This short class is intended to introduce participants to preservation of photographic collections.

1. A Top 10 list for the
Preservation of Photographs
LYRASIS Preservation Services
Funded in part by a grant from the National Endowment
for Humanities, division of Preservation and Access.

2. LYRASIS Preservation Services
We offer:
• Education and training: full-day workshops, live
online and self-paced classes.
• Information and referral: call us with your
preservation questions!
• Loan services: we have environmental monitoring
equipment available for loan.
• Publications: all types of preservation publications,
downloadable for free.
• Disaster assistance: We are available 24/7 to assist
you.
• Consulting: personalized assistance for your specific
preservation needs.

3. Welcome
• This short class is intended to introduce participants to a few
of the main topics in the preservation of photographs. Your
particular institutional needs will vary, dependent on the
particular types of photographs and film you are caring for.
• LYRASIS has a four-hour class dedicated to the preservation
of photographs, along with a wide variety of other classes
dedicated to preservation topics. For more information,
please visit:
– http://bit.ly/LYRPresHome (Main Preservation page)
– http://bit.ly/LYRClasses (List of classes)

4. 1. Photographs are Complex!
• Photographs constructed of many layers, all having
their own physical and chemical composition.
Support
Binder
Final Image Material
Baryt
a
Other Layers

5. Support
Binder
Final Image Material
Baryt
a
Other Layers
The binder (emulsion)
layer, holds the final
image material and can
be constructed of
collodion, albumen, or,
for most 20th century
prints, gelatin.

6. Support
Binder
Final Image Material
Baryt
a
Other Layers
The final image
material is most
commonly silver (for
20th century prints)
but can be iron
salts, dyes, or
pigments (like
digital print
processes).

7. Support
Binder
Final Image Material
Baryt
a
Other Layers
The support (or base)
materials can range
from copper
(daguerrotypes), steel
(tintypes), glass (early
negatives), and from
paper to plastics.

8. Support
Binder
Final Image Material
Baryt
a
Other Layers
The Baryta layer
makes the final image
clearer and crisper to
view, as it smoothes
and brightens the
background. It usually
consists of an
opacifier such as
titanium dioxide mixed
with a binder.

9. Support
Binder
Final Image Material
Baryt
a
Other Layers
Other layers can
consist of shellacs or
lacquers to protect
the final image, or
plastic coatings to
keep image from
curling, and also offer
image protection.

10. • The Image Permanence Institute has
excellent resources to investigate the
construction of photographs; the
Graphics Atlas and Digital Sample Book.
– http://www.graphicsatlas.org/
– http://digitalsamplebook.com/compare.asp
via: https://www.imagepermanenceinstitute.org/

11. 2. Inherent Vice
• Because of their complex structure,
photographs are commonly
associated with the term Inherent
Vice.
• The term refers to the “tendency of
material to deteriorate due to the
essential instability of the
components or interaction among
components.”
• SAA Glossary of Archival and Records Terminology
:
•http://www.archivists.org/glossary/

12. • We can take this image of a
glass plate negative for example.
• The glass layer of this negative is
affected by temperature and
relative humidity differently than
the emulsion layer, which will
swell in the presence of high
humidity and shrink in dry
conditions.
• Each layer can expand and
contract at different rates,
exaggerated with changes in
environment. This places great
stress on the separate materials
that are trying to “get along”
together.

13. • We can’t control everything when it comes to
photographs, but…
– Proper storage
– Proper handling
– Proper environment
…can greatly improve the longevity of our
collections!
Can we prevent inherent vice?

14. 3. Environment Matters
• Environmental control is the least expensive
and most effective preservation strategy,
and can include the following factors:
– Temperature
– Relative Humidity
– Light
– Insects and Pests
– Mold
– Atmospheric pollutants

15. • Environment is the single most effective means
of extending the life of a collection.
• By changing and controlling our environment,
we can greatly slow the deterioration process.
Here are a few online resources that outline
ideal conditions for photographs and other
collections:
– LYRASIS:
• http://bit.ly/envirospecs
– CoOL:
• http://cool.conservation-us.org/bytopic//environment/

16. 4. The Light, It Burns!
• Light damage is cumulative and
irreversible. Once a photograph
begins to fade, there is no bringing it
back!• Historic 19th
century photographs
and color photographs should be
kept at lower light levels than
modern black-and-white
photographs. Light levels for
original materials in exhibits
should be kept as low as
possible, but high enough to
allow patron viewing.

