The Photo Detective

Vintage vibe: Gallery shows 'dags' from artist on the rise

noreply@blogger.com (The Photo Detective) — Wed, 07 Jul 2010 14:00:00 +0000

Photograph:

"Winter Flood" a 4.5 minute time exposure during a recent flood in the Squamscott River in Exeter, by Casey Waters. Courtesy of the artist

At Iocovozzi Fine Art, everything old really is new again.

The downtown Savannah art gallery, one of a handful of venues in the United States to showcase antique 19th-century daguerreotypes, is featuring 34 new "dags" by Casey Waters, a rising star in the photography world.

Gallery owner Kim Iocovozzi is especially excited to host the first exhibition of contemporary daguerreotypes in Savannah. Very few photographers in the United States work in this notoriously challenging photographic medium, which was originally developed by French chemist and artist Louis Daguerre in 1839.

"The daguerreotype process is easily the most complicated process in photography, then and now," he said. "You have to understand chemical theory, light and exposure time."

Waters, who started out as a daguerreotype conservator, has electrified the photography world at the age of 30 with his masterful approach to the original mercury method.

"Casey's work has been recognized so quickly," said Iocovozzi. "He has an amazing eye and makes these images look so easy."

Everyday moments

Seen under bright light, the daguerreotypes shimmer and shine with an almost holographic intensity. Waters focuses his camera on a wide range of subjects he encounters near his hometown of Exeter, N.H., from urban graffiti to rugged coastal landscapes. He captures the fleeting majesty of waves rolling over jagged rocks and the deserted splendor of a water park in the off-season, turning everyday moments into visual poetry.

"Seeing them in person, you really get a feel for what a unique photographic process this is," said Waters.

"Everyone shoots digital now, but I think it's cool to produce one photograph at a time. It really makes me think about the process and appreciate each photo in its own right."

The daguerreotypes, which measure 4-by-5 inches, reveal ethereal photographic images rendered in lustrous shades of silver and pewter, lending a retro feel to this decidedly contemporary work. Waters uses original brass daguerreotype mattes from the 1840s as well as hand-cut birch wood mattes, in a tribute to his home state of New Hampshire.

This retro-photographer enjoys working with antique equipment and mastering the original 19th-century live plate methodology. He buffs each plate and coats it with special chemicals that make the surface especially sensitive to light. Then he pays special attention to the exposure time, which can range from a few seconds to more than a half an hour, in order to ensure that the image has the proper balance.

"Controlling the light is what all daguerreotypists are after," he said. "They historically worked in controlled conditions in a studio, but I like to take these images while I'm out walking or driving around."

Waters excels at portraiture, landscapes and slices of life. In "One Love," he immortalizes graffiti spray-painted on a wall in Exeter, N.H., while in "Where's the Third Tugboat," he captures the industrial splendor of two tugboats docked along a waterfront.

Unlike conventional photography, a daguerreotype doesn't involve a negative. Instead, each image serves as a one-of-a-kind mirror-image reflection of the scene at hand, etched into shiny silver-coated copper plate.

"You get an amazing depth and clarity with daguerreotypes that you just can't get with any other photographic process," said Waters.

Waters admits that he's attracted to the longevity of the images he creates, knowing full well that his compositions will outlive him.

"Antique daguerreotypes have lasted more than 160 years so far," he said. "This work will last longer than any paper photographs. I hope they will leave a lasting impression."

ABOUT THE ARTIST

Casey Waters began collecting antique daguerreotypes when he was 7 years old.
An accomplished daguerreotype restoration expert, he studied photography under Rob McElroy and Mike Robinson and processes his daguerreotypes using the original mercury method of the mid-19th century.
Now 30, he lives and works in Exeter, N.H., where he enjoys documenting life in New England using this vintage photographic technique.

SUNSHINE STATE SPLENDOR
In addition to the exhibit of contemporary daguerreotypes, Iocovozzi Fine Art also offers a brush with old Hollywood.

With "Anne Power," a collection of 26 paintings by Anne Lavenue Power Hardenbergh (1915-1999), the gallery celebrates the artistic achievements of the sister of legendary Hollywood actor Tyrone Power through the end of April.

