Salvaging Photograph Collections

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C ONSERVATION C ENTER for Art and Historic Artifacts Disaster Recovery Salvaging Photograph Collections

hotograph collections are firefighters’ hoses—and photographs DISASTER PREPAREDNESS susceptible to damage from may be permanently disfigured. This The wide variety of ways to process Pcatastrophic disasters of all technical bulletin focuses on procedures photographs, as well as differing methods types, including floods, fires, hurricanes, for responding to water emergencies. In of mounting and presenting them, make prompt and informed attention crucial in and tornadoes. In most such disasters, all such emergencies, it is essential to the wake of a disaster. To minimize loss and as well as in smaller emergencies, water first seek the advice of a photograph destruction, a well-organized and efficient damage is widespread—whether from conservator with experience in salvaging disaster recovery program must be in place. A coordinated disaster planning effort leaking or burst pipes, flooding, or water-damaged materials. that is reviewed and updated regularly is a D ISASTER R ECOVERY T ECHNIQUES Guidelines for Disaster Response

FLOODS, HURRICANES, more. Rehumidification of affected material following drying is required to prevent TORNADOES, STORMS, embrittlement. AND LEAKING PIPES Freeze-drying may irreversibly alter a photograph’s surface character, creating a mottled and imperfect surface. Therefore, RECOVERY OPTIONS freeze-drying is not appropriate for photograph collections of high aesthetic Water damage presents complicated chal- or artifactual value. Surface damage from lenges and often requires an immediate freeze-drying, however, typically will not response. Damp or saturated photographic affect a negative’s ability to be duplicated materials must be attended to within 48–72 or copied successfully. Vacuum freeze-drying hours. Mold grows after 48 hours in envi- techniques may thus be especially useful ronmental conditions above 65% relative for recovering large collections of sheet- humidity and 70°F. During this time, pho- film negatives. Never freeze-dry wet collodion tographic emulsions and binder layers may processes (including glass negatives, ambrotypes, also soften and dissolve, and stacked pho- and tintypes), as they may be destroyed. tographs and/or photographs in albums In all cases, vacuum thermal drying, may permanently adhere to each other. in which photographic materials are Collodion print portrait (c. 1900) adhered to A variety of recovery procedures, dried in cycles of freezing and thawing glass following a flood. including air-drying, freezing, and vacuum or at temperatures slightly above freeze-drying, may be considered. An freezing, must be strictly avoided. first step in helping to protect an institu- understanding of these techniques and Vacuum thermal drying carries a much tion’s staff, visitors, and the collections their effect on photographic materials greater risk of expansion, distortion, themselves. Disaster planning requires is essential. adhesion of print surfaces, and staining. considerable staff time, as well as support from the administration. An emergency Air-drying is most suitable for small numbers organizational chart specifying staff roles of damp or slightly damp materials. The SPECIAL CONSIDERATIONS AND and responsibilities must be prepared and • air-drying method is the most gentle and SALVAGE PRIORITIES understood by all employees. Emergency potentially least damaging of all drying supplies must be collected; necessary serv- methods. However, air-drying of water- Resistance of photographic materials to ices and expertise must be identified and damaged photographic materials is extremely water damage depends upon the type of their availability confirmed; emergency labor-intensive, can occupy substantial space, photograph and its physical condition, mitigation procedures must be outlined; and, most important, requires considerable the extent of handling during recovery and cleanup materials such as plastic to care and expertise. operations, total immersion time, and cover collection materials, brooms, mops, water temperature and pH. soft brushes, squeegees, blotting papers, and Freezing to help retard further deterioration In general, black-and-white photo- paper toweling should be purchased and by water or mold may be necessary graphic prints appear more resistant to stored in centralized locations throughout • if the materials cannot be treated immedi- water damage than contemporary color the collections. ately. Storage at low temperatures buys materials. Photographic film-base negatives Photograph collections should be time in which to safely plan and organize in good condition are less likely to properly housed in individual enclosures the many steps needed to dry the affected deteriorate than print materials. Some and protective boxes or cabinetry and materials and to prepare a rehabilitation photographic materials (such as salted separated according to type (negatives site. Collections should be packed into paper, albumen, platinum, cyanotype, should be separated from prints, glass plates boxes and transported in refrigerated and most photomechanical processes) can from film base, etc.). Proper housing makes trucks to freezer facilities. Small quantities survive water immersion for 48 hours or these materials less vulnerable to damage of materials may be successfully frozen in more, whereas others are irrecoverable. All and can also facilitate salvage efforts. commercial freezer units. things being equal (this is rarely the case), Storing similar materials together can save it may be advisable to salvage prints prior time and further help to define recovery Vacuum freeze-drying may be a preferable to negatives and color materials prior to priorities. The careful use of individual alternative in some situations. In this black-and-white. polyester, polypropylene, polyethylene, and • method, photographic materials—either Deteriorated nitrate and safety films paper enclosures will protect photographs wet or frozen—are placed in a vacuum are extremely susceptible to water damage, from bleeding inks, severe staining, soot, chamber. As the vacuum is pulled, a and in many situations will not survive and other damaging particulates. At all low heat source is introduced and the immersion of any duration. The image- times, photographic materials must be photographs are carefully dried at tempera- bearing gelatin binders on deteriorated housed at least 12 inches off the floor to tures below freezing. Completion of the nitrate films, for example, may be immedi- help guard against unnecessary damage and drying process may take two weeks or ately dissolved, leaving the discolored destruction. nitrate film support intact. Acetate films will become further distorted, in some