17. • Levels for historic and color photographs
should be in the range of 3-10 footcandles
(30- 100 LUX).
• Although some modern photographs can
be exhibited under much brighter
conditions (up to 20 footcandles), it is best
not to exceed 10 footcandles whenever
possible.
• You can borrow a light meter from
LYRASIS to determine if your exhibit
conditions are acceptable:
– http://bit.ly/LYRenviroloan

18. Protect from light damage
• Keep all photographs out of direct sunlight.
• Use UV filtering glass/plexiglass when
framing materials for display. (along with using
PAT tested framing materials- more on PAT later)
Windows and light fixtures may be UV
filtered as well.
• Turn off room lights when not in use
• Keep all photographs foldered and boxed.
• Use a light meter to determine acceptable
lighting conditions for exhibition.

19. 5. Know Your Materials:
What does “archival” mean, really?
• Many common phrases such as “archival” and “photo-safe”
are meaningless unless they are used with an associated
standard.
• The standard you should look to for storing photographic
materials is the PAT- or Photographic Activity Test- which is a
worldwide standard (ISO Standard 18916) for archival quality
in photographic enclosures.
– You will want to ensure you are using quality products by purchasing
from a reputable vendor. LYRASIS and other regional preservation
centers can help.

20. Look for PAT tested
• Developed and Performed by the Image
Permanence Institute, this test is
basically a torture test for potential
paper and plastic housings for
photographs.
• The test essentially “pressure cooks” a
sandwich of samples and reactant
materials in a temperature and
humidity-controlled chamber at 158 F,
86% RH, to simulate aging, and
predicts possible interactions between
photographic images and the
enclosures in which they are stored.
– The PAT can also test the individual
components of enclosures, such as
adhesives, inks, paints, labels, and tapes.

21. 6. Layers of Protection
• Once you buy the appropriate
PAT tested materials, creating
a microenvironment can be a
very effective buffer for your
materials and a fluctuating
environment. This multi-level
approach to protecting
collections has been used for
years in the archival
community.

22. • Sleeve photos
– You can first sleeve your photos in paper or plastic PAT tested
enclosures- and there are benefits to each, and both are
available in a wide variety of shapes and sizes, depending on the
object at hand.
• Paper blocks light, is less expensive and does not generate static
which is important for fragile emulsions
• Plastic allows users to view the photograph without having to handle
it further by removing it from the paper sleeve.
• Folder in Boxes
– These sleeved photos can then go with like-sized materials in
folders and placed in boxes
• Be sure to have the appropriate size box to hold the folders, i.e.
letter-size box for letter folders, legal size for legal folders etc. This is
to prevent unnecessary shifting that would occur with a letter folder
in a legal box, for example…
• Support from slumping
– Whether stored vertical or horizontal, be sure to protect from
slumping with archival spacers and padding material.

23. 7. Consider Cold Storage
• There are some materials that can benefit from further
protection than microenvironments. These materials are
vulnerable to deterioration at normal room temperature storage
conditions. The two most common materials are:
• Cellulose acetate film and negatives
• Introduced in the 1930’s as an alternative to the hazardous Nitrate
base, this “Safety” film (and it’s close cousins) was available as
35mm and amateur film bases, cut sheet film and microfilm
through the 1980’s
• This material is prone to vinegar syndrome, a deterioration which
causes shrinking of the base material and buckling of the final
image layer.
• Color film and photographic prints
• Color prints also have low recommended storage temperatures
because of the fugitive nature of many of the dyes used to
produce the color image. We probably have all seen many of our
personal color photos subject to fading at room temperature even
when they are kept in the dark! (i.e. pink 1970’s prints)

24. Recommended storage temperatures
• Because these temperatures are not achievable in our
regular collections storage areas, institutions are choosing
cold or frozen storage to arrest the deterioration of their
materials, either as a method or arresting deterioration
before reformatting, or as long-term storage.
• As we can see here recommended storage
conditions for these material types, the
temperatures are much lower than our average
collections storage temperatures.
– Cellulose Acetate:
• B&W 35°F and 20-50%RH
• Color 14°F and 20-50% RH (up to 35°F for
polyester)
– Color Prints: 35°F and 30-40% RH

