; 05/07/13 2:42 PM;;;;;LEARNINGTIMES WEBINAR 5/7/2013

THE DISCUSSIONS AND HERE ARE TWOBY A GOOD DIFFERENT ANDCOLLEAGUE OF MINE WHOA IS ASCIENTIST IN PARIS AND HASWRITTEN ELOQUENTLY ON A VARIETYOF ISSUES ASSOCIATED WITH FOFGRAPHIC CONSERVATION.TWO OF HIS MORE POPULAR BOOKSARE FEATURED HERE.BOTH ARE AVAILABLE FROM THEGETTY AND I PARTICULARLYRECOMMEND PHOTOGRAPHS OF THEPAST.FOR THOSE OF YOU WHO ARE SIGNINGIN FROM OTHER PARTS OF THEWORLD, THIS BOOK HAS BEENTRANSLATED I BELIEVE IN BOTHSPANISH AND FRENCH.BUT IT'S A WONDERFULINTRODUCTION TO THE VARIETY OFPHOTOGRAPHIC MATERIALS THATYOU'RE LIKELY TO ENCOUNTER INYOUR COLLECTION AND VERY USERFRIENDLY, LOTS AND LOTS OFIMAGES, CHARTS AND GRAPHS THAT I

THINK YOU WILL FIND VERYHELPFUL.SIMILARLY, THE OTHER BOOK THATYOU SEE HERE, PREVENTIVECONSERVATION PHOTOGRAPHICCOLLECTION IS A MORE DETAILEDASSESSMENT OF ISSUES SURROUNDINGCOLLECTIONS CARE, PROPERENVIRONMENTAL CONDITIONS,EMERGENCY PREPAREDNESS, THEDEGRADATION OF FILM, MANY, MANYTOPICS THAT WILL BE MOST USEFULTO YOU.SO IF YOU CAN PURCHASE THESE, ITHINK YOU'LL FIND THEM TO BE AVERY GOOD ADDITION TO YOURPERSONAL LIBRARY.TWO OTHER BOOKS.ONE LOOKING AT PHOTOGRAPHS BYGORDON BALDWIN AT THE GETTY.GORDON WAS A CURATOR AT THEGETTY MUSEUM FOR MANY, MANYYEARS AND THIS BOOK IS JUST AVERY NICE BOOK FOR THE PUBLICTHAT SORT OF SPEAKS TO, AS ITSAYS HERE, A GUIDE TO TECHNICALTERMS AND ADDRESSES ALL THEDIFFERENT PROCESSES THAT YOU'RELIKELY TO ENCOUNTER IN APHOTOGRAPHIC COLLECTION

BEGINNING WITH THE DAGUERREOTYPETYPE IN 1839 TO PRESENT DAY.AND THIS BOOK IS JUST A NICEREFERENCE FOR UNDERSTANDINGBASIC INFORMATION ON WHAT IS ANALBUMEN PRINT, WHAT IS A SILVERGELATIN PRINT.AND FINALLY CONSERVATION OFPHOTOGRAPHS WAS WRITTEN BY MYCOLLEAGUE AND MYSELF WHERE WEEDITED IT, WE DIDN'T WRITE IT.JAY GUTIERREZ AND I WORKED ONTHIS.THIS IS A COMPILATION OFIMPORTANT ARTICLES THAT HAVEBEEN WRITTEN ABOUT THE FIELD,PARTICULARLY HISTORICAL ARTICLESTHAT DEAL WITH CONSERVATIONTREATMENT, PREVENTIVECONSERVATION, THE BEGINNING OFOF THE FIELD OF PHOTOGRAPHICCONSERVATION, ET CETERA.SO YOU MIGHT FIND THIS OF USEAND INTEREST IN TERMS OFPHILOSOPHY AND ETHICS AND THEEVOLUTION OF THE FIELD OFPHOTOGRAPH CONSERVATION BUT ITIS NOT AS SPECIFIC ON ISSUESRELATED TO PREVENTIVECONSERVATION OR COLLECTIONS CARE

I WILL ALSO DIRECT YOU TOVARIOUS WEB SITES.THIS IS ONE, THE REGIONALALLIANCE FOR PRESERVATION, THISIS A COLLABORATION OR ACOMBINATION OF CONSERVATIONCENTERS ACROSS THE NATION WHO WORK WITH A VARIETY OFMATERIALS INCLUDING TOTE GRAPHICMATERIALS AND THEY'VE ASSEMBLEDTHEIR RESOURCES INTO IN THIS ONESITE.YOU CAN SEARCH ON PHOTOGRAPHSAND EMERGENCY RESPONSE AND PULLUP LOTS OF PHOTOGRAPHS THAT THEYHAVE PRODUCED THROUGH THEIR OWNCENTER.I'LL REFER TO THESE AS WE GO BUTTHIS IS A GENERAL WEBSITE IT ISTHAT YOU MAY NOT BE FAMILIARWITH AND I URGE YOU TO GO ONLINE SO JUST TO START MOVINGTHROUGH WITH THESE MATERIALS,ERTHAT GREAT TREASURE ANDENORMOUSLY VALUE TO BELIEVE ALLOF US AND THEY ARE VULNERABLE TODETERIORATION AND REQUIRE OURINPUT AND OUR WORK AND IT'SIMPORTANT TO ALWAYS SORT OF STEPBACK FOR A MINUTE WHEN YOU'RE

TALKING ABOUT PHOTOGRAPHICMATERIALS AND WHY THEY'REIMPORTANT TO REALLY THINK ABOUTWHAT IS IT ABOUT THESE MATERIALSTHAT WE'RE TRYING TO PRESERVEBECAUSE IF WE CAN ARTICULATE WHYWHY THIS WORK IS SO IMPORTANT,WE'RE BETTER POSITIONED TO RAISEFUNDS, TO DEVELOP CONCRETECOLLECTION CARE PLANS TO ALWAYSBE THINKING ABOUT THE BIGPICTURE AND, OF COURSE, WE KNOWPHOTOGRAPHIC MATERIALS IN OURCOLLECTION ENHANCE SCHOLARSHIPAND KNOWLEDGE, INSPIRE DISCOURSEIN ALL DIFFERENT WAYS.ENGAGE PUBLIC AUDIENCES AND THISOF COURSE, IS VITALLY IMPORTANTAND WE'LL BE TALKING ABOUT THISTOWARD THE END OF THE SESSIONS.WHAT CAN WE DO COLLECTIVELY TOENGAGE THE PUBLIC IN OUR WORK?THEY DOCUMENT HISTORY.PEOPLE CONNECT TO THEM.THIS IS AN EXAMPLE OF AN EARLYCOLOR PHOTOGRAPH FROM 1959, ASYOU CAN SEE.WE'LL TALK MORE LATER ABOUT THESTABILITY OF THIS MATERIAL, BUTYOU CAN SEE IN THIS PARTICULAR

PHOTOGRAPH THAT THE BORDERS AREYELLOWED AND THE IMAGE ISSOMEWHAT FADED.THIS IS BECAUSE COLORPHOTOGRAPHY IS COMPRISED OFORGANIC DYES AND THESE DYES FADEIN THE DARK AND THEY FADE IN THELIGHT.AND HERE YOU SEE A HAND-COLOREDDAGUERREOTYPE.I'LL BE TALKING ABOUT THISPROCESS VERY SOON AND THIS IS ANEARLY PHOTOGRAPHIC PROCESSINTRODUCED IN 1839 IN FRANCE ANDAS FANTASTIC AS THESE EARLYPHOTOGRAPHIC PROCESSES WEREMANY PEOPLE STRUGGLED WITH THATTHEY WERE MONOCHROMATIC ANDYOU WILL SEE HAND COLOREDIMAGINES AS YOU SEE HERE ANDTHESE COLLECTIONS HAVE THECAPACITY TO CONNECT US GLOBALLYTHROUGH THIS WEBINAR AND THEYCELEBRATE GREATNESS THROUGH PARTRATES IT'S IMPORTANT TO THINKABOUT THE PHOTOGRAPHS YOU'RERESPONSIBLE FOR, WHY THEY'REIMPORTANT AND WHAT YOU NEED TODO TO ENSURE THEIR LONG-TERMPRESERVATION I'VE GATHERED A FEW

REPRESENTATIVE SAMPLES HERE TOILLUSTRATE FURTHER THESEMATERIALS CERTAINLY AREENDANGERED.AS YOU SEE WITH THE IMAGE OF THEYOUNG BOY ON YOUR LEFT, THIS ISAN EARLY BLACK AND WHITE SILVERGELATIN PHOTOGRAPH SIMILAR TOTHE PHOTOGRAPH WE SAW EARLIER OFPAUL McCARTNEY BUT THIS ONE ISCERTAINLY EARLIER IN TIME PERIODBUT IT ALSO HAS FADED MORESIGNIFICANTLY.SO THIS IMAGE WAS LIKELY MOREBLACK AND WHITE IN COLOR.IT'S BECOME BROWNER IN TIME ANDIT CERTAINLY HAS FADED MOREEXTENSIVELY AROUND THE OUTEREDGES.IT'S MOUNTED ONTO A SECONDARYSUPPORT AND YOU CAN ALMOST SEETHAT IT LOOKS LIKE IT'SBEGINNING TO LIFT.IT ALMOST LOOKS LIKE IT'S BEENEXPOSED TO WATER DAMAGE OF SOMEKIND.THIS FADING OF THE SILVER IMAGEIS A COMMON PROBLEM WE'LL BETALKING ABOUT QUITE A BIT ANDTHE NEED FOR ALL OF YOU TO THINK

ABOUT WHAT YOU CAN DO TOMITIGATE AGAINST THISDAMAGE BY CONTROLLING THEENVIRONMENT.A LOT OF THE FADING OF THESILVER IMAGE IS MOST LIKELYCAUSED BY EXPOSURE TOFLUCTUATING ENVIRONMENTALCONDITIONS, HIGH RELATIVEHUMIDITY CONDITIONS, FOREXAMPLE.ON THE RIGHT SIDE OF THE SLIDEYOU SEE AN EXAMPLE OF SOMETHINGTHAT'S MUCH MORE CONTEMPORARY.THIS COLOR PHOTOGRAPH, CHROMECHROMOGENIC COLOR PHOTOGRAPH BUTIT'S ALSO FADED AND DISCOLORED.IN THIS CASE IT'S COMPRISED OFCYAN, MAGENTA AND YELLOW DYESAND THESE DYES HAVE FADED ATDIFFERENT RATES, THE PHOTOGRAPHAPPEARS YELLOWED AND PERHAPS ALITTLE BLUE OR CYAN IN COLOR ASTHE MAGENTA GENERALLY A DYE MAYHAVE FADED MORE SERIOUSLY.I'M GOING TO HOPE THIS LITTLEPOINTER IS NOT GOING TO GET INYOUR WAY BUT I'LL KEEP IT ON MYSCREEN SO I CAN USE IT.WE JUST RECEIVED THIS IMAGE I

THINK THIS MORNING AND I DECIDEDTO PUT IT INTO OUR PRESENTATIONBECAUSE THIS IS A DETAIL OF APHOTOGRAPH YOU CAN SEE PROVIDEDBY MARCIA ANDERERSON AND WHAT'SINTERESTING IS THIS ALMOST LOOKSLIKE A DRAWING BUT, IN FACT,THIS MOST LIKELY ISPHOTOGRAPHIC.IT'S WHAT WE CALL A CRAYONPORTRAIT, OR CHARCOALENLARGEMENT.AT THE TURN OF THE CENTURY MANYPHOTOGRAPHERS EXPERIMENTED WITHTAKING AN IMAGE AND ENLARGING ITON TO PAPER WHICH MAY BE MOUNTEDTHEN ON TO CANVASS AND STRETCHEDON A STRAINER AND THIS VERYFAINT IMAGE WAS THEN HEAVILYEMBELLISHED WITH CHARCOAL ORCRAYON OR SOMETIMES EVEN OILPAINT.SOMETIMES THESE MATERIALS WEREVARNISHED AND LOOKED VERY MUCHLIKE PAINTINGS.SOMETIMES AS YOU SEE HERE THEYLOOK MORE LIKE A DRAWING.THEY DO TEND TO LOOKPHOTOGRAPHIC WHEN YOU LOOK ATTHE EYES AND OTHER FEATURES BUT

