1. A photographic journey from ancient times to restorative measures By Frances Varella and Lauren Hays

2.  Black and white photography captures the human imagination…and it wasn’t until then 18 th century, that photography was first truly developed.  From 470 BCE through 1700 – the scientific curiosity for image reproduction led to the development of the camera obscura. The name, Latin for vaulted dark chamber, is coined by Johannes Kepler, German astronomer in 1604. Camera obscura used optics to see objects that were projected through a pinhole into this darkened chamber.

3.  1727 through 1816 saw continual advancements in the use of chemicals and their reactive responses to sunlight on various surfaces. Blurred and rapidly deteriorating images were captured, sparking even more curiosity in the scientific community to develop a better system at image retention.  1816 – Nice’phore Nie’pce combines the camera obscura with photosensitive paper but hadn’t yet developed a lasting photo impression.  1826 – Nie’pce creates a permanent image by mixing lavender oil and bitumen and coating a pewter sheet. Placing this in a camera obscura and exposing it to 8hrs of sunlight, a photograph was developed.

4.  1834 –Henry Fox Talbot develops negative images using paper soaked in sodium chloride and a salt solution and by direct contact printing with these negatives – he creates an actual photograph (positive imagery) on paper.  1837 – Louis Daguerre invents the ‘Daguerreotype’ process. This process involved silver-plated copper, coated with silver iodide and developed with warm mercury. So that his fellow French citizens are able to freely use this process- he gives up the methods & rights to his process to the French government. Truly noble gesture!

5.  1851 - Frederick Scott Archer, a London sculptor improves photographic technique called wet plate collodion,(nitrate cotton soaked in ether & alcohol mixed with chemicals on glass). This process permits unlimited reproductions of black and white photographs.  1854 – Adolphe Disderi develops a more portable photograph studio that is wildly popular. For the next five decades, photographers roamed the world capturing black and white images: solemn portraits of citizens, architectural wonders, capturing the harsh reality of the American civil war and the beauty of nature.

7.  1888 through 1889 - George Eastman developed the first film substance from celluloid that was integrated into the camera. He coined the word, Kodak, as a marketable word and by 1900, had developed the first mass produced camera.  He also coined the phrase, “you press the button, we do the rest”.  Although color photographs were being experimented with, black and white photographs were the essential method for photojournalism and embraced by artists and photographers around the world.

9.  Although photographic medium using color is the standard, black and white photography has continued the practice of using the medium to capture an essence and to focus attention on the subject matter.  Black and white photographs have been improved upon since George Eastman’s time in the late 1880s, but the same basic materials are still used. “Celluloid sheets are coated with gelatin-dispersed silver halide crystals” (How Products are Made, 2011).

10.  Black and white photographic film and papers are composed of three parts: 1.)a support layer made from either paper, plastic, glass, or fabric. 2.) a binder layer, normally gelatin, that actually captures the final image to the support layer. 3.) an imaging material such as silver that is suspended within the binder layer.

11.  High humidity can cause the gelatin binder to become soft, sticky. That combined with high temperature speeds the rate of deterioration through mold, fungus growth.  Low humidity will cause the binder layer to shrink, crack.  Excessive fluctuations in temp. and humidity can cause structural damage, cracking, curling and separation within the three photographic layering.

12.  More modern black and white photography can sustain stability at moderate levels, but historical photos should be kept with lower light levels.  Ultraviolet light through sunlight or a standard fluorescent light bulb can cause fading and discoloration within a rapid time, depending on exposure.  Displaying behind a UV filter or using a low UV emitting light can prolong life to your photographs.

13.  Many wood and paper products contain acids, bleaches and chemicals that over time can effect the integrity of your photograph.  Adhesives and rubber compounds such as rubber cement used in magnetic photo albums and rubber bands all contain chemicals such as PVC which will harm your photographs.  Insects and rodents can eat photographs in addition to damaging with droppings.

14.  Additional damage can occur through exposure to cleaning solvents, paints, nitrogen and sulfur fumes reacting to water can cause the silver images to fade and make support material unstable.  Poor processing methods such as over-used chemical compounds also contribute to the deterioration of black and white photographs.