"She wasn't a Sunday painter," gallery owner Kim Iocovozzi said. "She was an accomplished artist who painted throughout her life."

The paintings on display, part of Power's estate, are largely based in Florida, exploring landscapes, seascapes, fishermen and bits of local color in the Sarasota area she called home for many years.

"Her work is not overly complicated, but it's wonderful," Iocovozzi said. "It's fun Florida stuff, which is really popular now."

Posted: March 27, 2010
By Allison Hersh
Savannahnow.com

Color Photographs - History and Background

noreply@blogger.com (The Photo Detective) — Wed, 23 Jun 2010 14:00:00 +0000

Walk into any home and you’ll see color photographs on display, either standing in frames or
hanging on walls. The photos depict graduations, family vacations and other events of
significance to the owner.

The transition from all black and white photography to commercially available color took close to a
century. Daguerre and others tried to invent a color photographic process by experimenting with
different chemicals. But they were largely unsuccessful in their quest for permanent color images. In
1850, a New York state Baptist minister, Levi Hill, announced that he’d found a way to reproduce
natural color in daguerreotypes, but he refused to reveal his methods. He called his process
Heliochromy and his plates were called hillotypes. Many photographers labeled him a fraud. Yet in
2007, researchers working under the auspices of the Smithsonian Museum of American History
found that Hill had indeed been able to capture blue and red hues.

To learn more about the history and background of color photographs, check out my book Preserving Your Family Photographs.

The Field Museum: Chocolate Exhibit

noreply@blogger.com (The Photo Detective) — Sat, 19 Jun 2010 14:00:00 +0000

From rainforest treasure to luscious treat—immerse yourself in the story of chocolate.

A gift for the gods. A symbol of wealth and luxury. An economic livelihood. Bonbons. Hot fudge. Candy bars. For thousands of years humans have been fascinated with the delicious phenomenon that we call “chocolate.”

Journey through history to get the complete story behind the tasty treat that we crave in Chocolate, an exciting new exhibition developed by The Field Museum.

To learn more about the exhibit, Visit the Field Museum website.

Negatives Part 3: Safety Film

noreply@blogger.com (The Photo Detective) — Wed, 16 Jun 2010 14:00:00 +0000

Cellulose acetate film and nitrate film share some patterns of deterioration, such as brittle quality, bubbles, chemical by-products and an odor.

Unlike nitrate, safety film is not a fire hazard.

There are several considerations when storing negatives. First is the environment. Negative deterioration is slowed when the material is stored at a constant temperature and humidity.

The second consideration is that negatives range in size. Each size needs to be stored separately so that the weight is evenly distributed.

As with all photographic material, wear non-latex disposable examination gloves when handling the negatives.

Storage recommendations for negatives as well as Frequently Asked Questions can all be found in Preserving Your Family Photographs. Or if you have questions, please feel free to email me at mtaylor@taylorandstrong.com.

Negatives Part 2: Film

noreply@blogger.com (The Photo Detective) — Wed, 09 Jun 2010 14:00:00 +0000

FILM (HANDLE WITH CAUTION)

According to James Reilly, in the IPI Storage Guide for Acetate Film (Rochester, NY:IPI, 1993), all film-based negative deterioration is dependent on exposure to high humidity and temperature. Once conditions are right for deterioration, chemical changes become cumulative and actually rapidly increase.

The characteristics of the deterioration vary depending on the type of negative. Of great concern are nitrate negatives that are not only fragile but also dangerous.

If you discover you have nitrate film, have the negatives copied at a reputable photo conservation lab in your area. Federal regulations imposed by the United States Department of Transportation restrict shipping
nitrate because it is considered a fire hazard. Once you have the copies, ask your local fire department how to dispose of the negatives. Most communities mention the disposal of nitrate in their fire codes.

Steps for identifying nitrate film and other useful information on handling such film can be found in Preserving Your Family Photographs.