THEY ARE HEAVILY EMBELLISHED ANDTHIS, TOO, IS A PHOTOGRAPH OFSOME SORT.WE'RE GOING TO TALK OVER THECOURSE OF THE NEXT FIVE SESSIONSABOUT PHOTOGRAPHIC NEGATIVEMATERIALS.THIS IS A GLASS PLATE NEGATIVEIN RELATIVELY GOOD CONDITION,ACTUALLY, FROM ONE OF THECOLLECTIONS THAT HAS SIGNED INTOTHE WEBINAR.AND IN THIS CASE YOU CAN SEE THEIMAGE MATERIAL, WHICH IS BLACKAND WHITE HERE BUT ALSO YOUNOTICE WHEN YOU LOOK AT THEOUTER EDGES THAT THIS GLASSPLATE NEGATIVE HAS ALSO BEGUN TOFADE AND DISCOLOR IN MUCH THESAME WAY THAT THE PHOTOGRAPHICPORTRAIT OF THE YOUNG BOY HASFADED AS WELL.THIS IS DETERIORATION OF THESILVER IMAGE CAUSED BYEXPOSURE TO POOR ENVIRONMENTALCONDITIONS.THIS IS YET ANOTHER CHALLENGETHAT MANY OF US FACE.NITRATE FILM INTRODUCED IN 1889IN WHICH CASE WE HAVE NOT ONLY

DEGRADATION OF THE SILVER IMAGEBUT DETERIORATION OF THATCELLULOSE NITRATE SUPPORT ASWELL.AND IN 1929 WE BEGIN TO SEE THEINTRODUCTION OF CELLULOSEACETATE FILM.A CLEAR TRANSPARENT FILM THATREPLACED CELLULOSE NITRATE FILMAND WHILE IT DIDN'T DETERIORATEIN THE SAME WAY YOU CAN SEE HERETHAT ONE OF THE MAJOR CHALLENGESWITH THESE FILM-BASED MATERIALWHICH IS REALLY DOMINATECOLLECTIONS YOU'RE LIKELY TOHAVE THESE MATERIALS IF YOU HAVEFILM THE POST-1935.IN THIS CASE THE CELLULOSEACETATE FILM HAS SHRUNK QUITESIGNIFICANTLY.THE GELATIN BINDER HAS NOT.AND YOU GET THIS CHANNELING WHICH YOU SEE HERETHROUGHOUT THE FILM.SO THIS IS CELLULOSE ACETATEDEGRADATION.JUST A SAMPLE THAT'S PROVIDED BYONE OF THE PARTICIPANTS IN THEWEBINAR. PLEASE CONTINUE TO SEND IN

IMAGES WHERE YOU CAN.MAYBE IT MAKES IT A BIT MOREPERSONAL.BUT IT SHOWS YOU THE RANGE OFTHE KINDS OF PROBLEMS THATYOU'RE ENCOUNTERING IN YOURCOLLECTIONS THAT ARE VERY OF THE KINDS OF PROBLEMS THAT WECERTAINLY SEE AROUND THE WORLD.SO BEFORE I START WITH EARLYDIRECT POSITIVE PROCESSES, LETME TURN THIS OVER TO KRISTENJUST TO SEE IF WE HAVE ANYGENERAL QUESTIONS THAT SHETHINKS I MIGHT BE ABLE TO ANSWERAT THIS POINT IN TIME.>> THANK YOU, DEBBIE.ACTUALLY WE HAD A FEW AND THEYMAY BE QUESTIONS THAT YOU'LL BEANSWERING OR TALKING ABOUTFURTHER ANOTHER WEBINAR.IF SO, JUST TELL US.BUT ROBERT RYALS IN SOUTHCAROLINA WONDERED IN A MIXEDARCHIVE COLLECTION IS ITPREFERABLE TO SEPARATE THEDIFFERENT PROCESSES?SO BLACK-AND-WHITE, COLOR FROMPAPER-BASED MANUSCRIPTCOLLECTIONS?

BECAUSE IT SEEMS LIKE THEPRESERVATION AND CONSERVATION OFNEEDS OF PHOTOGRAPHS AND THOSEOTHER PAPER BASED MATERIALS AREDIFFERENT.FOR EXAMPLE, THEY MIGHT NEEDCOLD STORAGE OR OTHER LONG-TERMSTORAGE.I THINK HE'S ASKING BECAUSE INAN ARCHIVE COLLECTION THEY LIKETO GROUP THINGS BY SUBJECT.DO YOU WANT TO HANDLE THATQUESTION NOW?>> SURE.LET ME HANDLE IT NOW AND IT'SSOMETHING THAT WE'LL TALK ABOUTREALLY THROUGHOUT THE NEXTCOURSES, NEXT COUPLE OFLECTURES.IDEALLY THERE ARE CERTAINPROCESSES THAT SHOULD BESEPARATED OUT AND YET YOU DOHAVE TO BE COGNIZANT AND AWAREOF HOW YOUR COLLECTION IS BEINGUSED.I WOULD SAY THAT IT IS VERYIMPORTANT TO SEPARATE OUTNEGATIVE MATERIALS FROM PRINTMATERIALS.WE JUST SAW VERY QUICKLY AS I

WENT THROUGH SOME OF THE IMAGESTHAT WERE SHARED WITH US FROMSOME OF THE PARTICIPANTS THECHALLENGES ASSOCIATED WITHCELLULOSE NITRATE AND CELLULOSEACETATE FILM AND CELLULOSENITRATE FILM AS IT DETERIORATESIT GIVES OFF NITRIC ACID WHICHCAN AFFECT JOINING MATERIALS ASWELL.AND SO IT IS IMPORTANT TOSEPARATE OUT CELLULOSE NITRATEAND CELLULOSE ACETATE FILM.AT THE SAME TIME GLASS-PLATENEGATIVES BECAUSE OF THEIRWEIGHT AND FRAGILITY SHOULD BESEPARATED AND STORED INACID-FREE BOXES.I'LL TALK ABOUT HOW TO STORETHESE MATERIAL BUS I WOULD SAYSORT OF BOTTOM LINE SEPARATE OUTA NEGATIVE FROM PRINT, SEPARATEOUT FILM-BASED COLLECTIONS FROMGLASS-PLATE COLLECTIONS ANDTHAT'S SIMPLY BECAUSE OF THEDIFFERENT DEGRADATION PROBLEMSASSOCIATED WITH THESE MATERIALS.IF THE FILM-BASED MATERIALS CANBE PUT INTO COLD STORAGE THENIT'S NOT NECESSARY TO SEPARATE

OUT NITRATE FROM ACETATE FILM.THOSE CAN ALL GO INTO COLDSTORAGE.IF NOT, IT MAY BE IMPORTANT TOSEPARATE OUT CELLULOSE NITRATEFILM FOR HEALTH AND SAFETYREASONS AS WELL.AND IN TERMS OF COLOR AND BLACKAND WHITE WHICH LOOKS LIKEROBERT HAS ALSO ASKED ABOUT,AGAIN, AS WE GET INTO THIS INMUCH MORE DETAIL-- AND I'MREALLY EXCITED THAT THIS IS AFIVE-PART SERIES AND I DON'TNEED TO DO THIS IN UP WITH HOURAND A HALF-- BUT AS WE GET INTOTHIS IN A BIT MORE DETAIL YOU'LLCERTAINLY LEARN THAT ONE OF THECHALLENGES WITH COLOR MATERIALSIS THESE ORGANIC DYES FADE INTHE DARK AND THEY FADE IN THELIGHT AND THE ONLY WAY TOMITIGATE AGAINST THATDETERIORATION IS COLD STORAGE.SO IF IT'S POSSIBLE TO ESTABLISHA COLD STORAGE VAULT OR FREEZER,FROST-FREE REFRIGERATOR OR SOMESORT THAT'S WHERE COLORMATERIALS SHOULD BE HOUSED.FOR THAT REASON IT'S VALUABLE TO

SEPARATE THEM OUT.IF COLD STORAGE IS NOT AN OPTIONIT'S NOT MANDATORY THAT COLORMATERIALS BE SEPARATED FROMOTHER SILVER-BASED PROCESSESSUCH AS THE ALBUMEN OR SILVERGELATIN PRINT.SO SOME OF THIS IS COMMON SENSE.SOME OF THIS IS BASED ON FORMAT.SOME OF THIS IS BASED ON THESUPPORT IN WHICH YOU FIND THESEMATERIAL IT IS.BUT THERE ARE SOME GUIDELINESAND I HOPE THAT THAT WAS HELPFULTO SOME EXTENT.>> I THINK THAT'S GREAT, DEBBIE.I GUESS ALSO THERE'S A QUESTIONFROM KATHY AND SHE HAD AQUESTION ABOUT COPPER PLATENEGATIVES.THE METAL PLATES THEMSELVES WITHTHE PRINT OR NEGATIVE ON THEM.AND GRETA GAVE HER A GOOD ANSWERTO THAT, THAT YOU JUST NEED TOKEEP THEM A DRY, STABLEENVIRONMENT.BUT MAYBE AS WE'RE JUST STARTINGOFF TODAY YOU COULD ANSWER THISQUESTION BUT ALSO TALK ABOUTWHAT YOUR COURSE IS GOING TO

INCLUDE.WE, FOR EXAMPLE, WON'T BEGETTING INTO AUDIO-VISUALMATERIALS BUT WE WILL HAVE ACOURSE ON THAT NEXT FALL AND YOUWON'T BE GETTING INTO DIGITALPHOTOGRAPHY SO MAYBE INANSWERING KATHY'S QUESTION YOUCAN MENTION THAT AS WELL.AND THAT'S OUR LAST QUESTION FORNOW.>> OKAY, GREAT, YEAH.KRISTIN'S EXACTLY RIGHT IN THISPARTICULAR COURSE WE'RE GOING TOFOCUS ON PHOTOGRAPHIC MATERIALS,PRINTS AND NEGATIVES.I WON'T BE DISCUSSING -- MAKESOME REFERENCE TO DIGITALMATERIALS BUT NOT AN EXTENSIVEREFERENCE BUT WE WON'T BEADDRESSING AUDIO-VISUALMATERIALS.BUT WE'LL TRY TO ADDRESSEVERYTHING ELSE AND BECAUSE OFTHIS CHAT FORMAT CERTAINLY IWELCOME QUESTION.I'M SORT OF RESERVING THE LASTWEBINAR TO ADDRESS FUND-RAISINGAND ADVOCACY A BIT BUT ALSOTRY-TO AND DRILL DOWN THE

QUESTIONS THAT YOU ALL HAVE ANDSOME OF THE CHALLENGES YOU'REFACING IN YOUR COLLECTIONS.THIS ISSUE OF COPPER PLATES ISAN INTERESTING ONE.IT WILL DAGUERREOTYPE, WHICHI'M GOING TO TALK ABOUT IN AMOMENT IS ONE OF THE EARLIESTPHOTOGRAPHIC PROCESSES.BUT I WONDER IF KATHY HAS ACOLLECTION THAT LOOKS LIKECOPPER PLATES ARE ENGRAVING THATWERE USED FOR PRINTING PROCESSESSO IT'S AN ENGRAVED IMAGE ON ACOPPER PLATE.AND GRETA IS RIGHT ABOUT THENEED TO ENSURE ENVIRONMENT ISSTABLE.THAT'S THE KEY, HONESTLY, IF WEONLY HAD THREE MINUTES FOR THISSEMINAR, WHICH, THANK GOODNESSIS NOT THE CASE.WE WOULD NEED TO FOCUS ENTIRELYON ENVIRONMENTAL CONTROL BECAUSETHAT'S REALLY WHAT DRIVESPRESERVATION AND YOU NEEDED TODO AS MUCH AS YOU CAN IN YOURCOLLECTIONS TO LIMIT EXPOSURE TOHI RELATIVE HUMIDITY CONDITIONS.I'M SORRY ABOUT THAT TRAIN.

