102:, or American Alliance of Museums, defines an emergency response plan as "a series of written policies and procedures that prevent or minimize damage resulting from disasters (either man made or natural) and help a museum recover." The required elements of such a plan are as follows: tailored to the institutions current facilities and specific circumstances, covers all threats/risks relevant to the institution, addresses staff, visitors, structures, and collections, includes evacuation plans for people, specifies how to protect, evacuate or recover collections in the event of a disaster, and delegates responsibility for implementation. A Photography Conservator would have a vital role to play in the emergency response plan at their institution. It would be their responsibility to detail the needs of the photography collection and the ways to recover that collection in case of a disaster. It is widely recommended that the staff partake in monthly training to go over the emergency response plan in order to ensure that each staff member, including the photograph conservator, knows their role in case of an emergency.
90:
abrasions or misplacing the smaller items. Negatives, which includes black and white or color negatives, slides, lantern slides, collodion wet and dry plate negatives, and silver gelatin wet and dry plate negatives should be stored upright and vertically along their longest edge. Padded boxes with dividers are often necessary as you do not want two glass plate negatives to touch each other. When packing the archival quality boxes, make sure to not pack them too heavy and label them accordingly. Scrapbooks and albums provide a particular challenge to conservators because they often contain a variety of components and media. They should not be stored with other archival collections if it can be avoided. Scrapbooks can either be digitally reproduced or if the original is deemed important enough, can be wrapped in archival quality paper or housed in a custom fitted box.
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object-which is more or less the impression of the ordinary viewer- and the view that a conservator takes during an examination is a significant one." The first step of an examination is examination of an object with one's eye with a bright light, sometimes with the help of magnification or other viewing aids like binoculars. Tactile observations are also critical, and in some cases senses of smell and hearing yield useful information as well, as tapping on a glass plate negative for example can help identify significant discontinuities.
227:
145:
Getty
Conservation Institute is currently researching methods for characterization of photographs and photographic material. The study is explained as, "both qualitative and quantitative analysis of photographs and photographic material in order to facilitate identification of photographic processes, and to develop a quantitative methodology for analysis of photographic material. The analytical techniques currently being used in this research are:
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35:, including documenting the structure and condition of art works through written and photographic records, monitoring conditions of works in storage and exhibition and transit environments. This person also performs all aspects of the treatment of photographs and related artworks with adherence to the professional Code of Ethics.
64:. All of these steps should be taken for each object before and after treatment, or in some cases in the place of treatment. The Photograph Conservator should be working on preventive conservation each day, as it is one of the most important ways to preserve objects when treatment isn't practical or necessary.
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Treatment is defined by the
American Institute for Conservation as, "the deliberate alteration of the chemical and/or physical aspects of cultural property, aimed primarily at prolonging its existence. Treatment may consist of stabilization and/or restoration." Stabilization is meant to maintain the
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Conservation documentation is a written and visual report of the work that is done. It provides the park staff with detailed information on the condition of the object, including how it has been altered, what parts are composed of original material, and what has been added or removed during previous
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Responsibilities of a
Photograph Conservator of course vary from institution to institution, however there are some critical functions that all conservators must perform in their roles as protectors of cultural heritage. Preventive conservation, examination and documentation, research, and treatment
310:
who received her bachelor's degrees in biology from
Michigan State University and fine art photography from the University of Oregon. She earned her master's degree in paper conservation at Queen's University in Kingston, Ontario in 2005. Katharine Whitman is currently the photograph conservator at
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Photograph conservators must do thorough research before any treatment can take place. This is often the legacy that conservators leave behind, their documentation, research, and treatment. New techniques and less harsh treatments are being discovered all the time by professionals in the field. The
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Control of relative humidity and temperature is critical in the preservation of photographs. "Heat can accelerate deterioration and high relative humidity provides the moisture necessary to promote harmful chemical reactions in materials and, with high temperature encourages mold growth and insect
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It can be argued that documentation is the most important task a conservator carries out. Every step of the process must be fully documented by a conservator. The
National Park Service recommends that all conservation treatment should be documented in writing. They should also include visual