Weekend at the Museum: Photographic Fictions

noreply@blogger.com (The Photo Detective) — Sat, 05 Jun 2010 14:00:00 +0000

Tampering with Perfection

Photography was born pure. In the beginning, there was the daguerreotype. Each daguerreotype was made individually in the camera. No negative was used. Since photography was so new, and seemed so miraculous, daguerreotypes were prized for their perfect accuracy in recording a scene or making a portrait. Dr. Oliver Wendell Holmes called photography "the mirror with a memory." Why would anyone try to improve upon such perfection?

LEARN MORE AT THE PHOTOGRAPHY MUSEUM WEBSITE.

Negatives Part 1: Glass

noreply@blogger.com (The Photo Detective) — Wed, 02 Jun 2010 14:00:00 +0000

The history of prints corresponds to the development and history of the negatives used to produce them. After prints, negatives make up a significant part of our family photograph collection. But how many people know about the negatives in their possession?

Glass Negatives

Photographers created their own supply of negatives in the 1850s by coating a piece of glass with a new substance, known as collodion. The light-sensitive silver halides in the collodion captured and preserved the image during the photographic process.

If you have glass negatives in your collection, they are probably sitting in a box that is too heavy to lift. Photographers used to store these plates in wooden storage boxes with dividers to protect the glass from breakage. Glass plate negatives, being both heavy and fragile, also require special storage care.

Steps to take when moving or re-boxong glass plates can be found in Preserving your Family Photographs.

Weekend at the Museum: The Influenza Epidemic of 1918

noreply@blogger.com (The Photo Detective) — Sat, 29 May 2010 14:00:00 +0000

World War I claimed an estimated 16 million lives. The influenza epidemic that swept the world in 1918 killed an estimated 50 million people. One fifth of the world's population was attacked by this deadly virus. Within months, it had killed more people than any other illness in recorded history. READ MORE HERE

Documents and photos relating to this story can be found at the National Archives and Records Administration website.

Photographic Albums

noreply@blogger.com (The Photo Detective) — Wed, 26 May 2010 14:00:00 +0000

Our ancestors initially used plain paper albums to arrange their photographs with captions written
underneath until commercially manufactured albums became available. These albums figured
prominently in the decorating scheme of nineteenth century parlors and were displayed beside the

family bible for visitors to view. Often, the albums contain the name of the owner.

Mid-nineteenth century photo albums often resembled bibles.

These nineteenth century albums evolved from scrapbook pages to pre-cut albums back to scrapbooks.

As albums lost their formality and amateur photography became popular, albums became a form of personal expression. These albums portrayed family unity and revealed a personal identity. Albums, with their imaginative arrangements, decorative cutouts, and artifacts, are the predecessors of the contemporary scrapbook.

One of the most often asked questions at my presentations on family photographs is what to do with images that are in albums. The first suggestion is to follow the basic rules for extending the longevity of any photographs by placing them in an area that does not experience variable temperature and humidity.

Conservators suggest keeping the album in its original state unless it is extremely damaged.

If your album has been extremely damaged, Preserving your Family Photographs details suggestions for possible restoration.

Paper Prints

noreply@blogger.com (The Photo Detective) — Wed, 19 May 2010 14:00:00 +0000

All of us are familiar with paper prints. Every year we produce them by the thousands, documenting our family milestones and vacations. The paper prints of our ancestors and the ones we take today are similar, but the chemicals and processes that create the images are different. The negatives used to produce these prints ranged from paper to glass to contemporary film materials.

Paper prints fall into several categories. In the nineteenth century, two types of paper prints existed: Printing-out papers and developing-out papers.

Printing-out papers: light sensitive chemicals applied to paper allowed the image to appear during exposure to light.
Developing-out papers: required chemical processing to bring out the image.

There is a revival of nineteenth century printing out processes. Photographers experimenting with these photographic processes are causing a renewed interest in the photographic community.

Also, in the nineteenth century, All prints were contact prints, meaning they were the same size as the negative. When you are looking at an 11 x 14 inch print from the 1870s, the negative was also 11 x 14 inches. Since artificial light was not available until the late nineteenth century, sunlight was a key ingredient of

the photographic process.

By the end of the nineteenth century, card photographs came in a variety of shapes and sizes.