IT'S GOING TO BE COMING THROUGHHERE ONCE IN A WHILE AND --(LAUGHS)THERE IS NOTHING I COULD DOABOUT THAT KRISTEN, CAN I KEEPON GOING?>> YES, PLEASE DO.>> I'LL KEEP STOPPING FORQUESTIONS AS I NEED TO ANDTRYING TO MONITOR THE QUESTIONSAND I'M GREATFUL FOR GRETA TOANSWERING THESE AS WE GOTHROUGH.WHEN WE TALK ABOUT PHOTOGRAPHICCOLLECTION WES DIVIDE THEM INTODIFFERENT CATEGORIES AND ONE ISTHE EARLY DIRECT POSITIVEPROCESS WHICH YOU SEE AN EXAMPLEOF THE AMBER TYPE PROCESS WHICHWAS INTRODUCED IN THE 1850s.IT'S PHOTOGRAPH ON GLASS, ASILVER IMAGE A PHENOMENONCELLULOSE NITRATE BINDING.AND AMBROTYPES LIKE TINTYPESWHICH WERE INTRODUCED IN THE1850s WERE VARNISHED AND MANYAMBROTYPES ARE IN THESEDECORATIVE CASES THAT YOU SEEHERE.THE AMBROTYPE, THE

DAGUERREOTYPE AND THE TINTYPEARE REFERRED TO AS DIRECTPOSITIVE PROCESSES BECAUSE THEYARE ONE OF A KIND.IN THE CASE OF THIS AMBROTYPE,THIS BEAUTIFUL PORTRAIT,ACTUALLY, IN VERY, VERY GOODCONDITION WHICH YOU SEE HERE THEPHOTOGRAPHER TOOK THIS PIECE OFGLASS, COATED WITH AND IMMERSEDIN THE A SOLUTION OF SILVERNITRATE TO FORM LIGHT SENSITIVEAND HELD IT UP IN THE AIR FOR ABRIEF PERIOD OF TIME AND PLACEDTHAT GLASS PLATE IN THE CAMERAAND EXPOSED IT TO LIGHT.THESE EARLY PHOTOGRAPHICPROCESSES IN THESE DECORATIVECASES WERE MADE IN A VARIETY OFDIFFERENT WAYS.THE ONE OF THE POPULAR DIRECTPOSITIVE PROCESSES THAT YOU MAYHAVE IS THE DAGUERREOTYPEINTRODUCED IN 1839, POPULAR INTHE UNITED STATES UNTIL 1865.SOME OF THESE DATES YOU'LL SEEIN MY LECTURE ARE DATES OFPOPULARITY.SO THAT YOU MAY, IN FACT FINDDAGUERREOTYPES AFTER 1865 BUT

THEY TENDED TO DOMINATE THEMARKET IN THE UNITED STATESDURING THIS TIME PERIOD.I REALIZED THAT YOU HAVE SIGNEDIN FROM DIFFERENT PARTS OF THEWORLD AND RECOGNIZED THESE AREDATES OF POPULARITY IN THEUNITED STATES SO THEY VARY A BITAROUND THE WORLD BUT YOU WON'TFIND DAGUERREOTYPES PRIOR TO1839 WHEN IT WAS INTRODUCED TOTHE WORLD IN FRANCE BY DAGUERRE.IT'S ON A SILVER PLATED COPPERSUPPORT AND THE FINAL IMAGE IS AGOLD MERCURY SILVER AMALGAM.SO THESE MATERIALS ARERELATIVELY FRAGILE.AND PRONE TO DETERIORATION,PRONE TO CORROSION AND ARE OFTENPROTECTED IN THESE DECORATIVECASES THAT I REFERENCED EARLIER.THEY MAY ALSO BE HAND-COLORED.YOU CAN SEE IN THIS BEAUTIFULPORTRAIT THAT HER CHEEKS AREHAND COLORED WITH A RED PIGMENTAND THIS WAS TO MAKE THESEIMAGES APPEAR A BIT MORE LIFELIKE.AS GORGEOUS AS THESE ARE, ASAMAZING AS THESE IMAGES WERE--

AND IT'S HARD FOR US TOAPPRECIATE WHAT IT MUST HAVEBEEN LIKE TO SEE THESE THINGSFOR THE FIRST TIME-- THEY WEREMONOCHROMATIC AND THEREFOREPHOTOGRAPHERS EXPERIMENTED EARLYON WITH HAND COLORING WITHCHEEKS AND JEWELRY AND SOMETIMESHAND COLORING THE ENTIRE IMAGE.THEY'RE HIGHLY REFLECTIVE.THEY APPEAR LIKE A MIRROR WHENYOU HOLD THEM IN YOUR HAND ANDTHAT'S HOW YOU DISTINGUISH THEM,ACTUALLY, FROM THE AMBROTYPEWHICH IS A PHOTOGRAPH ON GLASSWHICH IS NOT AS REFLECTIVE ANDTHE REFLECTIVE NATURE OF THEDAGUERREOTYPE HAS TO DO WITH THEFACT THAT IT'S ON ASILVER-PLATED COPPER SUPPORT.UNFORTUNATELY, THESE MATERIALSARE PRONE TO CORROSION ANDDETERIORATION, PARTICULARLY ATTHE OUTER EDGES SO WHEN YOU LOOKAT THIS PORTRAIT FROM THEMETROPOLITAN MUSEUM YOU CAN SEETHAT THE EDGES ARE TARNISHED ANDCORRODED AND THIS IS VERY COMMONWITH CASED DAGUERREOTYPES AROUNDTHE WORLD AS THE AIR AND

MOISTURE INTRUDES AT THE OUTEREDGES YOU FORM THESE CORROSIONPATTERNS.AND IF THE COVER GLASS ISBROKEN YOU'LL SEE CORROSION ACROSS THE BREAKAGE WHERE YOU GETTHE INTRUSION OF AIR ANDMOISTURE.SO IT'S IMPORTANT TO HANDLETHESE MATERIALS PROPERLY TOPROTECT THEM, TO PROTECT THESURFACES FROM HANDLING BECAUSE FRAGILE AND ONE OF THEOTHER CHALLENGES THAT WE FACEDWITH EARLY DAGUERREOTYPES ISTHAT THE COVER GLASS WHICH YOUSEE HERE WHICH IS BROKEN IN THISCASE SOMETIMES BEGINS TODETERIORATE OR DECOMPOSE.THAT'S WHAT WE REFER TO AS GLASSDECOMPOSITION OR WEEPING GLASSAND YOU SEE A GOOD EXAMPLE OFTHAT HERE IN THIS ANONYMOUSPORTRAIT FROM THE GEORGE EASTMANHOUSE WHERE THE GLASS ITSELF HASBEGUN TO DETERIORATE.IT ALMOST LOOKS LIKE IT HAS TINYDROPLETS AND AS THE GLASSDETERIORATES THE DETERIORATIONPRODUCTS CAN DROP DOWN ON THE

SILVER IMAGE CAUSINGDETERIORATION TO THE PHOTOGRAPHITSELF.GLASS DECOMPOSITION CAN BECONTROLLED TO SOME EXTENT THROUGHPROPER STORAGE, ENVIRONMENTALCONDITIONS.IN SOME SITUATIONS IT MAY BEIMPORTANT FOR YOU TO CONSULTWITH A PHOTOGRAPHIC CONSERVATOR.BUT THAT NEEDS TO BE DONE VERYCAREFULLY BECAUSE SOME OF THESEALS ARE ORIGINAL AND ONE HASTO WEIGH THE ADVANTAGES ANDDISADVANTAGES AND TO TRY ANDPROTECT THE DAGUERREOTYPE FROMDAMAGE TO THE ISSUES OFAUTHENTICITY.IN GENERAL YOU CAN SEE THATDAGUERREOTYPE IS IN RELATIVELYGOOD CONDITION EXCEPT THAT THECOVER GLASS HAS DETERIORATEDSIGNIFICANTLY.THESE COMPOSITE PROBLEMS AREJUST TYPICAL OF THE KINDS OFISSUES THAT WE FACE WITHPHOTOGRAPHIC MATERIALS AND AS IMENTIONED, MANY OF THE DIRECTPOSITIVE MATERIALS ARE IN THESEDECORATIVE CASES.

THE CONSTRUCTION OF WHICH YOUSEE HERE.SO TYPICALLY YOU HAVE YOUROBJECT AND -- LET ME GET MYPOINTER, SORRY, BEAR WITH ME.TYPICALLY YOU HAVE YOUR OBJECTIN THIS CASE THE DAGUERREOTYPEWHICH IS THEN PROTECTED WITH ABRASS MATT WHICH YOU SEE HERE, ACOVER GLASS ON TOP TO PROTECTTHAT SURFACE AND THEN AFTER 1845OR SO YOU SEE PERHAPS A LITTLEBIT LATER, MAYBE 1850 YOU SEETHE PRESENCE OF THIS PRESERVERWHICH IS A THIN METAL FOIL THATWRAPS AROUND THE EDGES OF THISSANDWICH WHICH THEN IS -- WHICHYOU CAN SEE THE FOIL HERE, THEMETAL PRESERVER HERE.WHICH THEN IS INSERTED INTO THEDECORATIVE CASE.SO THESE CASE ELEMENTS ALL HAVETHEIR OWN ISSUES ASSOCIATED WITHPRESERVATION AND CONSERVATIONTHAT YOU NEED TO BE AWARE OF ASWELL AND THIS IS REALLY WHATMAKES THE PRESERVATION OFPHOTOGRAPH MATERIALS SO EXCITINGBECAUSE YOU'RE DEALING WITH SUCHA RANGE OF OBJECTS.

SO YOU HAVE THE DAGUERREOTYPEWHICH IS ON SILVER PLATED COPPERAND YOU HAVE THE AMBROTYPEWHICH YOU MAY HAVE IN YOURCOLLECTIONS AS WELL INTRODUCEDIN 1851, 1852, POPULAR UNTIL THE1860S AS WELL, SOMETIMESINTO THE 1870s.IN THIS CASE THIS IS AN IMAGE ONGLASS OF COLLODION NEGATIVE THATAPPEARS POSITIVE WHEN IT'SBACKED WITH BLACK, A BLACKLACQUER, BLACK MATERIAL OF SOMEKIND THAT CREATES A TOIMAGE THEY HAVE MORE OF A THREEDIMENSIONAL LOOK BECAUSE YOU'RELOOKING THROUGH GLASS SOMETIMESTO SEE THE IMAGE BENEATH.THEY TEND TO BE IN RELATIVELYGOOD CONDITION.THEY ARE OFTEN VARNISHED TOPROTECT THE SILVER IMAGE FROMOXIDATION AND CORROSION WHICH ISMORE COMMON WITH THEDAGUERREOTYPE.THEY MAY BE EXTENSIVELY --EXTENSIVELY HAND COLORED AS YOUSEE HERE.THIS IMAGE, AGAIN, IS REFERREDTO AS THE AMBROTYPE OR A

COLLODION POSITIVE ON GLASS.THAT REFERS TO THE IMAGE BINDERTHAT HOLDS THE SILVER IMAGE ANDSUSPENSION.AND SO IN THIS SLIDE YOU CAN SEE-- YOU MAY EVEN SEE AMBROTYPESUP INTO THE 1880s BUT THEY'REMORE COMMON IN THE 1860s AND1870s.THEY ARE DIMENSIONLY STABLE.THE SILVER IMAGE IS IN THISCOLODION BINDER.THAT'S A FORM OF CELLULOSENITRATE ONE OF THE BINDERS YOUFINd USED IN 19th CENTURY INPHOTOGRAPHY.THEY ARE TYPICALLY VARNISHED ANDFAR REASON THEY MAY BE --BECAUSE THESE REALLY ARENEGATIVES ON GLASS.THEY WERE OFTEN COATED ON THEBACK.THE THIRD DIRECT POSITIVEPROCESS THAT YOU MAY ENCOUNTERIN YOUR COLLECTION AND THE ONETHAT'S PERHAPS THE MOST COMMONINTRODUCED IN 1856 BUT LET MESAY COMMON IN THE UNITED STATES.NOT SO COMMON AROUND THE WORLD.THIS PROCESS WAS REALLY QUITE

POPULAR FOR THE UNITED STATES.IF WHEREAS AMBROTYPE PROCESS ISMORE POPULAR WORLDWIDE,PARTICULARLY IN PLACES LIKE NEWZEALAND AND AUSTRALIA.THE TINTYPE DOMINATES THE 19thCENTURY, IN THIS CASE IT'S NOTON TIN AT ALL BUT JAPANED IRON.JAPANING REFERS TO THE PRESENCEOF A BLACK LACQUER.THIS IS AN IRON SUPPORTLACQUERED WITH A BLACK PIGMENTOF SOME KIND.IT'S ALSO A SILVER ACOLLODIAN BINDER AND TYPICALLYVARNISHED.AS IS TRUE WITH OTHERPHOTOGRAPHS I'VE SHOWN YOU,THESE MATERIALS MAY BE HANDCOLORED IN THE CHEEKS.I LOVE TINTYPES, I'M SURE MANYOF YOU DO AS WELL.IT'S A GREAT SNAPSHOT OFPHOTOGRAPHY IN THE 19th CENTURY.AND THERE ARE WONDERFUL,WONDERFUL IMAGES OF CHILDREN,PARTICULARLY WHEN YOU STUDYTHESE MATERIALS.THEY TEND TO BE IN RELATIVELYGOOD CONDITION.