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in order to be deemed safe for storage of photographic materials. Once the photographs are in their individual enclosures they must be boxed in archival quality boxes. Horizontal storage is usually recommended over vertical storage, as is storing photographs of similar size together to avoid
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is a rather new specialty in the field and is in response to the need conservators feel for preserving objects post-treatment. As
Barbara Appelbaum states, "The fact that conservators feel responsible for preserving object forever is noble, but, practically speaking, unrealistic." Preventive
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Paths to becoming a conservator vary but usually include, a graduate degree in conservation or historic preservation with a certificate in or diploma in conservation as well as post graduate fellowships. Study of a foreign language, formal course work in drawing, painting, photography etc.,
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Examination is defined by the act of looking at something closely and carefully or a close and careful study of something. This would be a crucial duty for all conservators, including
Photograph Conservators. Barbara Appelbaum explains that "the contrast between the first impression of an
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Treating photographs is not all about the aesthetic of the image; it also has to do with the photograph's long-term survival. Of course a photographs conservator would want the image to look as pleasing as possible, but that is not the primary motive behind conservation treatment.
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representations such as photographs, drawings, analytical results, spectra, and digital images. The documentation should be kept in hard copy and in digital files appended to the
Collections Database System used by the museum. Documentation is important for the following reasons
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Proper storage can protect photographs from fluctuations in relative humidity and temperature and/or seasonal changes. Photographic prints and negatives are best stored in individual paper or plastic enclosures. Note that paper enclosures must pass the PAT test or
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conservation shifts the burden of preservation and protection onto measures like environmental controls such as temperature and relative humidity control, control of light levels present, and control of various contaminants. It also includes
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and study and preservation of the image and information that image contains, without the original being damaged further. However this is not a replacement for the original photograph as digital scans and copies can easily become obsolete.
304:. He now resides in Northern California where he teaches, consults, and works as a photograph conservator. Gawain Weaver is a Professional Associate of the American Institute for Conservation and abides by the AIC Code of Ethics.
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professional experience, and a personal interview and portfolio are sometimes required. A few PhD programs do exist for those that wish to further their studies of conservation sciences. Some programs in North
America include:
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is concerned with treating original photographic material and not the digital copy of that image, although making reproductions of images digitally is a treatment plan used by many conservators. This allows
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scientific analysis and research to identify historic and artistic methods and materials of fabrication, and to evaluate the efficacy and appropriateness of materials and procedures of conservation
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of
Abraham Lincoln taken in 1860, at the George Eastman House. This treatment included using materials that stabilized the glass and emulsion and involved research in innovative new methods.
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integrity of cultural property and minimize deterioration and restoration is meant to return cultural property to a known or assumed state, often through addition of non original material.
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documentation procedures to record the condition of an object or site at a specific time, or before, during, and after treatment, and to outline treatment methods and materials in detail
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It spells out the understanding reached between the curatorial staff and the conservator on the treatment, including the extent and type of any stabilization or restoration treatment.
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examination procedures to determine the materials, method of manufacture, and properties of objects or structures and the causes and extent of deterioration or alteration
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who received his Masters of Arts and certificate of advanced study in the conservation of works on paper and photographs from the art conservation program at the
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Photograph conservators need to possess a vast knowledge of photographic processes and deterioration of those materials. Conservators should have experience in:
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286:. He is an independent conservator of photographs in Boston, MA and founded his own studio there in 1994. Paul was recently appointed head of the newly formed
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http://www.conservators-converse.org/2015/02/job-posting-conservator-of-photography-modern-and-contemporary-sfmoma-san-francisco-ca/
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treatment, including interventive procedures, as well as passive measures to stabilize an artifact or retard its deterioration
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It provides information that will help future conservators to assess the condition of an object and devise further treatment.