2 cases trapping water within the film’s Following prolonged immersion in water, during recovery operations. Careful layered structure. stabilized or rapid-access prints may begin planning must be directed to ensuring Following immersion, antihalation to print out (turning pink in color) as they the most appropriate, safe, and efficient dyes in both nitrate and acetate sheet film are air-dried and exposed to ambient light. recovery procedures. may bleed severely, and may irreparably During this assessment, collections stain adjacent and absorbent print materials. should be removed from shelves and These dyes, which are incorporated into INITIAL STEPS examined. Affected collection materials the gelatin layer on the reverse side of must be carefully relocated to a controlled the film base and are often blue or pink in Before beginning any salvage operation, and clean environment. Clear all entrances color, may significantly intensify following appropriate staff members should be and aisles of collection materials first. prolonged immersion. Regeneration of alerted and a recovery team coordinator Attempts should be made to recover these dyes appears to be directly influenced appointed. Throughout the salvage effort, the maximum number of materials in by the water’s acidity level. team members should be acutely aware a manner that will minimize the need Contemporary dye imbibition of personal safety; respirators, protective for further conservation treatment. (absorption) color processes such as gloves, boots, and hard hats should be Documentation procedures should dye transfer; wet collodion processes worn when necessary. Team members be followed for accurately recording the including ambrotypes and tintypes; and should be explicitly trained in the care extent of damage, especially for destroyed early additive color processes including and handling of water-soaked photographic materials. A detailed written and photo- autochromes will also be irreversibly materials; improper handling of wet, graphic record should be made for insur- damaged following immersion and are best sodden, and/or soot-covered materials ance purposes. protected by eliminating the threat of water can result in extensive damage. Moreover, In the event of widespread damage, damage. These materials should be stored in personnel should be instructed to always salvage priorities must be identified based rigid polypropylene containers, polyethylene emphasize care over speed. As stated on media type, value, and extent of bags, or watertight cabinetry. earlier, professional conservation advice damage (see previous section on “Special Similarly, stabilized black-and-white should be sought before any recovery action Considerations and Salvage Priorities”). prints must be protected from water dam- is undertaken. It is vital that such priorities be established age. Stabilization processing, introduced While awaiting permission to reenter during the disaster planning process. in the 1940s, shortens processing time the affected building, supplies must be Informed and proper decisions about the for contemporary black-and-white print assembled, a work site established, and relative value and importance of collection materials by eliminating the fixing and service vendors contacted. Following reen- materials should not be made in haste. washing stages of conventional processing. try, an initial assessment of damage should The importance of careful planning Rapid-access processing has been used for identify the size, type, and condition of cannot be overemphasized. industrial, military, and scientific applica- the photograph collections affected. Where possible, the relative humidity tions, as well as in advertising, document Once the damage has been assessed, within the affected space should be reproduction, and newspaper production. specific plans and priorities for salvage reduced and air circulation increased. Stabilized or rapid-access prints are likely should be developed as quickly as possible. Constant air flow is necessary to reduce to be found in newspaper or business Avoid devoting too much time initially to the threat of mold. Turn off the heat, archives and may be identified by a faded a small group of items at the expense of the open windows and doors, and use dehu- silver image, often appearing brown or photograph collection as a whole. In addi- midifiers and fans. It may be necessary brown-black in color with discolored and tion, incomplete appraisal of damage can to install portable generators. degraded highlights and a characteristic result in the destruction of photographic Materials to be air-dried should be brown staining at the reverse outer edge. materials as well as in unnecessary confusion systematically packed in numbered and reinforced cardboard boxes or plastic crates Conservation Center (indicating type or condition of contents) staff triaging the and transported to a clean, uncluttered emergency treatment work space. “Human chains” can be used of a photographic to efficiently move affected materials. To archives collection avoid unnecessary damage, do not remove damaged in a wet materials in large batches. basement flood. Materials to be frozen should be wrapped in or interleaved with wax paper, carefully packed into sturdy boxes, and removed to refrigerator trucks or directly to freezers. Rare or unusually valuable materials should be prepared for freezing separately, so that they can be readily located and identified prior to drying. Wet photographic materials must not be packed too tightly or distortion may result.