THIS TINTYPE LOOKS VERY BROWNBUT IT'S PROBABLY BECAUSE THELACQUER WAS MORE OF A BROWNLACQUER THAN A BLACK LACQUER.I DON'T THINK IT'S NECESSARILYFADED.THEY TEND NOT TO FADE BECAUSETHEY ARE VARNISHED AND THATVARNISH LAYER PROTECTS THESILVER IMAGE FROM OXIDATIVEATTACK.BUT WHAT HAS HAPPENED TO THISTINTYPE, WHICH IS MUCH MORECOMMON, IS THAT THE IRON SUPPORTHAS BEGUN TO DETERIORATE ANDRUST AS YOU SEE HERE.SO WHEN THIS TINTYPE WAS FLEXEDOR BENT IN SOME WAY IT CLOAK THECOLLODION BINDER CAUSING IRON TOBE EXPOSED TO HIGH HUMIDITYCONDITIONS WHERE IT'S BEGUN TORUST AND THIS IS ONE OF OURGREATEST CHALLENGE WITH THE TINTYPE PROCESS.THIS TINTYPE IS ANOTHERTERRIFIC ONE JUST TO SHOW YOUONE IN GOOD CONDITION AGAINA VARNISHED IMAGE, SILVER IMAGEIN A COLLODION BINDER ON AN IRONSUPPORT.YOU WILL FIND ALL KINDS OF

WORKSHOPS YOU CAN TAKE THATTEACH YOU HOW TO MAKE TINTYPESAND AMBROTYPES, PARTICULARLY ATTHE GEORGE EASTMAN HOUSE.THERE ARE WEB SITES THAT YOU CANGO ON TO SEE HOW THINGS ARE DONEAND IT'S FOUND TAKE THESECOURSES WHERE YOU CAN BECAUSEYOU GET A MUCH BETTERAPPRECIATION FOR THE CHALLENGESASSOCIATED WITH 19th CENTURYPHOTOGRAPHY SO I URGE YOU TOCHECK OUT THIS SLIDE SHOW ANDMANY OTHERS THAT YOU WILL FINDTHAT ILLUSTRATE HOW THESEMATERIALS WERE MADE.I'LL BET BETTER AT THIS ONTHURSDAY, I PROMISE.SO YOU CAN SEE THIS IS BEINGPOURED ON IRON SUPPORT AND ITWILL BE ROCKED BACK AND FORTH SOIT COVERS SUPPORT EVENLY.THE SECOND IMAGE IS DIPPING THISPLATE INTO A BATH OF SILVERNITRATE WHERE YOU'RE FORMINGLIGHT SENSITIVE SILVER IODIDE INTHE COLLODIAN BINDER.THIS WILL BE PLACED ON A CAMERAEXPOSED TO LIGHT.SO LOOK AT THIS WEB SITE AND

MANY OTHERS TO BETTER UNDERSTANDHOW THE PROCESSES WERE DONE ANDMANY PHOTOGRAPHERS ARE STILLWORKING IN THIS PROCESS.THIS IS A PHOTOGRAPH BY JOHN COXON OUR FACULTY AT THE UNIVERSITYOF DELAWARE WHO TAKES STUDENTSTO TANZANIA AND CAMBODIAAND VIETNAM FOR PHOTOGRAPHY ANDMANY CASES ARE WORKING WITHHISTORIC PROCESSES SUCH AS THETINTYPE WHICH YOU SEE HERE SOTHAT GIVES YOU A BIT OF ANINTRODUCTION I HOPE TO SOME OFTHESE EARLY DIRECT POSITIVES.THE DAGUERREOTYPE, AMBROTYPEAND TINTYPE REVISIT THEMAGAIN AS WE MOVE THROUGH AND IAM CERTAINLY HAPPY TO ANSWERQUESTIONS ABOUT THEM.LET ME GO THROUGH A FEW MORESLIDES BEFORE WE STOP FORQUESTIONS AND JUST INTRODUCE AWHOLE OTHER CATEGORY WHICH ISPRINT MATERIALS AND THESEMATERIALS RANGE QUITECONSIDERABLY FROM THE SALTEDPAPER PRINT WHICH YOU SEE HEREAND EARLY PHOTOGRAPHIC PROCESSCOMPRISED OF ALBUMEN IMAGE

EMBEDDED IN A PAPER SUPPORTINTRODUCED AND POPULAR ABOUT THESAME TYPE.THIS PARTICULAR BEAUTIFUL SALTEDPAPER PRINT IS IN EXCELLENTCONDITION.OR THE ALBUMEN PHOTOGRAPH WHICHBEGAN TO REPLACE THE SALTEDPAPER PRINT IN THE 1850s.I'LL TALK MUCH MORE ABOUTALBUMEN PHOTOGRAPHY ON THURSDAY.THIS IS A WONDERFUL IMAGE OFHAND COLORED ALBUMEN PRINT.THE PROCESS REALLY DOMINATES THE19th CENTURY AROUND THE WORLD.THE IMAGE PERMANENCE INSTITUTEIN ROCHESTER, NEW YORK, IS AWONDERFUL RESOURCE FOR A VARIETYOF INFORMATION ON PHOTOGRAPHICPRESERVATION.I'LL SHOW YOU INFORMATION FROMTHE IMAGE -- FROM THIS INSTITUTETHROUGHOUT THESE WEBINARS.THEY HAVE ACQUIRED A COLLECTIONOF HAND COLORED POSTCARDS, ONEOF WHICH YOU SEE HERE SO THIS ISA MUCH MORE RECENT.IT'S 1930.IT'S A PHOTOGRAPHIC IMAGE, BLACKAND WHITE IMAGE THAT'S BEEN

TONED TO PRODUCE SOMETHINGTHAT'S BROWN IN COLOR, WHAT WECALL SEPIA TONING, AND THENEXTENSIVELY HAND COLORED AS YOUSEE HERE.I'M SHOWING THESE ATPHOTOGRAPHIC PRINTING PROCESSES.ALL OF THESE ARE SILVER-BASEDIMAGES BUT A WIDE VARIETY OFPROCESSES AND DIFFERENT TIMEPERIODS AND WE'LL REVIEW THISAND THE MAJOR PROCESSES YOU SEEHERE IN THE UPCOMING SEMINARS.I WANT TO FOCUS ON THE ALBUMENPROCESS AND GELATIN DEVELOPINGOUTPAPERS BECAUSE THESE THE ONESTHAT WILL DOMINATE YOURCOLLECTIONS AND WE ONLY HAVEFIVE SEMINARS.I'LL TRY AND HIGHLIGHT ALL OFTHESE IN MY LECTURE ON THURSDAY.IT'S IMPORTANT WHEN YOU'RETHINKING ABOUT PRINT PROCESSESTO THINK ABOUT TIMELINES.THIS WILL DIFFERENTIATE ONEPROCESS FOR FROM ANOTHER TOUNDERSTAND WHEN THEY WEREINTRODUCED BECAUSE IN MANY CASESWITH YOUR OWN COLLECTIONS YOUPROBABLY CAN BEGIN TO DATE THEM.

YOU UNDERSTAND THEM, KNOW WHOTHE SITTERS ARE.YOU KNOW THEY ARE FROM THE1860s OR 1890s SO THIS TIMELINECAN HELPFULLY HELP YOU SORT OUTTHE VARIOUS PROCESSES.YOU'LL SEE IN THE 19th CENTURYTHESE SILVER-BASED PROCESSESTEND TO BE MORE BROWN IN COLOR,PURPLEISH BROWN IN COLOR.THE SALTED PAPER PRINT ORALBUMEN PRINT HERE AS WE MOVEINTO THE 20th CENTURY WE SEE THEINTRODUCTION OF BLACK AND WHITEDEVELOPED OUTPAPERS THAT WEREPOPULAR FROM 1905 TO 1960 SOSUDDENLY THE IMAGE COLOR ISSHIFTING FROM SOMETHING BROWNERIN COLOR PRODUCED BY TAKINGLIGHT SENSITIVE MATERIALS ANDBASING THEM INTO THE AND THENTHERE ARE IMAGES WITHCHROMOGENIC COLOR PHOTOGRAPHICIS ACTUALLY ORGANIC.DYES THAT YOU SEE HERE.CYAN, MAGENTA AND YELLOW.WE WILL BE ADDRESSING THESE ANDCERTAINLY THE BOOKS THAT IMENTIONED EARLIER IN THE WEBINARIT'S POPULAR AROUND THE WORLD,

ON A THIN PAPER SUPPORTTYPICALLY MOUNTED BECAUSE THESEPHOTOGRAPHS HAVE A TENDENCY TO CURLTHE FINAL IMAGE IS SILVER.THIS IS AN ALBUMEN PRINT ANDJUST GORGEOUS CONDITIONBEAUTIFUL DETAILS AND THEHIGHLIGHTS AS YOU SEE.IT'S DONE AS THE ALBUMEN PROCESSBECAUSE THE BINDER IS ACTUALLYEGG WHITE, OR ALBUMEN, AND THEIMAGE IS SILVER, THESE IMAGES DOFADE.THE EGG WHITE CAN CRACK UPONEXPOSURE TO FLUCTUATINGENVIRONMENTAL CONDITIONS ANDWE'LL TALK ABOUT THIS IN MUCHMORE DETAIL ON THURSDAY.AS WE WILL ALSO VISIT THE SILVERGELATIN DEVELOPING OUT PROCESS LOOKS VERY DIFFERENT THAN THEALBUMEN PRINT YOU SAW EARLIER.YOU CAN SEE THIS IMAGE IS MUCHBLACKER COLOR.MORE BLACK-AND-WHITE.IT'S DEVELOPED OUT RATHER THANPRINTED OUT.THE FINAL IMAGE IS ACTUALLYMETALLIC SILVER, WHICH IS ALSOTRUE OF THE ALBUMEN PRINT.

LET ME SEE IF I CAN GO BACK JUSTOUT OF CURIOSITY.I CAN!GOOD!SO LOOK AT THE DIFFERENCE IN THEIMAGE COLOR THERE THAT'S BROWNERPURPLEISH BROWN IN COLOR VERSUSTHE PORTRAIT OF THIS WOMAN WHICHIS MUCH MORE BLACK AND WHITE.IN THIS CASE THE BINDER ISGELATIN.SO THIS IS A SILVER IMAGINEEMBEDDED IN A GELATIN BINDERWHICH IS THE TYPICAL BINDER YOUENCOUNTER IN THE 20th CENTURY.THERE'S SOME EVIDENCE OF IMAGEFADING AND DETERIORATIONTHROUGHOUT AND STILL VERYMIRRORING WHICH WE WILL TALK ABOUTWITH YOUR GRAPHIC PRINTS ANDGLASS PLATE NEGATIVES FROM THISTIME PERIOD.CAUSED BY EXPOSURE TO POORENVIRONMENTAL CONDITIONS AGAIN.AND FINALLY CONTEMPORARY COLORPROCESSS WHICH ARE VERYDIFFERENT IN CROSS SECTION HEREYOU CAN SEE YOU'RE DEALING WITHA CROSS SECTION COMPRISED OFDYES, CYAN, MAGENTA AND YELLOW.

