Care of Photographs. Vocabulary: Archival quality: A non-standard term used to describe the neutrality of a material or product.

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1 Care of Photographs Vocabulary: Archival quality: A non-standard term used to describe the neutrality of a material or product. Baryta layer: An interlayer of barium sulfate in gelatin applied to the photographic paper base prior to the photosensitive emulsion. Binder: An application that holds the chemically, light-sensitive image particles in one layer. Buffered: Archival paper products that have a calcium carbonate additive that makes the material alkaline or basic. Collodion: Cellulose nitrate (also known as guncotton) dissolved in ether and alcohol. Developed-out Process: Photographic paper is treated for brief light exposure. The resulting latent image is processed in a darkroom using artificial light and a chemical developing solution. Direct-positive Process: One of a kind, positive images directly made into a chemically light-sensitive surface of iron, copper, or paper. Ferrotyping: Glossy patches found on the surface of photos resulting from lengthy contact with a smooth-surfaced storage enclosure, such as polyester or glass. Lignin: A natural binder in wood fibers, especially those in processed paper. It gives off acids as it deteriorates, so archival materials should be lignin-free. Negative-positive Process: Negative images formed on a transparent material such as glass or acetate, nitrate, and polyester plastics. The negative image is positively exposed by placing the negative over colored paper or sensitized paper. The latter produces a positive photographic print. Non-buffered: ph and protein-neutral archival paper products. Photographic Activity Test (PAT): An internationally recognized standard testing and evaluating photo storage and display products. Measured in Pass/Fail standards; indicates safe, long-term storage. Print-out Process: The image develops on the paper with exposure to sunlight and without the use of a chemical developer. Toning: A processing treatment that alters the tone and/or stabilizes a silver-based, monochrome image by binding the silver particles to other elements such as gold or platinum. Frilling: Separation and lifting of the photographic emulsion from the edges of the support.

2 Process Identification: Consider: Appearance: Overall Microscopic Enclosure Sitter s clothing and material culture Image measurement Deterioration Scientific testing: X-Ray Fluorescence Infrared Spectroscopy Short and long-wave UV light exposure Photograph Care: Materials: Petroleum-free, green-colored nitrile gloves ph Testing pen Soft pencil, 4B or 6B and solid graphite pencil, 4B or 6B Sources: Measurement Identification Process Format Measurements Gem* ¾ x 1 or 1-3/8 x 1-2/3 2-1/2 x 3-1/2 6-1/2 x 8-1/2 4-1/4 x 5-1/2 3-1/4 x 4-1/4 2-3/4 x 3-1/4 2 x 2-1/2 1-3/8 x 1-5/8 Daguerreotype, Ambrotype, Tintype* Albumen Bon ton* Whole Plate Half Plate Quarter Plate Sixth Plate Ninth Plate Sixteenth Plate Carte-de-visite Cabinet card 2-1/2 x 4 4-1/4 x 6-1/2 3-1/2 x 7 Stereo-view cards Collodion Cabinet cards 4-1/4 x 6-1/2 Film Wallet size 3 x 2 5 x 7 6-1/2 x 8-1/2 8 x 10 Polyethylene, polypropylene, and uncoated polyester transparent enclosures: L-sleeve, pockets Acid-free, unbuffered/buffered paper folders and sheets, envelopes, and 4-flap enclosures Acid-free, unbuffered/buffered tissue paper Acid-free, unbuffered/buffered flip-top, telescoping, drop-side, or solander boxes 3 ring binder Photo corners Matboard Corrugated board Tyvek HomeWrap or CommercialWrap Cotton tape Archival Methods: Archival Products: Archivart: Conservation Resources International, L.L.C.: The Container Store, Inc.: W.W Grainger, Inc. (formerly Lab Safety Supply): Gaylord Bros.: Hollinger Metal Edge, Inc.: Light Impressions:

3 Print File: Safeware, Inc.: Staples, Inc.: Talas: University Products, Inc.: Utrecht Art Supplies: Photograph handling and movement: No pens, food, or drink in the examination or storage area. Wash and dry your hands frequently. Wear petroleum-free, green-colored nitrile gloves. Remove any hanging clothing or accessories on your person or in your top pockets. Always consider your destination and your path. Both must be clear. Transport and examine objects flat. Ask for assistance for moving or examining objects measuring more than half the length of your arm. Handle by the edges. To turn an object over, sandwich it between two auxiliary supports such as heavy stock, folders or Plexiglass. Use structural supports like book cradles when examining three dimensional objects such as albums. Preventative photograph care: Remember, there are no safe products if there is no safe use. Avoid marking photographs, if possible. Do not use paper clips. Do not use rubber bands, self-adhesive tape or stickers, staples, glue, or deacidification spray. House appropriately, using acid-free and lignin-free materials. Handle the photographs thoughtfully, correctly, and as little as possible (See Photograph handling and movement). Photograph cleaning: Do as little as possible. House and document condition issues first. Treat last. If heavily soiled, first use an air bladder to remove debris. If the surface area is large, use a clean soft brush starting at the center and work towards the edges. Take care not to rub the detritus into the surface. Do not wet-clean photographs, ever. Water, solvents, and detergents are to be avoided. Photograph conservation: If there is any question, consult a photographic materials conservator. Very expensive and time consuming. Consider conservation for: Early stages of chemical deterioration. Transfer of information from film negatives. Removal of acidified and brittle backing, and remounting. Ex: Curled photographs.