3 AIR-DRY I N G : Water stains on GENERAL RECOMMENDATIONS an albumen print (c. 1850). If possible, damp or water-soaked historic and contemporary photographic materials should be air-dried. In air-drying, the following precautions and guidelines must be followed:

• To minimize the effects of water damage, keep immersion time to an absolute minimum. Some photographic materials will not survive immersion of any kind. must not be touched or handled in any • Replace drying supports as they become • Treat least-stable items first. If possible, way. Similarly, some processes, including damp. Photographs can be stacked once color and black-and-white photographic collodion chloride, platinum, and glossy their surfaces are semi-dry and no longer prints should be salvaged first. In the case silver-dye bleach papers, are very suscep- tacky, swollen, or soft. of mixed collections, this may not be tible to damage from abrasion. In these practical. Important exceptions include situations, it may be possible to locally • Unframe photographs immediately. deteriorated nitrate and acetate films. These reduce embedded dirt and grime with Carefully lift off the glazing away from materials are extremely susceptible to water dampened cotton swabs after the water- the photograph’s surface. Check to be damage and, in many situations, will not damaged artifacts have dried completely. sure the photograph is not adhered to survive unless recovered immediately. This work is not time sensitive and the glass. If the photograph appears to be should be conducted by a photograph stuck to the glass, do not attempt to • Keep identifying information (labeled conservator after the initial recovery remove it from the frame. Instead, dry enclosures and sleeves) in close association effort is complete. it intact with the glass side down, and with materials being salvaged. Maintain contact a photograph conservator for strict control over the collection to ensure • Drain excess moisture off photographic further assistance as soon as possible. that important information is not lost. prints. Be extremely careful, as severely swollen binder layers (image-bearing • Unmounted and mounted photographic • Keep photographic materials wet until layers) can be seriously damaged. Water- prints may curl, cockle, and/or warp they have been separated from filing soaked gelatin binder layers must never severely following air-drying. Distorted enclosures and from each other. Never be blotted directly with blotters, paper resin-coated papers, for example, may be allow photographic materials to dry in toweling, or newsprint. Rather, wherever especially difficult to flatten successfully. contact with another surface, as they may possible, polyester web should be placed In some cases, these materials can be stick permanently. To maintain wetness gently on the water-soaked surface gently rehumidified and flattened until the drying process takes place, pack between the photograph and the absorbent between polyester web and blotters and photographs inside plastic garbage pails paper. Modern black-and-white and color under glass and weights. This work is or boxes lined with garbage bags filled prints may be carefully squeegeed to not time sensitive and can be suc- with cold, clean water. Do not allow remove excess moisture. In so doing, cessfully conducted later in the photographic materials to remain immersed the photograph’s binder layer should be recovery process. The supervision in water for longer than 48 hours. If placed in contact with a clear, clean of a photograph conservator is photographs are stuck together, do acrylic sheet. Blotting and squeegeeing required. not pull them apart. Freeze these should be avoided if the photograph’s materials until they can be examined binder layer is severely swollen or tacky. by a photograph conservator. AIR-DRY I N G : • Place photographs emulsion side up RECOMMENDATIONS FOR • Gently rinse photographs in a tray of on clean blotting paper, paper toweling, SELECTED MATERIALS cool, clean water if they are covered with unprinted newsprint, or nylon mesh dirt and grime. A soft brush or dampened screening. A polyester web interlayer • Gently open cased objects, including cotton balls may be used to assist with should be used between the photograph daguerreotypes, ambrotypes, and tintypes, the cleaning process. Carefully monitor and absorbent materials whenever possible. and place face up on an absorbent sur- the condition of the photographs to face. Do not attempt to disassemble the ensure that binder layers and original ink • Dry print materials horizontally in components, remove debris, or wash notations are not being damaged. Do not small sections (16 x 20 inches) so that these photographs. If the affected object wash or expose glass plate negatives to the drying supports may be easily has water or dirt trapped within the further moisture. Special care must be changed when necessary. Arrangement assemblage, contact a conservator for taken with swollen gelatin binder layers and organization are essential to ensure proper disassembly. Do not freeze or and photographs that exhibit separating that damp items do not drip on those freeze-dry these materials. or flaking of the layers. These surfaces that are almost dry.