ANOTHER TRAIN.I'M SO SORRY BUT I HOPE YOU CANHEAR ME.YOU CAN SEE IT'S VERY MAGENTAAND THE CYAN DYE HAS FADEDSIGNIFICANTLY AS PROBABLY HASTHE YELLOW DYE.IN THIS CASE THE IMAGE IS ON ARESIN COATED PAPER SUPPORTTHAT'S COATED ON BOTH SIDES WITHPOLYETHYLENE.THE FOCUS IS TO GIVE YOU ASNAPSHOT ON WHAT KINDS OFMATERIALS ENOUGH YOURCOLLECTIONS AND THE WIDE VARIETYOF IMAGE MATERIALS AND BASES ANDTIME PERIODS REPRESENTED ANDHOPEFULLY OUR GOAL IN THE DAYSAHEAD, THE MONTH AHEAD IS TOSTRATEGIZE ABOUT HOW TO PRESERVETHESE.SO CHROMOGENIC COLOR DOMINATESTHE 20th CENTURY AND IS POPULARUNTIL PRESENT TIME BUT, OFCOURSE, DIGITAL PROCESSESDOMINATE COLLECTIONS NOW.BUT THESE ARE DYE-BASED IMAGESIN A GELATIN BINDER AND WE WILLSPEAK AT GREAT LENGTH ABOUT DYEFADING AND DETERIORATION AND

MANY OF YOU ASK WELL, WHAT ABOUTCOLOR SLIDES?COLOR SLIDES LIKE COLOR PRINTSARE COMPRISED OF ORGANIC DYESAND IN THIS CASE POSITIVE IMAGESON A PLASTIC SUPPORT OF SOMEKIND TYPICALLY CELLULOSE ACETATEOR POLYESTHER.THERE'S A WONDERFUL BOOK THATHADN'T BEEN PRINTED YET BUT WILLBE OUT SHORTLY ALSO PRODUCED BYTHE GETTY CONSERVATION INSTITUTEAND THIS WILL REALLY BE YOURBEST RESOURCE OR ONE OF YOURBEST RESOURCES FOR COLORPHOTOGRAPHY, 20th CENTURY COLORPHOTOGRAPH.IT'S ANOTHER WONDERFUL BOOK BYHENRY WILHELM AS WELL WHICH I'LLREFER TO IN THE NEXT SESSION BUTWE LOOK FORWARD TO SYLVIA'S BOOKWHICH SHOULD BE OUT SHORTLY.AND FINALLY AND THEN I'LL TAKE ABREAK FOR A QUESTION OR SO BUTOUR TIME IS RACING AWAY I SEEBUT I DID WANT TO MENTION THATAS WE TALK ABOUT PHOTOGRAPHICMATERIALS WE PROBABLY WON'TTALKING ABOUT PHOTO MECHANICALPROCESSES SO THESE ARE

PHOTOGRAPHIC PROCESSS THAT YOUSEE HERE THAT ARE PRODUCED WITHPHOTOGRAPHIC NEGATIVES THAT AREPRINTS.MADE WITH PRINTING INK INMULTIPLES AND YOU'RE LIKELY TOHAVE MANY PHOTO MECHANICAL PRINTPROCESSES AS WELL AND SOMETIMESTHEY CAN BE QUITE DIFFICULT TODISTINGUISH FROM PHOTOGRAPHICWHICH IS CONTINUE WHITE HOUSETONE IMAGES.AS YOU LOOK CAREFULLY UNDERTHESE PROCESSES UNDER 30XMAGNIFICATION WHICH YOU CANACHIEVE WITH SPECIAL LOOPS YOUWILL BEGIN TO SEE AS YOU SEEHERE THAT THESE IMAGES ARE NOTCONTINUOUS TONE.THAT THEY'RE BROKEN UP IN SOMEWAY AND THEY ACTUALLY ARE PRINTSO THIS IS HAND COLORED AND IWANT TO BE SURE TO IMMEDIATELYDIRECT YOU TO THIS WONDERFULRESOURCE, THE GRAPHICS ATLAS, ONTHE IMAGE PERMANENCE INSTITUTEWEB SITE.THIS RESOURCE INCLUDESINFORMATION ON PHOTO MECHANICALAND PHOTOGRAPHIC PROCESSES WHERE

YOU CAN RESEARCH THESE MATERIALSAND BETTER UNDERSTAND HOW THEYWERE MADE AND WHAT THEY LOOKLIKE, HOW THEY DETERIORATE ANDYOU CAN BEGIN TO EXPLORE THESITE AND COMPARE ONE PROCESS TOANOTHER.SO SO HERE'S ONE EXAMPLE OFCOMPARING A CYAN KNOW TYPE, APROCESS OF WHICH THE FINAL ISBLUE WITH THE ALBUMEN PIGMENTPROCESS WHICH IS, OF COURSE, AMATERIAL WE JUST SPOKE ABOUTWHERE THE FINAL IS IN AN ALBUMENBINDER LAYER.THESE DON'T REQUIRE A LOT OFINTENSIVE STUDY I DO DISTINGUISHA COLLOTYPE FROM AN ALBUMENPRINT BUT IT GIVES YOU A COMPARESIN OF HOW THE THIS WORKS.SO I URGE YOU IF YOU CAN BETWEENNOW AND THURSDAY TAKE A LOOK ATTHIS.LOOK AT ALBUMEN PRINTS, LOOK ATPHOTO MECHANICAL PROCESS ANDLOOK AT THESE MATERIALS UNDERHIGH MAGNIFICATION.IT ALLOWS YOU TO LOOK AT THEM INDIFFERENT LIGHTING CONDITIONS, ALREADY A LIGHT AND I

THINK YOU WILL FIND IT TO BEVERY, VERY USEFUL AS YOU BEGINTO TRY AND DIFFERENTIATE PHOTOMECHANICAL FROM PHOTOGRAPHIC,ALBUMEN FROM SALTED PAPER,SILVER GELATIN FROM ALBUMEN, ETCETERA.AND IT'S PART OF THE IMAGEINSTITUTE WEB SITE.THE IMAGE PERMANENCE INSTITUTEHAS MANY OTHER RESOURCES AS WELLTHAT WE'LL ADDRESS WHEN WE TALKMORE ABOUT DIGITAL PROCESSES.BUT DO TRY AND FIND TIME VISITTHE GRAPHICS RESOURCES, A WEBSITE THROUGH THE GEORGE EASTMANHOUSE KNOWN AS NOTES OFPHOTOGRAPHS AND HERE YOU CANEXPLORE QUESTIONS THAT YOU MIGHTHAVE ON DIFFERENT PROCESSES, HOWTHEY WERE MADE, HOW THEY'VEDETERIORATED OVER TIME.I DON'T HAVE TIME THROUGH THISSEMINAR TO SORT OF HIGHLIGHTVARIOUS PAGES BUT I'M JUSTURGING YOU TO TAKE A LOOK ATTHESE ON THEIR OWN.MAYBE AT THIS POINT -- IT'S 250O'CLOCK, I CAN'T BELIEVE IT.I HOPE YOU GUYS ARE ALL SORT OF

HANGING IN HERE WITH ME.BUT KRISTEN, ARE THERE ANYQUESTIONS THAT YOU THINK I MIGHTADDRESS AT THIS POINT?>> YES, LET'S DO A FEW.I FEEL LIKE A LITTLE BIT OFINFORMATION.I DID WANT TO ASK A QUESTIONABOUT DAGUERREOTYPES.MELISSA SAID WHAT CAUSES THEIMAGE TO FLAKE OFF ADAGUERREOTYPE, IS IT JUSTMOISTURE OR CORROSION?AND GRETA REPLIED IT COULD BE ALOT OF THINGS AND THEN IT'S JUSTA -- IT'S KIND OF UNUSUAL FORDAGUERREOTYPE.DO YOU HAVE ANY MORE TO ADD?>> YEAH, I'M SEEING THAT.LET ME JUST TELL YOU ALL AGAINHOW GRATEFUL I AM TO GRETA ANDHEALHER WHO ARE DOING THIS ANDDOING SUCH A GOOD JOB WITH YOURQUESTIONS AND PLEASE DON'THESITATE TO ASK YOUR QUESTIONSBECAUSE IT GIVES US A SENSE OFWHAT WE NEED TO ELABORATE ON.GRETA IS RIGHT.SO FIRST WHAT WE NEED TO DO ISENSURE THAT IN FACT THIS IS A

DAGUERREOTYPE SO THEDAGUERREOTYPE AS AN OBJECT ISREFLECTIVE AS A MIRROR WITH THEMEMORY SO YOU HAVE THIS HIGHLYREFLECTIVE SERVICE YOU'LL SEE APOSITIVE OR NEGATIVE IMAGE.DAGUERREOTYPES MAY NOTREFLECT AS MUCH BUT THEY HAVETHIS HIGH REFLECTION BUT THEAMBROTYPE, WHICH IS APHOTOGRAPH ON GLASS AND REMEMBERTHAT'S COLLODION I DON'T KNOW ONGLASS, THAT IS A PROCESS THATDOES FLAKE BECAUSE YOU'VE COATEDTHIS BINDER, THIS VISCOUSCELLULOSE NITRATE LIQUID ON TOGLASS SUPPORT AND IT CAN FLAKEAT ITS OUTER EDGES AND LIKE WISETHAT BLACK LACQUER LAYER WHICHIS OFTEN APPLIED TO THE GLASSTENDS TO CRACK AND FLAKE ASWELL.THAT FLAKING PHENOMENA IS A BITMORE COMMON WITH THE AMBROTYPEOR TINTYPE THAN THEDAGUERREOTYPE.ALL THAT SAID, HOWEVER, ALL BETSARE OFF WITH PHOTOGRAPHS SO THEDAGUERREOTYPE IS A SILVER PLATEDCOPPER SUPPORT AND AT THE OUTER

EDGES IN SOME CASES ALTHOUGHIT'S RELATIVELY RARE THAT SILVERLAYER WILL EXFOLIATE OR LIFT ORFLAKE.SO YOU MAY BE SEEING THAT WITHYOUR IMAGE BUT IT IS ALSOPOSSIBLE THAT YOU HAVE A TINTYPE OR AMBROTYPE.DO YOU WANT TO GO BACK AND LOOKAT THESE MATERIALS IF IT'S ACASE.SOMETIMES IT CAN BE HARD TOTELL.IF IT'S IN A CASE ONE WAY TODIFFERENTIATE TINTYPES ON ANIRON SUPPORT FROM THE AMBROTYPEPROCESS WITH A MAGNET, A STRONGMAGNET.AND YOU WILL FEEL THAT MAGNETICPULL OF THE IRON SUPPORT.DOES THAT ANSWER THE QUESTION?>> I THINK THAT'S A VERY HELPFULANSWER.NINA WAS NOTING SHE HAD A FAMILYGROUP PHOTO FROM THE LATE 1890sAND SAW THAT IT WAS MOUNTED BY AJEWELRY STORE AND SHE WASINTERESTED IN THAT AND GRETAREPLIED THAT SMALL TINTYPESWERE MADE SMALL TO GO INTO

JEWELRY SO THAT WE DIDN'T THINKTHAT WAS TOO UNUSUAL TO SEE AJEWELER'S MARK ON A PHOTOGRAPH.BUT SHE WONDERED IF THIS -- HERSIS NO LONGER IN ITS CASE IF ITEVER HAD BEEN PRESENTED IN ACASE SO SHE WAS WONDERING ABOUTTHAT.>> OKAY, YEAH,>> WILL THAT MAKE IT MOREVULNERABLE TO ENVIRONMENTALCONDITIONS?>> TINTYPES ARE SPECTACULARBECAUSE THEY CAN BE IN DIFFERENTSIZES.THEY WERE PRODUCED -- SOME OFTHEM ARE FOUND IN DECORATIVECASES, WHICH IS TRUE WITH THEDAGUERREOTYPE AND AMBROTYPE.THEY TEND TO BE STANDARD SIZESBUT THEY WERE SOMETIMES INSERTEDINTO PAPER MATS, ALSO PLACEDINTO PHOTOGRAPHIC ALBUMS DURINGTHE VICTORIAN TIMES SO IF YOULOOK AT VICTORIAN ALBUM WHICH ISMAY BE COMPRISED OF ALBUMENPHOTOGRAPHERS BUT ALSO SMALLERTINTYPES.BUT THEY CAN BE VERY, VERY SMALLAS IS TRUE MOST LIKELY WITH THIS

