Sunday, October 23, 2011

Week 5 (October 17 - 21)


Day 21 (Monday, October 17)
  • Trip to Washington


Day 22 (Tuesday, October 18)
  1. National Air and Space Museum
  2. National Museum of the American Indian
  3. National Museum of American History




Day 23 (Wednesday, October 19)
  1. Appointment with Connie McCabe, Sarah Wagner and Alisha Chipman
  2. Ongoing treatments at the Photoconservation Department of the Gallery


Day 24 (Thursday, October 20)
  1. Appointment with Andrew Robb, Dana Hemenway and Holly Kruger
  2. Ongoing treatments at the Conservation Department of the Gallery



Day 25 (Friday, October 21)
  • Return to Andover

Tuesday, October 18, 2011

Week 4 (October 10 - 14)


Day 16 (Monday, October 10)


Day 17 (Tuesday, October 11)
  • Photo documentation of 10 damaged photographs after conservation treatments

Day 18 (Wednesday, October 12)
  • Conservation treatment
  1. Photo documenting the condition of the print before treatment
  2. Removing the photo from the window mat
  3. Removing the pressure sensitive tape using heat and crepeline eraser
  4. Surface cleaning of the image with vulcanized rubber sponge to reduce grime
  5. Surface cleaning of the back with polyvinyl eraser
  6. Mending the creases with starch paste and Japanese paper
  7. Humidification and flattening using a Gore-Tex like sheet (EPIC)
  8. Flattening in a press
  9. Mounting on a board using T-hinges
  10. Photo documenting the condition of the print after treatment

Day 19 (Thursday, October 13)

Day 20 (Friday, October 14)
  • Digital prints
  1. Digital exposure to chromogenic paper
  2. Digital exposure to silver dye bleach paper
  3. Digital exposure to silver gelatin fiber based paper
  4. Digital exposure to chromogenic transparency film
  5. Digital exposure to silver gelatin film
  6. Fuji Pictography
  7. Direct thermal (D1T1)
  8. Direct thermal transfer (D1T2)
  9. Dye diffusion thermal transfer (D2T2) also known as dye sublimation
  10. Electrophotography (black and white dry toner)
  11. Electrophotography (color dry toner)
  12. Electrophotography (liquid toner)
  13. Inkjet (liquid, pigment based, DOD) on fine art paper
  14. Inkjet (liquid, dye based, continuous) on fine art paper
  15. Inkjet (monochrome liquid, DOD) on fine art paper
  16. Inkjet (liquid, pigment based, DOD) on uncoated paper
  17. Inkjet (liquid, pigment based, DOD) on coated paper
  18. Inkjet (liquid, pigment based, DOD) on coated RC paper
  19. Inkjet (liquid, dye based, DOD) on coated RC paper
  20. Offset printing with AM screening
  21. Offset printing with FM screening
  22. Pigment transfer process from digitally produced separation negatives
  23. Thermal autocrome

Friday, October 14, 2011

Ataraxia Pigment Print

The Ataraxia process for pigment prints is a blend of nineteenth century methods and modern digital technologies. The prints made with this process have exquisite tone and color quality and also exceptional stability. Light-fast pigments dispersed in hardened gelatin layers on a white polyester (Melinex) support, account for this combination of great visual values and a 500 year life expectancy.

The origin of the process dates back to the discoveries of the French inventor Louis Ducos du Hauron (1837 - 1920), who not only conceived most color photographic systems, but also was among the first to make a color print on paper support in 1868. He used pigmented gelatin layers that had been sensitized with bichromate and could be hardened and rendered water-insoluble by exposure to sunlight. Color images were possible by assembling hardened cyan, magenta, yellow and black gelatin relief images on a white paper base, made in this way from three-color separation negatives.

The Ataraxia process requires the generation of four-color separation negatives that have the same size as the final print. These are made from negative or positive transparencies, reflection prints, graphic renderings, digital files, graphic arts or laser image setter. In next step, a pre-registered, laser-exposed color separation negative is contact printed onto a pigment gelatin foil with automatically controlled, high intensity light. Then, the exposed foil is wetted and adhered to the surface of white-opaque polyester sheet. Immersion of this sandwich in warm water cause the unexposed, unhardened gelatin to dissolve, leaving a hardened gelatin relief image on the polyester base. Finally, the image layer is stabilized and dried.

This procedure is carried out in sequence for the cyan, magenta, yellow and black image components to yield the complete image assembly. Standard support for this prints is polyester, but can be also high-quality watercolor paper. This variation requires the double-transfer of the pigmented layer assembly onto the paper support.

The Ataraxia process can also be a high-quality black-and-white print, whose image is formed by black carbon particles embedded in gelatin.

Atarxia Carbon Print on Melinex Substrate

Many thanks to Monique Fischer, Senior Photograph Conservator at NEDCC who kindly gave me the Ataraxia print from her collection to illustrate this post.