4 • Albumen prints can be safely air-dried • Carefully unbind and open water-soaked objects, and gelatin dry plate nega- following immersion in water. However, lantern slides by removing paper tapes at tives on glass supports, cannot be the albumen binder layer may crack or the outer edges and lifting the cover glass safely frozen. craze upon drying. It may be possible away from the image glass. Keep labels and If possible, prior to freezing, gently to mitigate against cracking and crazing identifying materials in close association rinse materials in clean, cold water to through slow and carefully supervised with the positive transparency. Place these remove surface dirt and grime. Once drying techniques—an uncommon materials on absorbent paper and dry emul- rinsed, collection materials should be luxury in any disaster situation. sion side up. Identifying the emulsion side placed in tightly sealed polyethylene bags. Chocolate mounts, a highly calendered, may be difficult when the lantern slide is Where possible, photographic materials burgundy-colored paper mount wet (when dry, the emulsion side is dull, should be interleaved with wax paper to popularly used with double-weight whereas the base or glass side is reflective). prevent sticking during future recovery albumen prints in the mid-1880s, In such situations, these images, like gelatin operations. will immediately bleed red following dry plates, should be propped up on their As time permits, frozen photographs immersion. Unmounted albumen prints long edge to increase air flow and ensure can be systematically thawed and air-dried will curl dramatically as they dry, and that they are not damaged by accidental following the precautions and guidelines will subsequently require humidification adhesion to the drying supports. Owing outlined previously in this bulletin. and flattening. Ideally, these materials to their vulnerability, these materials Alternatively, these materials may be should be lightly restrained during drying must be carefully guarded from potential freeze-dried in a vacuum chamber at to prevent excessive planar distortion. physical damage caused by careless han- or below 0°C. A dampened albumen binder is unlikely dling. If moisture is not trapped within to adhere to adjacent surfaces, but the lantern slide, immediate unbinding SUMMARY OF RECOVERY precautions must always be taken may not be necessary. METHODS FOR WATER- (using polyester web interlayer) to DAMAGED PHOTOGRAPHIC prevent damage. • Positive color transparencies may be air- MATERIALS dried in their cardboard and plastic mounts. • Collodion-chloride prints from the The adhesives and colored papers in many Cased photographs turn of the 20th century will survive cardboard slide mounts, however, may Do not disassemble case. Open case and air-drying in relatively good condition. swell and dissolve with prolonged water air-dry. Do not freeze. Collodion does not swell in water, and immersion, staining adjacent materials. these print materials can therefore with- Warped mounts should be replaced follow- Photographic prints stand prolonged immersion. As with ing drying. Color transparencies that have Separate photographs from enclosures and many water-soaked materials, however, been separated from their mounts may keep them in order. Rinse in cool, clean disfiguring staining on the mount be air-dried by hanging them vertically water if dirty. Air-dry, face up, on and/or on the photograph’s primary on a plastic or rope line, suspended with absorbent surfaces. Do not touch surfaces support may result. Collodion surfaces an elongated and noncorrosive paper clip. with hands. Large collections can be may be abraded by direct contact with Glass-mounted slides must be disassembled frozen by placing them in polyethylene particulates in flood waters. Fissuring in prior to air-drying. If it is not possible to bags interleaved with wax paper. the collodion binder may allow water to air-dry these materials immediately, they migrate into the paper, causing staining can be placed in tightly sealed polyethylene Photographic negatives and and further damage. bags filled with clean, cold water (ideally, positives on glass distilled or deionized). Prolonged immer- Separate from enclosures and air-dry • Sheet-film negatives should be dried sion may have a direct impact on cyan immediately. Do not freeze any collodion- vertically on a plastic or rope line. dye stability. Some color transparencies based processes. Lantern slides must be Plastic clips should be placed at the may require a poststabilization treatment separated prior to air-drying. outer edges of the film, taking care following recovery. Consult a photograph not to use binder clips or other clips conservator for specific recommendations. Photographic negatives on film that will leave indentation marks. Large collections of damaged positive If time and personnel are available, separate Vertical drying ensures that the nega- color transparencies should be frozen negatives and air-dry. Dry negatives verti- tives will not adhere to drying supports or freeze-dried. cally. Place clips at margins. Do not allow and also maximizes space. All films these emulsions to come in contact with should be oriented in the same direc- other materials unless the negatives are tion. Orientation of the notch code FREEZING: RECOMMENDATIONS being frozen. differentiates the base and emulsion— AND PRECAUTIONS the notch code is located at the upper Film-based negatives and positives right when the emulsion is facing the Freezing of water-soaked photographic Air-dry, freeze, or freeze-dry. Glass- viewer. A system should be devised for materials retards deterioration and allows mounted slides must be disassembled keeping track of important identifying time to prepare for further salvage efforts. prior to air-drying. Some processes information often found on the Some photographic materials, includ- may require poststabilization treatment. negatives’ enclosures. ing wet collodion processes, cased Consult a photograph conservator.