PARTICULAR TINTYPE.THOSE ARE KNOWN AS GEM TINTYPESMADE FOR JEWELRY AND SPECIALIZEDALBUMS THAT HELD THESE SMALL --MAYBE TWO CENTIMETER IN DIAMETERTINTYPE PORTRAITS IN THESEDECORATIVE ALBUMS MADE FOR TINTYPES BUT THEY WERE MOUNTED INTOJEWELRY, INTO PINS, THEY WEREUSED FOR PHOTOGRAPHIC BUTTONS,USED FOR CAMPAIGNS AS WELLDURING THE TIME PERIOD THE TINTYPE WAS POPULAR SO YOU CAN FINDTHEM IN VARIOUS FORMATS.THEY SHOULD BE HOUSED IN -- IFTHEY'RE NOT IN THE THE ORIGINALENCLOSURE FOR JEWELRY THEYSHOULD BE PROTECTED IN SOME WAY.IF THEY ARE I WOULD LEAVE THEMAS IS BECAUSE THAT'S PART OFTHEIR PRESERVATION.I WOULD IMAGINE THAT THISPARTICULAR OBJECT IS IN GOODCONDITION.I LOVE TO TALK ABOUT THE CROSSSECTION AND THINK BACK ALL OFYOU ON WHAT IS THE CROSS SECTIONOF THESE MATERIALS I'M GOING TOTALK ABOUT THAT SHORTLY.BUT JUST THINKING, THE PART

THAT'S COATED WITH A BLACKLACQUER OF SOME KIND, ACOLLODION BINDER AND THENVARNISH.SO IF THESE MATERIALS AREEXPOSED TO POOR ENVIRONMENTALCONDITIONS THESE DIFFERENTLAYERS EXPAND AND CONTRACTDIFFERENTLY. SEE FLAKING ANDDETERIORATION BUT MANY ARE INGOOD CONDITION AND THANK GODFOR THAT VARNISH LAYER.>> WELL, ROBIN HAD A QUESTION ON CPRINT AND CIBACHROME BUT ASROBIN MENTIONED THAT WILL COMEUP IN THE NEXT WEBINAR SO I'LLREVISIT THIS AND WE CAN TALKABOUT IT THEN.>> C-PRINT IS A TERM THAT'S USEDFOR CHROMEGENIC COLORPHOTOGRAPHS BUT IT CAN ALSO BEUSED FOR MANY OTHER PROCESSES SOSOMETIMES IN YOUR COLLECTIONYOU'LL HAVE PHOTOGRAPHS THAT AREIDENTIFIED AS "C PRINTS" BUT FORTHE MOST PART THESE ARE COLOREDIMAGES.CIBACHROME IS ONE TYPE OFCOLORED PHOTOGRAPHIC PROCESS

WHICH IS KNOWN AS A SILVER DYEBLEACH PROCESS AND I'M NOT SUREHOW MUCH DETAIL GO INTO WITHALL THE DIFFERENT COLORPROCESSES, THERE ARE MANY FROMCHROMEGENIC COLOR TO SILVER DYEBLEACH TO DYE DIFFUSION TRANSFERTOP DYE TRANSFER PROCESSES.BUT IF WE CAN GET INTO THIS WEWILL.>> AND I'LL GET A BIT INTOCOLORED SLIDES AND COLOREDPRESERVATION A BIT MOREGENERALLY.>> AND I KNOW LAIR YA HAD AQUESTION ABOUT PHOTOGRAPHSTORAGES BUT YOU'LL BE GETTINGINTO THAT LATER ON SO WE'LL HOLDTHAT QUESTION FOR WEBINAR 4.AND I THINK GRETA'S DONE A GOODJOB ANSWERING CHRISTINA'SQUESTION ABOUT PRINTING OUT ANDDEVELOPING OUT.>> THAT'S A GOOD QUESTION.I WILL TALK ABOUT THAT A BITMORE.I REALIZED ACTUALLY -- YOU KNOW,THIS IS SOME OF MY FIRSTEXPERIENCES WITH A WEBINAR ANDONE OF THE CHALLENGES, OF COURSE

AS YOU ALL CAN IMAGINE, IS I'MSPEAKING IN MY OFFICE SURROUNDEDOF IMAGES OF BEATLES, WHICH ISNICE BUT TALKING TO MY COMPUTERSO I CAN'T SEE YOU SO AS SOON ASI SAID PRINTED I THOUGHT, OH,GOSH, I HAVEN'T EXPLAINED THATAND IF I COULD SEE YOU I COULDSUDDENLY SEE THAT YOU ALL LOOK-- BUT PRINTED OUT REFERS TO THEFACT THAT THESE ARE PHOTOGRAPHICPROCESSES, PRINT PROCESSESPRIMARILY.THEY DOMINATED THE 19th CENTURYWHICH ARE MADE BY TAKING LIGHTSENSITIVE PAPER AND PLACING THATPAPER IN CONTACT WITH A GLASSPLATE NEGATIVE INTO A PRINTINGFRAME AND OUT INTO THE SUN WHERETHE IMAGE VISUALLY PRINTS OUT.SO WE PREFER REFER TO THESEMATERIALS THAT THEY'RE PRINTEDOUT.AND IN DOING SO YOU'RE FORMING ASILVER IMAGE YOU THAT'S ROUNDEDIN SHAPE KNOWN AS PHOTO IT WILLI CAN SILVER.WHEREAS WHERE I MENTIONED AT THESAME MOMENT I REALIZED IF ICOULD HAVE SEEN YOU ALL I WOULD

HAVE EXPLAINED THAT.BUT DEVELOPING OUT REFERS TO THETECHNIQUE OF TAKING LIGHTSENSITIVE PAPER AND NOW YOU'REWORKING IN A DARK ROOM WHERE THELIGHTS ARE DIM, THEY MIGHT BEWORKING WITH A RED LIGHT AND NOLIGHT BUT YOU TAKE THE LIGHTSENSETIVE THE PAPER.YOU PLACE IT IN AN ENLARGER ANDYOU ENLARGE A NEGATIVE IMAGE ONTO THAT PAPER AND THEN GO FROMTHE ENLARGER TO A CHEMICALDEVELOPER YOU'RE WORKINGENTIRELY A DARK ROOM, NOTCONTACT PRINTING BUT RATHERENLARGING AND THAT'S WHAT WECALL DEVELOPING OUT.THAT'S BLACK-AND-WHITEPHOTOGRAPHY, I'LL TALK MOREABOUT THAT ON THURSDAY BUT THATDISTINGUISHING PRINTED OUT FROMDEVELOPING OUT IS AN IMPORTANTCONCEPT THAT YOU WANT TO BEGINTO UNDERSTAND BECAUSE IT WILLHELP YOU TO DIFFERENTIATEPHOTOGRAPHIC PROCESSES SUCH ASTHE ALBUMEN PRINT FROM THE BLACKAND WHITE SILVER GELATINPHOTOGRAPH.

SO LET ME GO THROUGH A FEW MOREIMAGES AND PICK UP SOMEQUESTIONS TOWARD THE END.AND WE'LL END AT 2:30.IF YOU WERE MY GRADUATE STUDENTSYOU HAVE TO RUN OFF AND TAKECARE OF SO MANY OTHER THINGS SOLET ME KEEP MOVING FORWARD SR.THAT'S OKAY BUT ONCE AGAIN IWENT BACK A BIT TO THIS GRAPHICSATLAS PAGE JUST TO SAY ALTHOUGHI DON'T -- THIS IS NOTNECESSARILY PART OF THE HOMEWORK IT WOULD BE USEFUL FOR YOUTO TRY AND CHECK THIS OUT BEFOREWE MEET AGAIN ON THURSDAY.>>OKAY.NOTES ON PHOTOGRAPHS I MENTIONEDWE'VE TALKED ABOUT PRINTMATERIALS.TYPICALLY ON PHOTO GRAPHIC PAPEROF SOME KIND IT'S NICE WITHPHOTOGRAPHY THAT THE PAPERSUPPORT TENDS TO BE A GOODQUALITY.THANK GOODNESS FOR THAT.SO GOOD-QUALITY PAPERS IN THE1960s WE SEE THE INTRODUCTION OFRESIN COATED PAPERS.

PAPER COATED WITH POLYETHYLENEON BOTH SIDES BUT IT'S PRINTMATERIALS FOR THE MOST PART ON APAPER SUPPORT OR SOMETHING LIKETHAT.A SILVER IMAGE, A DYE-BASEDIMAGE, MAYBE A PLATINUM ORPIGMENT BUT WE CALL THESEPHOTOGRAPHIC PRINTS AND THENANOTHER CATEGORY OF MATERIALSTHAT ARE NEGATIVES WHICH WE'LLTALK ABOUT WEBINAR THREE YOU CANSEE THIS GLASS PLATE NEGATIVEBEING REMOVED FROM A PAPERENVELOPE AND THESE NEGATIVES MAYBE ON GLASS OR FILM.I SHOWED YOU THIS IMAGE EARLIER.THE THIS FILM IS IS DETERIORATEIN CATASTROPHIC WAYS AND ISADVERSELY AFFECTING THE SILVERIMAGE AND THESE NEGATIVEMATERIALS MAY BE ON CELLULOSEACETATE, THEY MAY BE ONCELLULOSE NITRATE OR ON FILM ANDIT'S IMPORTANT TO UNDERSTANDTHESE DIFFERENT MATERIALS SO YOUCAN STRATEGIZE CAREFULLY ONTHEIR PRESERVATION.MY SEMINAR NUMBER FOUR WILL TALKABOUT PRESERVATION PLANNING AND

HOW TO DEVELOP A STEP WISEAPPROACH TO DEALING WITHNEGATIVE PRINTS ANDDAGUERREOTYPES, AMBROTYPES, TINTYPES SO I'LL PULL THAT ALLTOGETHER FOR YOU IN SEMINARNUMBER FOUR NOW I WANT TO BESURE YOU'RE WELL AWARE WE HAVETHIS RANGE OF MATERIALS.ONE THING THAT'S INTERESTED ISMANY OF THE NEGATIVE MATERIALSTHAT YOU SEE IN THIS IMAGE HEREARE -- ALTHOUGH THEIR BASES MAYVARY FROM ACETATE TO POLYESTERTO CELLULOSE NITRATE, THE IMAGEMATERIAL IS SIMILAR THESE ARECOMPRISED OF SILVER IMAGES IN AGELATIN LAYER THERE'S NOALBUMEN, THERE'S NO COLLODION SOIN THIS CASE THE FINAL IMAGEMATERIAL IS ORGANIC DYES SOTHESE CROSS SECTIONS VARY FROMPROCESS TO PROCESS BUT THERE ARESIMILARITIES IN TERMS OF SILVERMETAL OR GELATIN BINDER LAYERSAND WE'LL TALK ABOUT THAT.THIS IS A WONDERFUL PHOTOGRAPHPROVIDED BY A COLLEAGUE OF MINEIN LISBON, PORTUGAL WHO HAS ABUSINESS THERE AND THEY'RE

INVOLVED IN COLLECTIONSTHROUGHOUT PORTUGAL AND YOU CANSEE THEM TREATING A COLLECTIONOF CELLULOSE ACETATE NEGATIVESAND WHAT'S INTERESTING ABOUTTHIS IMAGE IS THAT THEY AREREMOVING THE DETERIORATEDACETATE BASE FROM THE GELATINAND I SHOW YOU THERE SO YOU CANBEGIN TO APPRECIATE THE LAYEREDSTRUCTURE OF THESE PHOTOGRAPHICMATERIALS.NOT ONLY DO YOU HAVE DIFFERENTKINDS OF CATEGORY BUS DIFFERENTKINDS OF FORMATS.MANY PHOTOGRAPHIC PRINTS WEREMOUNTED.MANY MOUNTED PHOTOGRAPHIC PRINTSWERE PLACED IN PHOTOGRAPHICALBUMS AS YOU SEE HERE.SO WE WILL SPEND SOME TIMETALKING ABOUT THE PRESERVATIONOF PHOTOGRAPHIC ALBUMS: THIS ISSTILL -- THIS PHOTOGRAPHIC ALBUMYOU WOULD KNOW THAT BUT THIS ISA -- MORE BROWN IN COLOR,PROBABLY MORE LIKELY TURN OF THECENTURY.YOU CAN SEE THESE IMAGES AREMOUNTED ON TO THESE DECORATIVE

PAGES.IT'S IMPORTANT WHETHER THEY'REVICTORIAN WHICH IS TRUE OF THEEARLIER IMAGE WHICH I SHOWEDYOU.THIS IS A VICTORIAN ALBUM ORMORE MODERN AS YOU SEE HERE THATTHESE ALBUMS BE PRESERVED AS AUNIT.THESE ALBUMS TO AVOIDDISASSEMBLING THEM BUT TRYING TOFIND WAYS TO PRESERVE THEM.WITH THE BINDING INTACT.AND THEY MAY BE COMPRISED OF AWIDE VARIETY OF PRINT PROCESSES,SUSPECT.THESE ARE SILVER GELATIN PRINTOUT PHOTOGRAPHS AND I'M SAYINGPRINTED OUT BECAUSE THEY AREN'TBLACK AND WHITE IN COLOR.THEY'RE MORE BROWN IN COLOR BUTYOU MAY HAVE ALBUMS -- I'MCERTAIN YOU IN YOUR COLLECTIONSTHAT ARE BLACK AND WHITE ORCOLOR OR WHATEVER THAT MIGHT BEALSO FRAMED MATERIALS.HERE'S ANOTHER IMAGE PROVIDEDFROM NORTH CAROLINA STATE MUSEUMNATURAL SCIENCES, THANK YOU FORDOING THAT.