Probably the most common type of nineteenth century photograph in your collection is known as a card photograph. The thin paper used to produce the majority of nineteenth and early twentieth century prints necessitated mounting them to heavy card stock or cardboard to help support the print. These images, regardless of the type of photographic process, came in standard sizes. Some types of card photographs include (with sizes and date introduced to U.S.):

Cartes-de-visite - 4 1/2 x 2 1/2 (1859)
Cabinet Card - 4 1/2 x 6 1/2 (1866)
Victoria 3 1/4x5 (1870)
Promenade 4x7 (1875)
Boudoir 5 1/4 x 8 1/2 (not known)
Imperial (life-size) 6 7/8 x 9 7/8 (not known)
Panel 8 1/4 x 4 (not known)
Stereograph Either 3 x7 or 4 x 7 (Smaller 1859 Larger 1870)

Preserving Your Family Photographs details identifying and caring for your card photographs.

Until the late 1880s, there were two ways to have your portrait taken. You could visit a professional studio or use the services of the amateur photographer in your family. These portraits lack spontaneity because it was an involved process.

Amateur cameras manufactured by Kodak and other companies allowed our ancestors to photograph their daily lives.

Different types of nineteenth century and early twentieth century prints develop problems based on the chemical processes used in their creation. Each photograph is a combination of photographic chemicals and paper. Both elements can affect the longevity of the print as much as conditions under which they’ve been stored since their creation.

In my book, you learn how to address special concerns for paper prints and avoid common damage to your historical photographs.

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 15 May 2010 14:00:00 +0000

Making the Flag

In the summer of 1813, Mary Pickersgill (1776–1857) was contracted to sew two flags for Fort McHenry in Baltimore, Maryland. The one that became the Star-Spangled Banner was a 30 x 42–foot garrison flag; the other was a 17 x 25–foot storm flag for use in inclement weather. Pickersgill, a thirty-seven-year-old widow, was an experienced maker of ships’ colors and signal flags. She filled orders for many of the military and merchant ships that sailed into Baltimore’s busy port.

Helping Pickersgill make the flags were her thirteen-year-old daughter Caroline; nieces Eliza Young (thirteen) and Margaret Young (fifteen); and a thirteen-year-old African American indentured servant, Grace Wisher. Pickersgill’s elderly mother, Rebecca Young, from whom she had learned flagmaking, may have helped as well.

Pickersgill and her assistants spent about seven weeks making the two flags. They assembled the blue canton and the red and white stripes of the flag by piecing together strips of loosely woven English wool bunting that were only 12 or 18 inches wide.

Floor Plan of Mary Pickersgill’s House
The huge 30 by 42–foot flag overwhelmed the cramped rooms of Pickersgill’s house. She moved the operation across the street to the more spacious Claggett’s brewery. There they assembled the pieces of the flag and placed fifteen cotton stars on the blue canton.

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 08 May 2010 14:00:00 +0000

A Moment of Triumph

By the “dawn’s early light” of September 14, 1814, Francis Scott Key, who was aboard a ship several miles distant, could just make out an American flag waving above Fort McHenry. British ships were withdrawing from Baltimore, and Key realized that the United States had survived the battle and stopped the enemy advance. Moved by the sight, he wrote a song celebrating “that star-spangled banner” as a symbol of America’s triumph and endurance.

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 01 May 2010 14:00:00 +0000

A View of the Bombardment of Fort McHenry

Print by J. Bower, Philadelphia, 1816. One of
the soldiers who was in the fort during the 25-hour
bombardment wrote, “We were like pigeons tied by
the legs to be shot at.”

America’s future seemed more uncertain than ever as the British set their sights on Baltimore, Maryland, a vital seaport. On September 13, 1814, British warships began firing bombs and rockets on Fort McHenry, which protected the city’s harbor. The bombardment continued for twenty-five hours while the nation awaited news of Baltimore’s fate.

Cased Images

noreply@blogger.com (The Photo Detective) — Wed, 28 Apr 2010 14:00:00 +0000

At almost every lecture, someone approaches me with a question about a small box or book-like
item they found in with the family photographs.

If you have one or two in your collection, treat them with care and respect. They are the earliest types of
photographs and provide you with a glimpse into life in the mid-nineteenth century.