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restoration to bring a deteriorated or damaged object or structure closer to a previous or assumed appearance or function
423:, Job Posting for Conservator of Photography:Modern and Contemporary, SFMOMA. (2015). Retrieved February 28, 2015 from:
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It makes it possible to assess the success or failure of treatment methods and materials over a long period of time.
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653:"Eastman House displays Abraham Lincoln's favorite image, featuring museum's conservation of shattered glass plate"
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It serves as a permanent record of the treatment procedures performed and the materials and methods used.
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459:"2.1 Temperature, Relative Humidity, Light, and Air Quality: Basic Guidelines for Preservation"
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James B Duke House, where the Institute of Fine Arts, New York University is housed.
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are core functions at the center of every photograph conservators responsibilities.
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advising on procedures for the safe exhibition and travel of cultural materials.
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The Photographic Materials Group of the American Institute for Conservation
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Anna and Germaine Sierens ca. 1924. Photo restoration by Michel Vuijlsteke.
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composite objects including wood, paper prints, and album/book structures
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A prime example of proper archive storage and of archival friendly boxes.
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American Institute for Conservation of Historic Works and Artistic Works
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International Institute for Conservation of Historic and Artistic Works
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Some of the most well known Photograph Conservators in the world are:
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It may last longer than the object itself and become the only record.
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activity" according to the Northeast Document Conservation Center.
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American Institute for Conservation of Historic and Artistic Works
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American Institute for Conservation of Historic and Artistic Works
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American Institute for Conservation of Historic and Artistic Works
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American Institute for Conservation of Historic and Artistic Works
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300:, and an M.A. in Art History and diploma in Conservation from the
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is a professional who examines, documents, researches, and treats
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A successful treatment was carried out on a broken glass plate
730:"Paul Messier, Conservation of Photographs and Works on Paper"
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518:"Developing a Disaster Preparedness/Emergency Response Plana"
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International Council of Museums- Committee for Conservation
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Conservation and restoration of immovable cultural property
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Conservation and restoration of movable cultural property
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Digital repository audit method based on risk assessment
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Conservation-restoration of the Sistine Chapel frescoes
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who received a B.A. in Art History and Chemistry from
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inductively coupled plasmas mass spectrometry (ICP–MS)
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784:"Katharine Whitman Conservator of Fine Photographs"
1971:Conservation-restoration of the Statue of Liberty
1107:Mold control and prevention (library and archive)
922:Conservation and restoration of cultural property
161:environmental scanning electron microscopy (ESEM)
2011:
1994:Preservation Metadata: Implementation Strategies
1984:Conservation response to flood of Arno, Florence
1948:Conservation-restoration of Leonardo da Vinci's
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1989:Modern and Contemporary Art Research Initiative
1961:Conservation-restoration of the Shroud of Turin
284:State University of New York College at Buffalo
271:Well known photograph conservators and projects
1925:Conservation issues of Pompeii and Herculaneum
1082:Integrated pest management (cultural property)
152:Fourier-transform infrared spectrometry (FTIR)
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603:"Research on the Conservation of Photographs"
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324:Photograph conservators can specialize in:
403:Conservation and restoration of photographs
302:Institute of Fine Arts, New York University
1490:Books, manuscripts, documents and ephemera
853:
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1037:Disaster preparedness (cultural property)
628:"Definitions of Conservation Terminology"
547:"Merriam Webster Dictionary: examination"
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155:Enzyme-linked immunosorbent assay (ELISA)
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937:Conservation science (cultural property)
457:Northeast Document Conservation Center.
446:. Burlington, MA: Butterworth-Heinemann.