HONESTLY IF YOU WANT TO KEEPSENDING IMAGES I WILL TRY ANDADD THEM IN.I THINK IT'S NICE TO DO THAT.THIS IS CLASSIC PHOTOGRAPHICDEGRADATION, PHOTOGRAPHICMATERIALS THAT HAVE BEEN HOUSEDIN VARYING DIFFERENT KINDS OFENVIRONMENTS, PERHAPS EXPOSED TOWATER OF SOME KIND BUT THEY'REFRAMED DIRECTLY AGAINST THEGLASS AND YOUR COLLECTIONS INYOUR OWN FAMILY MATERIALS ASWELL.IT'S IMPORTANT WITH THESEPHOTOGRAPHIC MATERIALS TO MATTHEM, FRAME THEM PROPERLY ANDPROTECT THEM FROM ENVIRONMENTALCONDITIONS WHICH CAN CAUSE APROBLEM LIKE YOU SEE HERE.SO WE'LL TALK A BIT OVER THECOURSE OF THIS DISCUSSION ABOUTFRAMED MATERIALS AS WELL.THE BOTTOM LINE IS JUST TOUNDERSTAND THIS CROSS SECTION.THAT YOU HAVE MANY DIFFERENTSUPPORTS TO INCLUDE FOR NOTEGRAPHIC PRINT MATERIALS BUT WITHOTHER MATERIALS IT CAN BE GLASSOR METAL.

LEATHER, TEXTILES, PHOTOGRAPHSARE PRODUCED ON ALL DIFFERENTKINDS OF SUPPORTS, PLASTIC FILM.MANY PHOTOGRAPHS HAVE ATRANSPARENT BINDER HOLDS THE FINAL IMAGE MATERIALAND SUSPENSION SO THAT'S WHATYOU SEE HERE.THE BINDERS VARY FROM ALBUMEN TOCOLLODION TO GELATIN, ACOMMERCIALLY PREPARED PROTEIN.AND THE FINAL IMAGES VARIESSIGNIFICANTLY.SO WHEN WE BEGIN TO THINK ABOUTTHESE MATERIALS I WANT YOU TOALWAYS BE THINKING ABOUT THESEDIFFERENT SUPPORTS AND HOW THEYDETERIORATE OVER TIME, THEVARIOUS BINDERS, ALBUMEN,COLLODION AND GELATIN.AGAIN, ALBUMEN AND COLLODIONDOMINATING THE 19th CENTURY.GELATIN DOMINATING IN THE 19CENTURY AND THEN A FINAL IMAGEMATERIAL MAY BE SILVER,ORGANIC DYES, PIGMENTS, PLATINUMGOLD, IRAN SALTS, A WHOLEVARIETY OF MATERIALS.THIS SERIES OF WEBINARS WILLFOCUS PRIMARILY ON SILVER IMAGES

ORGANIC DYES BECAUSE THEY REALLYDOMINATE THE COLLECTIONS.I LOVE THE QUIZ THAT WE TOOK.IT WAS GREAT FOR ME.GAVE ME A SNAPSHOT.KRISTEN WILL CONTINUE TO INCLUDETHOSE AS WE DRILL DOWN ANDBETTER UNDERSTAND YOURCOLLECTIONS.PLATINUM PRINTS WERE PRODUCED INTHE TURN OF THE 19th CENTURYWELL INTO 1925.THE IT'S RARE TO FINDPHOTOGRAPHS THAT ARE COMPRISEDOF GOLD BUT THAT IS POSSIBLE.AND IRON SALTS, THE CYAN KNOWTYPE WHICH MANY OF YOU MAY, INFACT, HAVE.IF NOT IN YOUR PHOTOGRAPHICCOLLECTIONS CERTAINLY IN YOURARCHITECTURAL DRAWINGCOLLECTION.SO WE WILL TALK MORE ABOUT BASICPRESERVATION ADVICE AND THE NEEDTO HOUSE COLLECTIONS AND GOODQUALITY ENCLOSURES IN BOXES FORPROTECTION AS YOU SEE HERE.WE'LL TALK MORE ABOUTCONTROLLING THE ENVIRONMENT ANDTEMPERATURE IN USE OF COLD

STORAGE FOR THOSE MATERIALS THATARE PARTICULARLY VULNERABLE SUCHAS CELLULOSE ACETATE ORCELLULOSE NITRATE FILM ORCOLORED MATERIALS.THIS IS GRETA AGAIN WHO HAS BEENONLINE ANSWERING YOUR QUESTIONS,YOU CAN SEE HER HERE AT THELIBRARY OF CONGRESS WHERE SHE'SFINISHING UP HER THIRD YEAR OFSTUDY IN OUR GRADUATE PROGRAMWHERE THE COLD STORAGE FACILITYAT THE IMAGE FOUNDATION INBEIRUT LEBANON WHERE I'VE HADTHE GREAT PRIVILEGE TO WORK FORMANY YEARS IN A PROJECT THAT IHOPE TO TALK TO YOU ABOUT ANDTHE FINAL WEBINAR, OUR WORK INTHE PRESERVATION OF PHOTOGRAPHICQUESTIONS THROUGHOUT THE MIDDLEEAST.IT'S IMPORTANT TO MONITOR LIGHTLEVELS.AND WE'LL TALK A BIT ABOUTEXHIBITION AND NOW WITH THEBETTER IMAGE IN NEW JERSEY INMONITORING PHOTOGRAPHS ONDISPLAY.LIGHT DOES CALL PHOTOGRAPHS TODETERIORATE AS WE'VE MENTIONED

QUITE A BIT ABOUT RELATIVEHUMIDITY AND TEMPERATURE BUT NOTSO MUCH ABOUT LIGHT.SILVER IMAGES DON'T NECESSARILYFADE BUT BINDER LAYER CANSYELLOW.DYE IMAGES CAN FADE AND PAPERSUPPORTS CAN BE'M BRITTLED ANDDETERIORATE ANOTHER WEB SITETHAT'S VERY IMPORTANT FOR ALL OFYOU IS THE AMERICAN INSTITUTEFOR CONSERVATION WEB SITE.HERE I URGE YOU TO REFER TO THEA.I.C.R. PROFESSIONALORGANIZATION IN THE UNITEDSTATES FOR ADVICE FINDING ACONSERVATOR BECAUSE IT WILL BEIMPORTANT AS MUCH AS WE'LL TRYTO COVER YOUR CONCERNS ANDCHALLENGE IT WILL BE MOST USEFULFOR YOU TO CONNECT WITH APHOTOGRAPHIC CONSERVATOR WHEREYOU CAN AND THE A.I.C. WILL HELPYOU FIND CONSERVATORS IN YOURREGION THROUGH THEIR REFERRALSERVICE.THERE'S LOTS OF OTHER GREATINFORMATION ON THAT WEB SITE ASWELL, BROCHURES ON GENERALINFORMATION ON CARING FOR

PHOTOGRAPHS YOU MAY WISH TO JOINTHE A.I.C. TO LEARN MORE ABOUTTHE FIELD OF CONSERVATION AND IURGE YOU DO SO.ANOTHER BASIC AREA THAT WE'LL BETALKING MORE ABOUT IS AN AREANEAR AND DEAR TO ALL OF US ANDTHIS IS THE NEED TO PROTECTTHESE MATERIALS FROM NATURAL ANDMAN MADE ENERGIES AND DISASTERS.THIS IS A PHOTOGRAPH FROMHURRICANE SANDY AND --SUPERSTORM SANDY, PRIVATELYOWNED AND YOU CAN SEE IT'S VERYBADLY DAMAGED AND IT'SINTERESTING TO NOTE THAT THEPOOR PEOPLE WHO SUFFERED THROUGHTHAT SUPERSTORM HURRICANE MANY,MANY MONTH AGO ARE STILL GOINGBACK TO THEIR HOMES TO TRY ANDRECOVER THEIR PHOTOGRAPHICCOLLECTIONS.WE'LL TALK ABOUT WHAT YOU CAN DOTO PROTECT THESE MATERIALSAGAINST DISASTERS AND CERTAINLYTHE NEED TO HANDLE THESEMATERIALS CAREFULLY IS IMPORTANTAS WELL.PROPER HANDING TO PREVENTUNNECESSARY DAMAGE IS REALLY KEY

TO THE PRESERVATION OF THESECOLLECTIONS.OH, I'M SORRY, THAT DIDN'TBOUNCE UP.HERE YOU SEE A GREAT EXAMPLE OFA VERY, VERY EARLY PHOTOGRAPH.IN FACT, THIS IS A PHOTOGENICDRAWING, ONE OF THE EARLIESTPHOTOGRAPHIC PROCESSES, A SILVERIMAGE FROM THE METROPOLITANMUSEUM OF ART WHICH IS BAGHANDLED, AS IT SHOULD BE, WITHGLOVES AND SO YOU WANT TO BESURE THAT IN YOUR INSTITUTION ASWE FOCUS ON THESE BIGGER ISSUESOF PRESERVATION THAT YOU'RETHINKING ABOUT WHAT A -- WHATARE THE HANDLING PRACTICINGS ANDPOLICIES, EMERGENCY PLANNINGPOLICIES, EXHIBITION POLICIESTHAT YOU HAVE IN PLACE IN YOURINSTITUTION.FINALLY, THIS IS ONE OF MYFAVORITE IMAGES, REALLY.THIS IS MY GRANDMOTHER WHOPASSED AWAY A NUMBER OF YEARSAGO BUT AT THE AGE OF 106 ANDGRANDMA, WHAT DID SHE LOVE TODO?SHE LOVED TO LOOK AT HER

PHOTOGRAPHIC MATERIALS AND TOTACK ABOUT HIS WHO THESE PEOPLEARE.AND THIS HARKENS BACK TO ABOUTWHY IT'S SO REWARDING AND SUCH AWONDERFUL FIELD TO BE ENGAGEDIN.THAT IS THE CONNECTION OF THESEMATERIALS TO HUMANITY AND DON'TLEAVE GRANDMA IN THE ATTIC ISSIMPLY A REMINDER THAT WE NEEDTO PROTECT THESE MATERIALS FROMFLUCTUATING ENVIRONMENTALCONDITIONS THAT YOU FIND INBASEMENTS AND ATTICS.HIGH TEMPERATURE, HIGH RELATIVEHUMIDITY AND LIGHT POLLUTANTSFOR HANDLING EMERGENCIES ASWELL.THE SO KRISTEN, I'LL TURN THISOVER TO YOU JUST TO SEE IN THETIME REMAINING WHAT QUESTIONS WEMIGHT HAVE THERE IS HOME WORKASSOCIATED WITH THIS SEMINAR, ASI BELIEVE THERE WILL BE AT THEVERY END.AND EXPLAIN THAT A BIT.BUT KRISTEN, ARE THERE ANYQUESTIONS THAT YOU THINK I COULDADDRESS AT THIS POINT?