Typically three types of images were placed in cases: daguerrotypes, ambrotypes and tintypes.

DAGUERREOTYPES
A daguerreotype is a sheet of polished silver covered in light-sensitive chemicals and exposed to light. The resulting portraits were initially crude and miraculous. Never before had individuals seen such a clear and unflattering portrait of themselves. The final product was a realistic portrait of an individual that could be obtained in a short period of time.

These images were one of kind. The technology did not exist to make multiple copies at the same time.

AMBROTYPES
Popular in the mid-1850s, they consist of a piece of glass coated with a photo chemical known as collodion, a mixture of gun cotton and ether. The end result is a negative image until backed with a dark piece of cloth or fabric. The image is then viewed as a positive.
Just like the daguerreotype, ambrotypes were a one of a kind image.

TINTYPES
Tintypes or Ferrotypes have a fascinating history. It was the first photographic process invented in the United States and its longevity is only surpassed by the paper print.

A tintype resembles a daguerreotype only because it is an image on metal. Unlike the daguerreotype and ambrotype, multiple tintypes could be made at a sitting. A tintype was inexpensive to produce, and it took less than a minute to walk out of a photographer’s studio with one in hand.

My Preserving Your Family Photographs book explains how to identify each of these forms of cased images along with care instructions.

If you think you may be in possession of a cased image and would like some help identifying it, please contact me at mtaylor@taylorandstrong.com.

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 24 Apr 2010 17:07:00 +0000

The Capital Captured

Angered by British interference with American trade, the young United States was intent on reaffirming its recently won independence. Instead, a series of defeats left Americans anxious and demoralized. They were stunned when, on August 24, 1814, British troops marched into Washington, D.C., and set the Capitol building and White House ablaze.

Restoring Damaged Photographs

noreply@blogger.com (The Photo Detective) — Wed, 21 Apr 2010 14:00:00 +0000

Unless you are extremely fortunate to have a collection in mint condition, at least a few of your family photographs will need to be professionally restored or conserved. There is a lot of confusion about these two processes.

Digital restoration is not conservation. The two terms are not interchangeable. Restoring an image is the process of re-creating the appearance of the object.

Conservation includes several steps such as object examination, scientific analysis, research, and evaluation of the object's condition. All conservation work involves treatment to prevent future deterioration.

Both conservation and restoration are time-consuming processes. Unless you are a trained chemist with a background in photographic conservation or a specialist in photographic restoration, you will want to hire a professional. A professionally-trained photographic conservator should handle your conservation work. Your attempts to remove damage could destroy your images.

Learn more about Preserving Your Family Photographs in my newly updated and revised book.

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 17 Apr 2010 14:00:00 +0000

The War of 1812

Although its events inspired one of the nation’s most famous patriotic songs, the War of 1812 is a relatively little-known war in American history. Despite its complicated causes and inconclusive outcome, the conflict helped establish the credibility of the young United States among other nations. It fostered a strong sense of national pride among the American people, and those patriotic feelings are reflected and preserved in the song we know today as the U.S. national anthem.

Britain’s defeat at the 1781 Battle of Yorktown marked the conclusion of the American Revolution and the beginning of new challenges for a new nation. Not even three decades after the signing of the Treaty of Paris, which formalized Britain’s recognition of the United States of America, the two countries were again in conflict. Resentment for Britain’s interference with American international trade, combined with American expansionist visions, led Congress to declare war on Great Britain on June 18, 1812.

In the early stages of the war, the American navy scored victories in the Atlantic and on Lake Erie while Britain concentrated its military efforts on its ongoing war with France. But with the defeat of Emperor Napoléon’s armies in April 1814, Britain turned its full attention to the war against an ill-prepared United States.

Does anyone have pictures of the War of 1812 veterans in their family? I'd love to see them. Email me at mtaylor@taylorandstrong.com.

Do You Recognize any of the Men in this Photograph?

noreply@blogger.com (The Photo Detective) — Wed, 14 Apr 2010 14:00:00 +0000

AN HISTORIC photograph has been discovered showing the workers who helped create one of North Yorkshire's most beautiful buildings.