15.  Wear lintless, cotton, gloves  Do not use bare hands because the oil that is on our hands can cause damage to photographs over time.  Photographs should be supported with both hands to avoid bending. Be aware of your surroundings and do not let liquid get on them.

16.  The black and white photograph should be kept in a cool, dry place. Each photograph should have its own separate enclosure.  Choose the proper enclosure Paper  Acid-free, Lignin-free, 100% rag, and not colored Plastic  Made of polyester, polypropylene, or polyethylene  Melinex sleeves Combination of Paper and Plastic

17.  Once the photograph is in a paper or plastic enclosure it should be placed in an acid free box. The boxes should be monitored as they will become acidic over time due to the emulsions from the photographs.  "The optimal storage conditions for most photographs are a temperature of 68°F and relative humidity in the range of 30–40 percent. Film-based negatives and contemporary color photographs benefit from storage in cooler environments of 30–40°F and 30–40 percent relative humidity“ (American Institute for Conservation of Historic and Artistic Works, 2011).

18.  When transporting photographs every measure should be taken to protect them.  The corners should be secured with supports.  Sheets of acrylic glazing with a moisture barrier can be used to package the photograph and protect it from the changing environment.

19.  Overmatting The photograph is mounted between two pieces of mat board. The top mat is open to display the print. “improves print presentation and it also offers good protection. It is widely used by museums and galleries because it is considered the best technique for displaying prints and for long-term preservation. This is because the surface of the pint sits just below the overmat, helping to shield it from physical damage. Also, the print is not attached permanently to either mat board or dry-mount, there is less chance of contamination from a tainted board or tissue” (Horenstein, 2005).  Dry Mounting The photograph is attached to a mounting board with glue.

20.  Photographs should avoid being placed where they will be exposed to large amounts of light. Plexiglas can be placed over the photograph to help filter out ultraviolet light and protect the photograph.  Another way to exhibit photographs and protect them, is to make a copy and keep the original in archival storage.

21.  Black and white photographs can be reformatted by using computer programs, scanners, and/or digital cameras.  Creating a preservation copy is another way to reformat the original photograph to help in its survival.

22.  When black and white photographs get dirty and need to be treated, do not use water or solvents. These items can cause further damage.  Photographs can be brushed with a soft brush to remove dirt.  Having a professional conservator work on the photographs that are very-worn is the best option.

23.  American Institute for Conservation of Historic and Artistic Works. (2011). Caring for your treasures: Photographs. Retrieved from http://www.conservation- us.org/index.cfm?fuseaction=Page.viewPage&pageId=633&parentID=497http://www.conservation- us.org/index.cfm?fuseaction=Page.viewPage&pageId=633&parentID=497  Boss Photographic.(2011) Retrieved from http://www.bossphotographic.com/http://www.bossphotographic.com/  Downs,K. (2010). RIT awarded grant to preserve library collections and reduce energy consumption. Retrieved from http://www..rit.edu/news/storyhttp://www..rit.edu/news/story  Greenspun,P. (2007). History of photography timeline. NameMedia Photography, Inc and contributors. Retrieved from http://photo.net/learn/history/timelinehttp://photo.net/learn/history/timeline  Horenstein, H. (2005). Black and white photography (3rd Ed.). New York City, NY: Little, Brown and Company.  How Products are Made. (2011). Photograph. Retrieved from http://www.madehow.com/Volume- 4/Photograph.htmlhttp://www.madehow.com/Volume- 4/Photograph.html  Leggat,R. (2008). A history of photography: from its beginnings till the 1920s. Retrieved from http://rleggat.com/photohistory/index.html http://rleggat.com/photohistory/index.html  Library of Congress, (2006). Care, handling, and storage of photographs. Retrieved from http://www.loc.gov/preseerv/care/photolea.html http://www.loc.gov/preseerv/care/photolea.html  Permanence Institute at Rochester Institute of Technology (2011). Deterioration of photographic artifacts. Sustainable preservation practices regional workshops. Retrieved from http://ipisustainability.orghttp://ipisustainability.org  Powell,K. (2000). Preserving the past: how to care for and protect your precious family photos. Retrieved from http://geneology.about.com/library/weekly http://geneology.about.com/library/weekly  Wikimedia Commons. (2011). Retrieved from http://commons.wikimedia.orghttp://commons.wikimedia.org