of Conservation Science, 6 (3), 287-298, 2015. |
Learn Technical Photography for Art Examination
Technical Photography is one of the most powerful—and often overlooked—tools for the scientific examination of art and archaeology. If you are a conservator, scientist, or art collector and you are not yet familiar with this method, it is truly a missed opportunity. Using simple, affordable equipment and a clear methodology, Technical Photography allows you to reveal underdrawings, retouchings, material differences, and conservation issues in a completely non-invasive way. Far from being complex or inaccessible, it is an easy entry point into scientific analysis. In many cases, Technical Photography represents the first essential step toward a deeper understanding of artworks and archaeological objects.
Scientific Art Examination – Resources:
Getty Conservation Institute (GCI) – USA
The British Museum – Scientific Research Department – UK
Scientific Research Department – The Metropolitan Museum of Art, New York, USA
C2RMF (Centre de Recherche et de Restauration des Musées de France) – France
Rijksmuseum – Science Department – Netherlands