>> YEAH, ACTUALLY, WE HAVE ANUMBER OF GREAT QUESTIONS SO IJUST WENT AHEAD AND PULLED UPYOUR HOME WORK SLIDE WHICH IS TOASKED ASK YOU TO IDENTIFY THREEPRESERVATION CHALLENGESASSOCIATED WITH YOURPHOTOGRAPHIC COLLECTION AND WHATSTRATEGIES FOR IMPROVEMENT MIGHTBE AND THURSDAY'S HOME WORK TOGIVE YOU A PREVIEW, DEBBIE AND IWERE DISCUSSING HOW CAN YOU DOIDENTIFICATION WITH THE GRAPHICATLAS SO THAT WILL YOIF YOU ACHANCE TO INVESTIGATE THAT SITEA LITTLE BIT MORE.DEBBIE, WHILE WE'RE ANSWERINGQUESTIONS I WANTED TO JUST PULLUP THE LINK TO THE HOME WORK ANDYOU'LL FIND THAT ON THE COURSEWEB PAGE AND FOR THOSE OF YOUWHO HAVE BEEN WATCHING WITHCOLLEAGUES TODAY WE WANT TO GIVEYOU CREDIT FOR PARTICIPATEING SOTELL US WHO YOU'RE WATCHINGWITH.WE SAW YOU IN OUR ATTENDANCE BOXWHICH YOU CAN'T SEE BUT WE CANSEE.WE HAD 316 OF YOU TODAY.

SO I THINK IN YOUR LAST BIT IFYOU TALK ABOUT HANDLING WITHCOTTON GLOVES AND YOU MENTIONEDHANDLING DURING A DISASTER ANDTHAT HAD COME UP IN THE CHATMAYBE USING VINYL LATEX GLOVESIN THAT CASE.>> CHRIS TEN, ARE YOU ASKING ME-- ASK ME AGAIN WHAT YOU WANT METO ADDRESS?>> YOU MENTIONED COTTON GLOVESARE APPROPRIATE FOR USE.PES SPECIALFULLY A DISASTERSITUATION, WOULD YOU GO AWAYFROM COTTON IN THAT CASE?>> LET ME ANSWER THAT.I JUST HAVE TO TELL YOU I WASBECOMING TOO AMBITIOUS AND ISTARTED TRYING TO CHAT WITH YOUAS KRISTEN WAS SPEAKING.IN A DISASTER, GOSH, THINGS ARESO DIFFERENT IN A DISASTERSITUATION, HONESTLY.YOU DO YOUR BEST TO RESPOND IN ALOGICAL WAY AND IN A DISASTERSITUATION GLOVES ARE IMPORTANTNOT REALLY ONLY TO PROTECT THEPHOTOGRAPHS BUT MORE IMPORTANTLYTO PROTECT YOU.YOU'RE DOING WHAT YOU CAN TO BE

AWARE OF HEALTH AND SAFETYISSUES AS WELL.WE RECOMMEND GLOVES MAY NOT BEHANDLING GLASS PLATE AS YOUDON'T GET A SENSE OF THE WEIGHTAND THE FRAGILITY OF THEMATERIALS.YOU CAN HANDLE GLASS PLATENEGATIVE WITH YOUR HANDS.MAKE SURE THEY'RE WASHED ANDDON'T TOUCH THE SURFACES.HANDLE THE EDGES ONLY.SO SOME OF THIS DEPENDS ONINDIVIDUALS, THE KINDS OFPROCESSES, THE SITUATIONS YOUFIND YOURSELF IN BUT FOREMERGENCIES AND DISASTERS WEARGLOVES BUT THIS IS TO PROTECTYOU AND ALSO PERHAPS IN SOME WAYTO PROTECT THE PHOTOGRAPHS.WHEN YOU FIND YOURSELF IN THESESITUATIONS, YOU REALLY HAVE TOBEGIN TO JUST TRIAGE AND THINKABOUT WHAT CAN BE DONE, WHATNEEDS TO BE DONE NOW, WHICHPARTS OF THE COLLECTIONS AREMOST IMPORTANT, WHAT CAN BERECOVERED.WHERE CAN YOU GO FOR HELP?IDEALLY OFF DISASTER PLAN IN

PLACE SO THIS IS SOMEWHATESTABLISHED AND YOU GET A BETTERSENSE OF WHAT TO DO, YOU DON'TWANT TO BE PLANNING AT THE TIMEOF A DISASTER.I WON'T BE TALKING ABOUTDISASTER PLANNING BUT THERE WASKRISTIN I BELIEVE A WHOLE SERIESOF WEBINARS ON DISASTER PLANNINGLED BY A VARIETY OF WELL KNOWNINDIVIDUALS IN THE FIELD AND YOUCAN GO BACK AND REPLAY THAT.AND PLEASE DO SO BECAUSE AS WESPEND ALL THIS TIME TALKINGABOUT THE PRESERVATION OFPHOTOGRAPHIC MATERIALS I WANTEDTO BE CERTAIN THAT YOURCOLLECTIONS ARE WELL PROTECTEDFROM POTENTIAL EMERGENCIES ANDDISASTERS WHERE THEY'RELOCALIZED OR MORE BROAD-BASED>> WE JUST HAVE TWO MINUTES.I'VE GOT YOUR QUESTIONS AND ITHINK THEY WILL BE ADDRESSED INFUTURE WEBINARS AND WE WILL MAKESURE -- GRETA'S BEEN GREAT ATGETTING AT MOST OF THEM BUTWE'LL MAKE SURE DEBBIE KNOWSABOUT THEM AND CAN DEFINITELYWORK THEM INTO HER FUTURE

LECTURES.I GUESS THERE WAS A GREATQUESTION I HAD THAT WHEN YOUHAVE HISTORIC NEGATIVES, SHOULDTHAT BY B REPRINTED TODAY USINGDIFFERENT METHODS?CAN YOU DO THAT OR ANY OHADDITIONAL INFORMATION?>> THAT'S A GOOD QUESTION AND IWON'T -- ALTHOUGH I WON'T BETALKING OVER THE COURSE OF THISSEMINAR ABOUT HOW TO DO THAT IWOULD SAY YES THEY CAN AND OFTENTHEY SHOULD BE REPRINTED OR ATLEAST DIGITIZE SOD THESE IMAGESCAN BE AVAILABLE FOR SLARSHIP,FOR RESEARCH, FOR USE.NEGATIVES ARE HARD TO EXAMINE.THEY ARE PROBLEMATIC IN TERMS OFPRESERVATION SO MANYINSTITUTIONS ARE LOOKING ATPROCESSES FOR DIGITIZING THESECOLLECTIONS AND FOR FROM THEDIGITAL NEGATIVE YOU CAN MAKE ADIGITAL PRINT.IN TERMS OF ACTUALLY USING THENEGATIVES FOR PRINTING,PHYSICALLY PRINTING USINGCONTACT PRINTING PROCESS I WOULDADVISE AGAINST THAT BECAUSE OF

THE SFRA FRA JILLTY OF THENEGATIVES.BUT YOU CAN MAKE A FACSIMILENEGATIVE OR COPY NEGATIVE ANDFROM THAT YOU CAN DO PRINTING.YEARS AND YEARS AGO THIS WAS THETECHNIQUE FOR DUPLICATINGCOLLECTIONS, TO REPRINT THEMCAREFULLY AND IT'S SOMETHINGTHAT'S DONE BUT NOT NECESSARILYSOMETHING I WOULD RECOMMEND.MORE IMPORTANT TO DIGITIZE THEMAND MAKE THESE COLLECTIONSAVAILABLE ONLINE FOR SCHOLARSHIPAND RESEARCH AND VISIBILITY ANDPROMINENCE BUT PLEASE ALSO BECERTAIN TO PRESERVE THEORIGINAL.THE DIGITAL COPY IS NOTNECESSARILY THE PRESERVATIONCOPY BUT IT'S SOMETHING YOU'REPRODUCING FOR ACCESS.HOW'S THAT?$I THINK THAT'S VERY HELPFUL ANDWE HAVE A GOOD CHECK GOING ONABOUT SCANNING AND GRETA NOTINGTHAT IT'S BETTER TO SCAN THEIMAGE FACE UP WHICH ISCHALLENGING FOR SOME FOLKS.BUT WE WON'T GET INTO A LOT OF

INFORMATION ON DIGITIZING INTHIS COURSE BUT WE WILL AT LEASTTRY TO FIND GOOD RESOURCES THATWE CAN LINK TO ON THE COURSE WEBPAGE.>> AND LET ME ALSO SAY TO ALL OFYOU-- THIS IS GREAT TO HAVE SUCHA LARGE GROUP THESE KINDS OFQUESTIONS HELP.AND IT'S CLEARLY AN IMSHOEPRESENT ON YOUR MINDS AND IF WEDON'T COVER HIT IN THEDIGITIZATION WORKSHOP, WHICH WEMAY, BUT IF NOT WE CAN BEGIN TODEVELOP SESSIONS THAT ADDRESSSOME OF THESE TOPICS VERYSPECIFICALLY WITH THE SO IT'SGOOD TO KNOW WHAT ARE THE NEEDSOUT THERE.I WANT TO BE CERTAIN AS YOUDIGITIZE THESE COLLECTIONSYOU'RE (INAUDIBLE) GREAT, THANKYOU FOR SAYING THAT.THERE'S A LOT OF INTEREST INTALKING ABOUT ALBUMS SO WE NEEDTO WRAP UP FOR TODAY BUT I WILLMAKE SURE ALL OF YOUR QUESTIONSARE NOTED.WE WON'T BE REPLYING TO THEM INWRITING BUT I'M CERTAIN THAT

DEBBIE CAN GET TO THEM.>> KRISTEN, CAN THEY -- I'M NOTEVEN SURE IF THIS IS POSSIBLEBUT THINK K THEY STILL SENDIMAGES OR IS IT TOO LATE TO DOTHAT?I'M THINKING IF WE HAVE ALBUMSAND THEY WANT TO SEND ME SOME --NOT SEND SOME -- I DON'T KNOWWHERE THEY WOULD SEND SOME.>> I THINK GRETA HAS SHARED HERGMAIL ACCOUNT AND I WILL PUT INTHE CHAT OUR GMAIL ACCOUNT JUSTBECAUSE GMAIL CAN HANDLE LARGERATTACHMENTS THAN OUR INFO ATHERITAGE PRESERVATION SO I'LLNAUGHT IN THE CHAT IN THE A FEWMINUTES.OR JENNY CAN.AND, YEAH, THAT WOULD BE FINE.WE'RE HAPPY TO CHANNEL THAT TOYOU.>> AND I COULD SORT OF -- IT'SFUN WHEN I CAN PUT IN IMAGES ANDBE MORE SPECIFIC IN OURRECOMMENDATIONS THAT ARE EXACTLYTHE KINDS OF CHALLENGES YOU'REFACING.>> I JUST WANTED TO NOTE,MARGARET FROM RALEIGH, NORTH

CAROLINA, HAD SENT A THE FEWIMAGES AND I THINK -- I DON'TKNOW EXACTLY HOW YOU THE(INAUDIBLE) BUT THEY WERE IMAGESON GLASS NOT AGAINST GLASS.THERE'S A HUGE VARIETY OUT THEREWE'LL ADDRESS THAT AT SOME POINTI PROMISE.AND LIGHT SHINES THROUGH THEM.YOU SAW THAT IN THE VICTORIANTIME WHEN THEY BEGAN TO THEEXPERIMENT WITH TRANSPARENCY OFGLASS IN WINDOWS AND THAT MAKESSENSE BECAUSE THEY'RE IN THEMUSEUM OF NATURAL SCIENCES WHEREYOU BEGIN TO SEE THESE CLEVERSHIFTS AND CHANGES SO WE'LL BESURE TO GET THAT RIGHT.>> WELL THANK YOU SO MUCH.WE LOOK FORWARD TO SEEING YOU AT1:00 P.M. EASTERN ON THURSDAY.>> LET US KNOW HOW WE'RE DOING.THIS IS SORT OF THE RIGHT PACE.I'M USED TO HAVING AN AUDIENCEIN FRONT OF ME AND TIPS,THOUGHTS YOU HAVE IS ABSOLUTELY-- (INAUDIBLE) THANK YOU SOMUCH.