4 Use the American Institute for Conservation s Find a Conservator website. Consult the Conservator FAQ s reference sheet. Environment: Temperature cooler temperatures (below 70 degrees) are preferable. Keeping the temperature of photographs low is the best way to extend their lifespan. Relative humidity (RH) 35% RH is ideal, and a range of 30-50% is acceptable. Less than 30% RH causes binder layers to become brittle and susceptible to cracking and peeling, while RH of 60% or more may cause irreversible fading and yellowing as well as mildew and mold. Stability fluctuations in temperature and relative humidity will cause photos to curl and distort and their layers to separate, so it is important to keep both figures constant. Light visible light and ultraviolet radiation cause color change, brittleness, even complete destruction; photographs should be kept in the dark as much as possible. Environmental pollutants airborne pollutants can cause fading and discoloring, and offgassing chemicals from paint, wood, cardboard, cleaning solutions can exacerbate those effects. Photograph storage: In a home environment: keep photographs in the coolest, driest spot in your home that has the least seasonal fluctuation. Do NOT store photographs in an attic or basement; the extreme temperature and humidity fluctuations will damage them. An aboveground, interior closet is a much better choice. Storage methods should be chosen based on the type of photograph, condition, and frequency with which it will need to be accessed. Ideally, each photographic print should be stored in a separate paper or plastic sleeve, then placed into an acid-free folder or box (which it can share with other prints). Smaller photographic prints can be stored vertically, but larger prints and cased photographs like daguerreotypes should be stored flat in appropriately-sized boxes. Boxes need to be filled, but not overstuffed; underfilling can cause photos to curl, while overstuffing may cause damage when photos are pulled out or put away. Photographs may be stored in binders or albums, but adhesive and magnetic pages should be avoided. Instead, use acid and lignin-free paper and archival photo corners or plastic sheets made from polyethylene, polypropylene, or uncoated polyester. Photograph display: Do not display photographs indefinitely. Hang photographs on interior walls out of direct sunlight and use coverings on windows. Remember, light damage is cumulative and irreversible. Framing use glass or plexiglass with UV filtering. Avoid direct contact between the photograph and the glass by using an acid-free mat. Framed photographs should be wellsealed and monitored to avoid the incursion of damaging airborne particles. Consider displaying a copy and storing the original. Photograph Identification and Care Bibliography:

5 Berg, Paul. Nineteenth Century Photographic Cases and Wall Frames. Huntington Beach, CA: Huntington Valley Press, Crawford, William. The Keepers of Light: A History of Working Guide to Early Photographic Processes. New York: Morgan & Morgan, Gustavson, Todd. Camera: A History of Photography from Daguerreotype to Digital. New York: Sterling Publishing Co, Inc., Jürgens, Martin C. The Digital Print: Identification and Preservation. Los Angeles: The Getty Conservation Institute, Kennel, Sara, Diane Waggoner, and Alice Carver-Kubic. In the Dark Room: An Illustrated Guide to Photographic Processes before the Digital Age. New York: Thames and Hudson, Lavénrine, Bertrand. A Guide to Preventative Conservation of Photograph Collections. Los Angeles: The Getty Conservation Institute, Photographs of the Past: Process and Preservation. Los Angeles: The Getty Conservation Institute, Pénichon, Sylvie. Twentieth-Century Color Photographs. Los Angles, The Getty Conservation Institute, Reilly, James M. Care and Identification of 19th-Century Photographic Prints. Rochester, NY: Eastman Kodak Co., Albumen & Salted Paper Book: The History and Practice of Photographic Printing, New York: Light Impressions Corporations, Severa, Joan. Dressed for the Photographer: Ordinary Americans & Fashion, Kent, OH: The Kent State University Press, Wilhelm, Henry and Carol Brower. The Permanence and Care of Color Photographs: Traditional and Digital Color Negatives, Slides, and Motion Pictures. Iowa: Preservation Publishing Company, Photograph Identification and Care Websites: Conservation Center for Art and Historic Artifacts: The Image Permanence Institute: The National Archives: The Library of Congress: The Getty Conservation Institute: International Organization for Standardization: ommittee.htm?commid=48420

6 General Conservation Websites: The Canadian Conservation Institute: The American Institute for Conservation of Historic and Artistic Works: American Institute for Conservation of Historic and Artistic Works: Smithsonian Museum Conservation Institute: Northeast Document Conservation Center: Questions? Contact: Samantha Dorsey Allison Titman Museums Curator Curator/Asst. Director Tulip Grove Drive 19 Maryland Avenue Bowie, Maryland Annapolis, Maryland x12