Image unity is necessary for the proper use of aerial photographs and inpainting was not considered to be an appropriate option. Most of these tears were “sprung” and could no longer be aligned for proper mending. Unfortunately, several dozen prints had tears measuring four inches or more. In order to facilitate researcher access, the prints were passively humidified through Tyvek® fabric and dried under blotters and weight. The double-weight gelatin silver developed-out prints measured 24″×36″ and larger. Case Study #1: Sprung Tearsĭuring the late part of 2002, 110 tightly rolled aerial photographs came into the National Archives and Records Administration (NARA) Document Conservation Laboratory for treatment. Through a wide-ranging literature search, numerous conversations with industry professionals and other conservators, three small investigative experiments, and two treatment case studies, I have compiled some observations, and possible explanations, about the nature of gelatin silver prints. While there are a number of articles written about film-based gelatin materials, prints remain largely ignored (Adelstein, etal., 1997 Calhoun and Leister, 1959). Unfortunately, there are surprisingly few treatment articles in the conservation literature about the humidification of gelatin silver prints. In considering the challenges of humidification and flattening, I attempted to gain a better understanding of the gelatin/paper relationship during treatment. As most conservators come to realize, “flattening” is a relative term. In these situations, reducing distortions through humidification and flattening may be the best option. Such factors can include: mounts that can or should not be removed, water soluble retouching or inscriptions, vulnerable emulsions, or even project size or scope. However, factors can occasionally come into play making aqueous treatment risky or undesirable. Photographs suffering from physical distortions are commonly brought into the conservation lab for treatment. Practical implications for treatment are given, including a treatment tip for aligning “sprung” tears.
Passive versus direct humidification techniques are considered in relation to reducing print curl. The morphology of gelatin is discussed in relation to print drying techniques. This article discusses experiments by the author that may help explain the mechanism of print curl. The direction of the curl is consistent and predictable based on the grain direction of the paper. Print curl can be a common, unwanted result of humidification and controlled drying of gelatin silver developed-out prints.
Presented at the 2004 AIC Meeting in Portland, Oregon Abstract 6-16) Issues in Humidification and Drying of Gelatin Silver Prints Brenda Bernier Today, as fewer and fewer photographers are working in darkrooms, gelatin silver printing is quickly becoming an antiquated, historic process.Topics in Photographic Preservation 2005, Volume 11, Article 3 (pp. Color photography was considered a commercial medium, not suited to serious artistic expression. Until the 1970s, art photographers used this process almost exclusively to create high-quality black and white prints. Properly exposed gelatin silver prints are quite stable if exhibited under controlled light conditions.
A negative image is transferred to light-sensitive paper that has four layers: a paper base, a white opaque coating of gelatin and barium sulfate that creates a smooth surface, the gelatin layer that holds the silver grains of the photographic image, and a protective gelatin overcoat.
Gift from the Christian Keesee Collection, 2016.041.īefore the advent of digital technology at the end of the twentieth century, the gelatin silver process had been the most commonly used method of making black and white prints since the 1890s. Brett Weston (1911-1993), Mountains and Clouds, New Mexico, c.
0 kommentar(er)
