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 A Giclée print is quite different, using no chemistry or light sensitivity.Topics in Photographic Preservation 2005, Volume 11, Article 3 (pp. Many customers think that a ‘digital print’ has to be a Giclée print but this is not so. So a digital C Type (Chromagenic) is a traditional photographic print, made from a digital file rather than a negative. The second part of the traditional process is much the same however: the paper is processed in a photographic developer, followed by bleach fix before being washed to remove the processing chemicals. With a digital C Type (Chromagenic print) this part of the process is controlled from a computer and the paper is exposed using lasers or LEDs rather than a bulb. In an analogue setting, an enlarger, an optical apparatus similar to a slide projector, projects the image of a negative onto a sheet of photographic paper whilst controlling focus, intensity and duration of light. A digital C Type or Chromagenic print is any photographic print that has been exposed using digital technology, rather than traditional analogue (otherwise known as ‘darkroom’) techniques.
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