25. • The Image Permanence Institute has been instrumental in
researching cellulose acetate deterioration:
– https://www.imagepermanenceinstitute.org/resources/publications#aceta
• If you are interested in investigating cold or frozen storage
for your acetate/color materials, here are a few links that
discuss packing methods:
– National Park Service: Cold storage interactive training program:
http://www.nps.gov/history/museum/coldstorage/NPSColdStorage.swf
– Cold Storage of Cultural Artifacts by Tim Vitale:
http://videopreservation.conservation-us.org/library/cold_storage_of_cultu
– LYRASIS’ Cold Storage of Photographic and Film Materials:
http://bit.ly/LYRcoldstorage

26. 8. Care and Handling
• Never touch the emulsion/image side of the photograph.
– It is recommended to use clean cotton gloves or nitrile gloves when
handling photos. Always have clean washed hands, and do not use
anti-germ goop or hand lotion when working with any original
materials.
• Never clean the emulsion/image side of the photograph.
– Deacidification sprays and photo cleaners ARE NOT designed for
historic photographs!!
• When in doubt, contact a conservator
– Rule of thumb, if you don’t know or are unsure, DON’T DO IT.
Historic items are damaged every day by the well-intentioned and
misinformed.
– American Institute for Conservation- Find a Conservator Link:
http://www.conservation-us.org/index.cfm?
fuseaction=Page.viewPage&pageId=495&parentID=472

27. • Mark only with pencil using LIGHT pressure
– If you need to mark on a photo- only use pencil and do so with very
light pressure on the back. Marking with ink can bleed and stain,
heavy pressure even with pencil or pen can bubble and damage
emulsion on the opposite side.
• Photos shouldn’t touch each other
– If you have any scrapbooks with facing photographs, interleaving
will be necessary- when emulsion makes contact with another
photo- or even glass in an unmatted frame, the emulsion can stick,
which is often permanent and unrepairable damage.
• Security Issues
– If you make your materials available for use, remember that people
are very attracted to the imagery of photographs. Always have a
staff member present if allowing others to view original materials-
creating access copies can negate this issue.

28. 9. Plan for Disaster!
• Do you have a disaster plan? Does it
specifically mention photographs?
• Photographs have different
treatment and handling than other
materials when salvaging.
• Talk to disaster recovery vendors that
have experience with the types of
cultural heritage materials that you
have at your institution. Going with
the lowest bidder or local firms with
no experience can be disastrous to
your collections. LYRASIS can help
you find a vendor to consult with.

29. • A few leaflets specifically tied to salvage of
photographs:
– CCAHA: Salvaging Photographic Collections
• http://www.ccaha.org/uploads/media_items/technical-bulletin-
salvaging-photographs.original.pdf
– NEDCC: Salvage of Photographs
• http://www.nedcc.org/free-resources/preservation-leaflets/3.-
emergency-management/3.7-emergency-salvage-of-wet-
photographs
• You can find a lot of other information on
disaster resources through LYRASIS:
– http://bit.ly/LYRdisasterresources

30. 10. Promote preservation and
understanding of photographic materials
• Educate patrons on proper
use and handling.
• In exhibits, like this image
shows, we can use
surrogates to promote our
local and national history
and prevent damage to
original materials which is
our mission to preserve. Photographic surrogates on
display at the Georgia Archives

31. • You can also investigate grants for storage and
housing of photographs and other collections
materials, conservation, needs assessments, and
disaster planning!
– National Endowment for the Humanities
• http://www.neh.gov/
– Institute of Museum and Library Services
• http://www.imls.gov/
– National Historical Publications and Records Commission
• http://www.archives.gov/nhprc/
– State Historical Records Advisory Boards
• http://www.statearchivists.org/shrabs.htm

32. Follow Us on
• http://www.facebook.com/LyrDigPres

33. Thank You!
Contact us if you have any questions
LYRASIS Preservation Services
preservation@lyrasis.org
1-800-999-8558