As a £150,000 English Heritage project to revive their work at Manor House, Mount Grace Priory, near Northallerton, is currently under way, the modern day team has recreated the fascinating photograph.

The picture, which has been handed in anonymously by a local man, dates back to the 1890s and shows artisan workers employed by priory owner Sir Isaac Lowthian Bell.

To read the rest of the story Click HERE

Night at the Museum Series: The Star Spangled Banner

noreply@blogger.com (The Photo Detective) — Sat, 10 Apr 2010 14:00:00 +0000

For the Next 12 weeks I will be doing a blog post series based on the Star Spangled Banner. Stay tuned every Saturday for a new piece of the story provided by the Smithsonian.

On September 14, 1814, U.S. soldiers at Baltimore’s Fort McHenry raised a huge American flag to celebrate a crucial victory over British forces during the War of 1812. The sight of those “broad stripes and bright stars” inspired Francis Scott Key to write a song that eventually became the United States national anthem. Key’s words gave new significance to a national symbol and started a tradition through which generations of Americans have invested the flag with their own meanings and memories.

AIC: Caring for Your Treasures

noreply@blogger.com (The Photo Detective) — Mon, 05 Apr 2010 16:55:00 +0000

A photograph can be one of many processes in which light-sensitive media are employed to create a visible image. The prevalence of photographs allows us to forget that they are potentially fragile objects that can be easily damaged by careless handling, improper storage, and exposure to environmental influences such as light, humidity, and temperature.

In caring for a photographic collection, it is important to know that various components comprise the structure of a photograph. The interaction of these components, with each other and with their environment, has a lasting effect on the longevity of the image. Most photographs consist of a final image material, a binder layer, and a primary support. The final image material—commonly silver, platinum, organic dyes, or pigments—creates the image we see. The binder layer is a transparent substance such as albumen, collodion, or gelatin in which the final image layer is suspended. The binder and final image material are applied to a primary support, usually paper, glass, metal, or plastic. Although many photographs have this three-part structure, individual images may have additional components. For instance, color, coatings, original frames, and cases need to be considered as part of the photographic object.

Maintaining a Suitable Environment

Photographic materials benefit from a cool, dry, well-ventilated storage environment. High temperature and relative humidity increase deterioration and promote the growth of mold and mildew, which could mar surfaces and break down binder layers. Avoid storing photographs in the attic, the basement, or along the outside walls of a building where environmental conditions are more prone to extremes and fluctuations and where condensation may occur. In some storage situations, seasonal adjustments such as dehumidifiers or fans may be necessary to improve problematic environmental conditions.

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.

Choosing Storage Enclosures

Keep photographic materials in enclosures that protect them from dust and light and provide physical support during use. Chemically stable plastic or paper enclosures free of sulfur, acids, and peroxides are recommended. Plastic sleeves should be constructed of uncoated polyester, polypropylene, or polyethylene. They should not be frosted. Paper enclosures should have passed the Photographic Activity Test (PAT), a test designed to determine the safety of an enclosure in contact with a silver photographic image. If PAT test results are not available, choose paper enclosures that are lignin-free, 100 percent rag or alpha-cellulose fibers, and have a white or off-white color. Film-based negatives, which can produce acidic gasses as they age, should be stored separately from other photographic materials. Store cased objects, such as daguerreotypes and ambrotypes, in their original cases or frames with the addition of custom-made, four-flap paper enclosures to reduce wear and tear on fragile cases. Place individually housed prints, negatives, and cased objects in acid-free, durable boxes that will afford further protection.

The storage of photographs in albums serves the dual purpose of organizing groups of images while protecting them from physical and environmental damage. Albums can be wonderful sources of historic and genealogical information. Preserve them intact when possible and store them in custom-fitted archival boxes. Magnetic or self-adhesive albums can damage photographs and should not be used.

Displaying Photographs

Photographs should be protected from extended exposure to intense light sources. Limit exhibition times, control light exposure, and monitor the condition of the photographs carefully. Prolonged or permanent display of photographs is not recommended. Use unbuffered ragboard mats, and frame photographs with archivally sound materials. Use ultraviolet-filtering plexiglass to help protect the photographs during light exposure. Reproduce vulnerable or unique images and display the duplicate image; in this way, the original photograph can be properly stored and preserved.