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493:Northeast Document Conservation Center
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512:
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371:Canadian Association for Conservation
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149:X-ray fluorescence spectrometry (XRF)
16:Professional who examines photographs
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727:
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575:"Chapter 8: Conservation Treatment"
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94:Emergency preparedness and response
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1122:Preservation (library and archive)
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444:Conservation Treatment Methodology
164:neutron activation analysis (NAA)"
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313:Art Gallery of Ontario in Toronto
288:Lens Media Lab at Yale University
265:Winterthur/University of Delaware
1976:Conservation-restoration of the
1852:Indigenous intellectual property
607:The Getty Conservation Institute
489:"Storing Photograph Collections"
1087:Inventory (library and archive)
987:Cultural property documentation
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757:"Gawain Weaver Art Conservator"
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645:
1485:Bone, horn, and antler objects
1027:Digital photograph restoration
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185:digital photograph restoration
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1670:South Asian household shrines
1368:Reconstruction (architecture)
1298:Cultural property radiography
1255:Registrar (cultural property)
1007:Cultural resources management
967:Collections management system
525:American Alliance of MuseumsA
408:
106:Examination and documentation
1939:Conservation-restoration of
1930:Conservation-restoration of
1303:Detachment of wall paintings
1077:Intangible cultural heritage
992:Cultural property exhibition
977:Cultural heritage management
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1383:Transfer of panel paintings
442:Appelbaum, Barbara (2007).
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120:treatments or restorations.
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1847:Heritage language learning
1117:Optical media preservation
551:Merriam Webster Dictionary
345:Professional organizations
87:Photographic Activity Test
58:integrated pest management
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1887:Oral history preservation
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1002:Cultural property storage
997:Cultural property imaging
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703:"Careers in Conservation"
678:"Careers in Conservation"
1934:by ElĂas GarcĂa MartĂnez
1152:Sustainable preservation
810:"Photographic Materials"
1892:Preservation of meaning
1877:Language revitalization
1545:Illuminated manuscripts
1323:Historic paint analysis
1215:Conservation technician
1017:Deaccessioning (museum)
957:Collections maintenance
882:Agents of deterioration
398:Conservation technician
298:Sonoma State University
180:Photograph preservation
53:Preventive Conservation
48:Preventive conservation
1902:Tradition preservation
1555:Iron and steel objects
1444:Outdoor bronze objects
1388:UVC-based preservation
1245:Photograph conservator
1210:Conservation scientist
962:Collections management
892:Archaeological science
393:Conservation scientist
231:
81:
68:Environmental controls
62:emergency preparedness
29:photograph conservator
24:
1907:Traditional knowledge
1872:Language preservation
1480:Ancient Greek pottery
1378:Textile stabilization
1240:Paintings conservator
1127:Preservation metadata
1012:Database preservation
866:historic preservation
657:George Eastman HouseA
388:Paintings conservator
245:Buffalo State College
229:
79:
22:
1695:Time-based media art
1505:Copper-based objects
1419:Archaeological sites
1348:Mass deacidification
1293:Cradling (paintings)
1205:Conservator-restorer
1032:Digital preservation
782:Whitman, Katharine.
199:Skills and knowledge
1999:World Heritage Site
1862:Indigenous language
1762:Endangered language
1660:Shipwreck artifacts
1640:Photographic plates
1590:Musical instruments
1343:Lining of paintings
1260:Textile conservator
1235:Objects conservator
1225:Exhibition designer
1132:Preservation survey
1057:Found in collection
947:Collection (museum)
917:Calendar (archives)
887:Archival processing
790:. Katharine Whitman
383:Objects conservator
2020:Museum occupations
1857:Indigenous culture
1200:Collection manager
1097:Media preservation
1092:Inventory (museum)
952:Collection catalog
320:Areas of specialty
232:
82:
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2007:
2006:
1956:Pompeian frescoes
1842:Heritage language
1732:cultural heritage
1520:Flags and banners
1465:cultural property
1429:Heritage railways
1409:cultural property
1358:Paleo-inspiration
1042:Film preservation
982:Cultural property
972:Cultural heritage
862:Cultural heritage
788:Katharine Whitman
308:Katharine Whitman
260:Queens University
2032:
2025:Collections care
1943:by Thomas Eakins
1941:The Gross Clinic
1837:Folklore studies
1747:Applied folklore
1720:Wooden furniture
1715:Wooden artifacts
1710:Woodblock prints
1690:Tibetan thangkas
1550:Insect specimens
1439:Outdoor artworks
1434:Historic gardens
1067:Heritage science
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1950:The Last Supper
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1897:Primitive music
1807:Folk instrument
1782:Family folklore
1772:Ethnomusicology
1767:Ethnochoreology
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1645:Plastic objects
1630:Performance art
1615:Panel paintings
1610:Painting frames
1575:Leather objects
1495:Ceramic objects
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1461:and restoration
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1278:Aging (artwork)
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1022:Digital library
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1062:Heritage asset
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736:. Paul Messier
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40:
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15:
9:
6:
4:
3:
2:
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2018:
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2015:
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1742:Ancient music
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1600:New media art
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1407:of immovable
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1072:Inherent vice
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815:
811:
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761:Gawain Weaver
758:
751:
735:
734:Paul MessierA
731:
724:
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683:
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294:Gawain Weaver
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193:interpositive
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36:
34:
30:
21:
1977:
1949:
1940:
1931:
1822:Folk process
1777:Ethnopoetics
1735:preservation
1595:Neon objects
1468:by item type
1459:Conservation
1412:by item type
1403:Conservation
1353:Overpainting
1313:Display case
1244:
1142:Repatriation
817:. Retrieved
813:
804:
792:. Retrieved
787:
777:
765:. Retrieved
760:
750:
738:. Retrieved
733:
723:
711:. Retrieved
706:
697:
685:. Retrieved
681:
672:
660:. Retrieved
656:
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635:. Retrieved
631:
622:
610:. Retrieved
606:
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585:. Retrieved
581:
554:. Retrieved
550:
541:
529:. Retrieved
524:
497:. Retrieved
492:
466:. Retrieved
462:
452:
443:
417:
331:plastic film
323:
280:Paul Messier
274:
238:
202:
190:
176:
172:
143:
113:
109:
97:
83:
71:
51:
42:
28:
26:
1978:H.L. Hunley
1757:Early music
1705:Vinyl discs
1700:Totem poles
1635:Photographs
1580:Lighthouses
1570:Lacquerware
1525:Fur objects
1463:of movable
1393:VisualAudio
1338:Leafcasting
1283:Anastylosis
1230:Mount maker
1190:Art handler
1047:Finding aid
897:Archaeology
33:photographs
2014:Categories
1817:Folk music
1797:Folk dance
1730:Intangible
1328:Inpainting
1195:Auctioneer
1185:Art dealer
1137:Provenance
942:Collecting
875:and issues
409:References
1932:Ecce Homo
1827:Folk play
1680:Taxidermy
1625:Parchment
1605:Paintings
1180:Archivist
819:April 27,
794:April 19,
767:April 19,
740:April 19,
713:April 19,
687:April 24,
662:April 10,
637:April 27,
612:April 27,
587:April 26,
556:April 26,
531:April 19,
499:April 15,
468:April 26,
235:Education
169:Treatment
1918:projects
1832:Foodways
1792:Folk art
1787:Folklore
1685:Textiles
1535:Herbaria
1510:Feathers
1475:Aircraft
1333:Kintsugi
1157:Treasure
377:See also
140:Research
1916:Notable
1620:Papyrus
1565:Judaica
1424:Frescos
1269:Methods
1220:Curator
902:Archive
582:NPS.gov
495:. NEDCC
255:NYU/IFA
1585:Metals
1500:Clocks
1112:Museum
1102:Midden
873:Topics
1171:Roles
1147:Ruins
1052:Fonds
709:. AIC
578:(PDF)
527:. AAM
521:(PDF)
337:metal
334:glass
328:paper
1515:Film
912:Book
864:and
821:2015
796:2015
769:2015
742:2015
715:2015
689:2015
664:2015
639:2015
614:2015
589:2015
558:2015
533:2015
501:2015
470:2015
311:the
98:The
60:and
100:AAM
2016::
812:.
786:.
759:.
732:.
705:.
680:.
655:.
630:.
605:.
580:.
566:^
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432:^
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290:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
