There is a strong motivation for smaller pixels based on end-user demand for lower-cost, higher-resolution camera systems both for military and commercial applications. Uncooled detector technology fits the need for a low size, weight, and power system. We explore the tradeoffs and challenges to achieving pixel designs smaller than the current 17-μm state-of-the-art detectors without loss in sensitivity or resolution. For illustration we consider a 12-μm design. We also address modulation transfer function issues as the pixel size shrinks, and examine the difference between the performance of present devices and the theoretical performance limit for uncooled detectors.
This paper discusses the design and development of a dual field of view, all-refractive infrared optical system
that images the mid-wave infrared (MWIR) light in one field of view and the short wave infrared (SWIR) light
in the narrower second field of view onto the same detector. The narrow field of view images the SWIR
radiation at a slow f/number of 10.0, while the wide field of view images the MWIR radiation at f/1.9. The
field of view is changed via a single lens that changes its axial position within the lens, resulting in an axial
zoom and an overall magnification change of 6X. The change in focal length and f/number at the same time
enables an increased focal length without having to increase the aperture size by the ratio of the focal length
change. The large field of view change is achieved by both the motion of the lens, and the use of the spectral
properties of the materials that change with wavelength. The change in spectral bands is accomplished via the
use of a spectral filter wheel.
Reflectance imaging spectroscopy, the collection of images in narrow spectral bands, has been developed for remote
sensing of the Earth. In this paper we present findings on the use of imaging spectroscopy to identify and map artist
pigments as well as to improve the visualization of preparatory sketches. Two novel hyperspectral cameras, one
operating from the visible to near-infrared (VNIR) and the other in the shortwave infrared (SWIR), have been used to
collect diffuse reflectance spectral image cubes on a variety of paintings. The resulting image cubes (VNIR 417 to 973
nm, 240 bands, and SWIR 970 to 1650 nm, 85 bands) were calibrated to reflectance and the resulting spectra compared
with results from a fiber optics reflectance spectrometer (350 to 2500 nm). The results show good agreement between
the spectra acquired with the hyperspectral cameras and those from the fiber reflectance spectrometer. For example, the
primary blue pigments and their distribution in Picasso's Harlequin Musician (1924) are identified from the reflectance
spectra and agree with results from X-ray fluorescence data and dispersed sample analysis. False color infrared
reflectograms, obtained from the SWIR hyperspectral images, of extensively reworked paintings such as Picasso's The
Tragedy (1903) are found to give improved visualization of changes made by the artist. These results show that
including the NIR and SWIR spectral regions along with the visible provides for a more robust identification and
mapping of artist pigments than using visible imaging spectroscopy alone.
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