Housekeeping Guidelines

An overlooked area of collection maintenance is keeping the areas where photographs are handled or stored clean and pest-free. Paper fibers, albumen, and gelatin binders are just some of the components in photographic materials that provide an attractive food source for insects and rodents. It is vital that collection areas be free of debris that might encourage pests. Food and beverages should not be allowed. Apart from the potential for attracting pests, accidental spills can irreversibly damage most photographic objects.

Handling Procedures

Most damage to photographs results from poor handling. A well-organized and properly housed collection promotes respect for the photographs and appropriate care in handling. When images can be located quickly, there is less possibility of physical damage. Establish handling procedures and adhere to them whenever photographs are being used. View photographs in a clean, uncluttered area, and handle them with clean hands. Wear clean white cotton gloves to lessen the possibility of leaving fingerprints and soiling the materials; however, be aware that gloves may reduce the manual dexterity of the user. Support photographs carefully and hold them with both hands to avoid damage. Keep photographs covered when they are not being viewed immediately. If it is necessary to mark a photograph, write lightly with a soft lead pencil on the reverse of the image. Do not use ink pens.

Disaster Preparedness

Disaster preparedness begins by evaluating the storage location and the potential for damage in the event of a fire, flood, or other emergency. It is important to create a disaster preparedness plan that addresses the specific needs of the collection before a disaster occurs.

The location and manner in which photographs are housed can be the first line of defense. Identify photographic materials that are at higher risk of damage or loss. Remove all potentially damaging materials such as paper clips and poor-quality enclosures. Store negatives and prints in separate locations to increase the possibility of an image surviving a catastrophe. If a disaster occurs, protect the collection from damage by covering it with plastic sheeting and/or removing it from the affected area. If using plastic, make sure not to trap in moisture as this could lead to mold growth. Evaluate the situation and document the damage that has occurred. Contact a conservator as soon as possible for assistance and advice on the recovery and repair of damaged materials.

Common Concerns and Solutions

The following problems are commonly encountered in photographic collections:

Broken, torn, or cracked photographs: If the primary support of a photograph sustains serious damage, place it carefully in a polyester sleeve with an archival board support. If the photograph has a flaking binder layer or friable surface components, such as the pastel coloring often seen on crayon enlargements, place it in a shallow box, not a polyester sleeve. Do not use pressure-sensitive adhesive tapes to repair torn photographs.

Soiled photographs or negatives: Do not clean photographs with erasers. Brush soiled photographs carefully with a clean, soft brush. Proceed from the center of the photograph outward toward the edges. Do not attempt to clean photographs with water- or solvent-based cleaners, such as window cleaner or film cleaner. Improper cleaning of photographic materials can cause serious and often irreversible damage, such as permanent staining, abrasion, alteration, or loss of binder and image.

Photographs or negatives adhered to enclosures: High-humidity environments or direct exposure to liquids can cause photographs to adhere to frame glass or enclosure materials. This is a very difficult problem to resolve, and great care must be taken to reduce the possibility of further damage. If a photograph becomes attached to adjacent materials, consult a photographic materials conservator before attempting to remove the adhered materials.

Deteriorated negatives: Chemical instability is a major factor in the deterioration of early film-based materials. If film-based negatives are brittle, discolored, sticky, or appear wavy and full of air bubbles, separate the negatives from the rest of the collection and consult a photographic materials conservator.

Broken glass negatives or ambrotypes: Place broken glass carefully in archival paper enclosures. Use a separate, clearly marked enclosure for each piece to reduce the possibility of scratching or further damage. For long-term storage, construct a custom sink mat that holds the pieces of broken glass, separated by mat-board shims, in one enclosure.