Tuesday, October 11, 2011

Week 3 (October 3 - 7)


Day 11 (Monday, October 3)
  • Trip to New York


Day 12 (Tuesday, October 4)
  1. Class with Nora Kennedy on Identification of Photographs
  2. Ongoing treatments at the Photoconservation Department of the Museum



Day 13 (Wednesday, October 5)
  1. Appointment with Lee Ann Daffner
  2. Ongoing treatments at the Photoconservation Department of the Museum
  3. Visit to the Storage facilities at the Museum





Day 14 (Thursday, October 6)
  1. Appointment with Peter Mustardo
  2. Ongoing treatments at the Studio


  • An Evening with Diane Arbus and Marvin Israel


Who is Marvin Israel? (2005) is a short documentary directed by Neil Selkirk, on the life and work of the enigmatic Marvin Israel (1924 – 1984), artist, designer, art director and teacher. Israel's influence on Diane Arbus, Richard Avedon and Lee Friedlander, among others, is explored in the words of those who knew him.


The Slide Show and Talk by Diane Arbus is an original audio recording of a 1970 slide presentation by Diane Arbus in which she speaks about photography using her own work and other photographs, snapshots and clippings from her collection. Compiled and edited by Neil Selkirk, Doon Arbus and Adam Shott.


Day 15 (Friday, October 7)
  • Return to Andover

Tuesday, October 4, 2011

Week 2 (September 26 - 30)


Day 6 (Monday, September 26)


  • Photographic Negatives
  1. Negatives on Paper
  2. Negatives on Glass: Wet plate Collodion Negatives, Dry Plate Gelatin Negatives
  3. Negatives on Plastic Support: Nitrocellulose Negatives, Acetatcellulose Negatives, Polyester Negatives



Day 7 (Tuesday, September 27)

  • Conservation treatments of damaged photographs
  1. Remounting of photograph and old mount’s facing paper onto a new board using silicone release paper and dry mount tissue (SEAL BufferMount)
  2. Making the four-flap box for daguerreotypes from Bristow Library Board





Day 8 (Wednesday, September 28)

  • Conservation treatments of damaged photographs
  1. Humidification and flattening of photographic print using a Gore-Tex like sheet (EPIC)
  2. Enclosure for broken glass plate negatives of Corrugated board, Mylar and MicroChamber paper
  3. Enclosure for broken glass plate negatives of 2 pieces of glass, Corrugated board and Mylar




Day 9 (Thursday, September 29)

  • Color photography
  1. Autocromes
  2. Chromogenic process
  3. Cibachrome (Ilfochrome)
  4. Dye Transfer process
  5. Dye Bleaching process

Day 10 (Friday, September 30)


  • Conservation treatments of damaged photographs
  1. Mending the tears on chromogenic color print using Starch paste and Japanese paper RK-27
  2. Matting and framing the chromogenic color prints
  3. Making of 4-flap enclosures for Autochromes and Lantern slides

Friday, September 30, 2011

Autochrome Lumière


Patented in 1903 by the Lumière brothers in France and first marketed in 1907, the Autochrome was one of the few commercially successful additive color processes, available since 1907 until 1935.

Autochromes are color transparencies on glass plates that are viewed either in special viewers called diascopes or projected onto a screen. They were also commonly placed on window panes using a brass frame with two suspension hooks.


Autochromes were made by coating a glass plate with a mosaic of minute potato starch grains dyed to approximate the primary additive colors of light. This was then coated with a panchromatic silver emulsion. Exposed in a camera so that the color mosaic filtered the light before it reached the emulsion layer, the plate was processed to create a black-and-white positive. This, in combination with the color mosaic, created a photographic image in natural colors.



All the information about this early color process you can find here

Many thanks to David Joyall, Senior Photographer at NEDCC who kindly gave me the Autochromes from his collection to illustrate this post.

Tuesday, September 27, 2011

Week 1 (September 19 - 23)


Day 1 (Monday, September 19)


  • Process ID
  1. Cased photographs: Daguerreotype, Ambrotype, Tintype
  2. Photographic prints: Salted Paper Prints, Albumen POP, Glossy Collodion POP, Matte Collodion POP, Gelatin Silver POP, Gelatin Silver DOP, Platinum Print
  3. Photomechanical prints: Letterpress Halftone, Collotype, Photogravure



Day 2 (Tuesday, September 20)

  • Before treatment photo documentation of 10 damaged prints
  • Surface cleaning of damaged photographs
  1. Dry cleaning with Vulcanized rubber sponge, Eraser crumbs and Polyvinyl eraser
  2. Cleaning with solvents (Water, Water and Ethanol, Ethanol)




Day 3 (Wednesday, September 21)

  • Conservation treatments of damaged photographs
  1. Reinforcing the corners with Starch paste and Japanese paper RK-27
  2. Reinforcing the tears in the paper support with Starch paste and Japanese paper RK-27
  3. Washing in filtered water


Day 4 (Thursday, September 22)

  • Conservation treatments of damaged photographs
  1. Removing the photograph from the secondary support
  2. Light bleaching to reduce the staining
  3. Making inserts for losses using Japanese paper RK-29
  4. Toning of the inserts harmonious with the surrounding areas
  5. Electrocleaning of the Daguerreotypes




Day 5 (Friday, September 23)

  • Conservation treatments of damaged photographs
  1. Lining of the photograph and old mount's facing paper with Starch paste and Japanese paper RK-27
  2. Making Daguerreotype housing (Modern Adaptation of the Robert Cornelius housing designed by George Eastman House Conservation Department)