Article Provided by:

American Institute for Conservation

A 160-Year-Old Photographic Mystery

noreply@blogger.com (The Photo Detective) — Sat, 27 Mar 2010 11:56:00 +0000

I wrote about early color images in Family Tree Magazine in the March 2010 issue. Here's a story about Levi Hill, one of photo history's most intriguing people. He claimed to find a way to make daguerreotypes in color. This is from the Smithsonian Magazine. A 160-Year-Old Photographic Mystery

What Children's Book Influenced Your Life? Your Responses

noreply@blogger.com (The Photo Detective) — Thu, 25 Mar 2010 15:10:00 +0000

Theresa Berghoff wrote that A White Bird Flying by Bess Streeter Aldridge gave her an understanding of aging and death. It was a sequel to Aldridge's A Lantern in Her Hand.

Rose Marie Morrell of A Lifetime Remembered, LLC said that Winged Moccasins by Frances Farnsworth (out of print), a story about Sacajawea was influential. "After reading the book (on Christmas Day) when I was eight, I decided that I wanted to know the story behind the person who was a name on a page. Thus came my love of preserving personal histories to share each individual's unique life stories and celebrate their lives."

Janelle Walker Warden told me that her favorite children's book was Josea Areugo's Leo The Late Bloomer.

For Gayle Waite, it was Black Beauty by Anna Sewell. She wrote, "I was 4 when we got our first horse, Redwing."

With the exception of Winged Moccasins, the books mentioned are available on Amazon.com.

Thank you for sharing!!

YouTube - Faces of the Feebleminded

noreply@blogger.com (The Photo Detective) — Tue, 23 Mar 2010 17:16:00 +0000

If you've never watched Lorie Conway's DVD called Forgotten Ellis Island or seen the book, take a peek at this short video clip. The last time I was at Ellis Island some of these intelligence tests were on display. YouTube - Faces of the Feebleminded

Take time to scan the photos on Forgotten Ellis Island.

Emory University Saves Rushdie’s Digital Data - NYTimes.com

noreply@blogger.com (The Photo Detective) — Tue, 16 Mar 2010 12:08:00 +0000

Emory University Saves Rushdie’s Digital Data - NYTimes.com Here's a nice article on digital decay and what one archive is doing about it. Have you read the chapter on digital preservation in my recently revised Preserving Your Family Photographs book?

Family History Kids

noreply@blogger.com (The Photo Detective) — Sun, 07 Mar 2010 15:26:00 +0000

Thank you to the staff of Reunions Magazine for mentioning my website that focuses on kids and family history. It appeared in the Feb/Mar/Apr 2010 issue of Reunions magazine. The current issue is online through April 30, 2010. Click on the magazine cover on the home page to open the issue.

The Photo Detective

Vintage vibe: Gallery shows 'dags' from artist on the rise

Color Photographs - History and Background

The Field Museum: Chocolate Exhibit

Negatives Part 3: Safety Film

Negatives Part 2: Film

Weekend at the Museum: Photographic Fictions

Negatives Part 1: Glass

Weekend at the Museum: The Influenza Epidemic of 1918

Photographic Albums

Paper Prints

Night at the Museum Series: The Star Spangled Banner

Making the Flag

Night at the Museum Series: The Star Spangled Banner

Night at the Museum Series: The Star Spangled Banner

A View of the Bombardment of Fort McHenry

Print by J. Bower, Philadelphia, 1816. One of the soldiers who was in the fort during the 25-hour bombardment wrote, “We were like pigeons tied by the legs to be shot at.”

Cased Images

Night at the Museum Series: The Star Spangled Banner

Restoring Damaged Photographs

Night at the Museum Series: The Star Spangled Banner

Do You Recognize any of the Men in this Photograph?

Night at the Museum Series: The Star Spangled Banner

AIC: Caring for Your Treasures

Maintaining a Suitable Environment

Choosing Storage Enclosures

Displaying Photographs

Housekeeping Guidelines

Handling Procedures

Disaster Preparedness

Common Concerns and Solutions

A 160-Year-Old Photographic Mystery

What Children's Book Influenced Your Life? Your Responses

YouTube - Faces of the Feebleminded

Emory University Saves Rushdie’s Digital Data - NYTimes.com

Family History Kids

Print by J. Bower, Philadelphia, 1816. One of
the soldiers who was in the fort during the 25-hour
bombardment wrote, “We were like pigeons tied by
the legs to be shot at.”