5 FIRE, EXPLOSIONS, RECOVERY METHODS FOR REFERENCES WATER-DAMAGED PHOTOGRAPHS AND SOOT Allyn, Lord, Carolyn Reno, and Marie Cased Photographs Demeroukas. Steal This Handbook! A Daguerreotypes ● Template for Creating a Museum’s Emergency SMOKE AND SOOT DAMAGE Ambrotypes ● Preparedness Plan. Columbia, S.C.: Tintypes ● Southeastern Registrars Association, 1994. The intense heat of a fire can seriously damage photographic materials. Plastic sup- Silver Prints Barton, John P., and Johanna G. ports become deformed, emulsion becomes Salt Prints ●■ Wellheiser, eds. An Ounce of Prevention: A embrittled, and paper supports are stained Albumen ●■ Handbook on Disaster Contingency Planning by soot and smoke. Charred photographic Collodion ●■ for Archives, Libraries, and Record Centers. a materials should be carefully sleeved and Gelatin POP ●■ Toronto: Toronto Area Archivists Group b boxed prior to evaluation by a photograph Gelatin DOP ●■ Education Foundation, 1985. conservator. Resin-coated ●■ It is very difficult to safely remove Buchanan, Sally. “Disaster: Prevention, smoke and soot deposits from photographic Nonsilver Prints Preparedness, and Action.” Library Trends surfaces. All cleaning procedures must Platinum ●■ 30(2, 1981): 241-53. be developed and carefully supervised Cyanotype ●■ by a photograph conservator. In so Gum bichromate ●■ Forston, Judith. Disaster Planning and doing, it may be possible to reduce soot and Recovery: A How-To-Do-It Manual for dirt and to locally minimize discoloration Color Prints Librarians and Archivists. New York: Neal and staining. Chromogenic ●■ Schuman Publishers, 1992. Silver dye-bleach ●■ Dye diffusion-transfer ●■ Hendriks, Klaus B. Fundamentals of PROFESSIONAL Dye-imbibition ●■ Photograph Conservation: A Study Guide. Toronto: Lugus Publications, 1991. EDUCATION Glass-based negatives and positives Hendriks, Klaus B., and Brian Lesser. Collodion wet plates ● “Disaster Preparedness and Recovery: TRAINING AND PROFESSIONAL Gelatin dry plates ● Photographic Materials.” American DEVELOPMENT Autochromes ● Archivists 46(1, 1983): 52-58. Lantern slides ● Knowledge and familiarity with disaster Waters, Peter. Procedures for the Salvage of recovery techniques can be gained Film-based negatives Water Damaged Library Materials. Library through training and educational seminars. and positives of Congress. Washington, D.C.: U.S. Photograph conservators and allied Nitrate ●■ ▲ Government Printing Office, 1993. professionals—those who are ultimately Acetate ●■ ▲ responsible for disaster response and Polyester ●■ ▲ recovery operations—are encouraged to Transparencies ●■ ▲ compile and share anecdotal and firsthand C ONSERVATION C ENTER ● Air-dry. experience, to organize and participate in for Art and Historic Artifacts ■ Freeze, follow by air-dry. salvage workshops, and to promote scientific 264 South 23rd Street ▲ Vacuum freeze-dry. research into recovery methodologies. Philadelphia, PA 19103 Note: Chart ranks drying methods left to right from 215.545.0613 preferred (●) to acceptable (▲). Blank spaces indicate Fax 215.735.9313 method is not acceptable. E-mail [email protected] a. POP, printing–out process. b. DOP, developed–out process. © 1998, Conservation Center for Art and Historic Artifacts, Philadelphia, Pa. All rights reserved. Not to be reproduced without permission from the Conservation Center for Art and Historic Artifacts.

This bulletin was written by Debra Hess Norris, Director of the Winterthur/University of Delaware Program in Art Conservation and Associate Professor of Photograph These general recommendations are intended to provide Conservation. Funding for the design and initial printing practical guidance in the recovery of water-damaged of this bulletin was provided by The William Penn objects. The recommendations are intended as guidance Foundation. Additional assistance was provided by Molly only, and CCAHA does not assume responsibility or B.C. Ruzicka, copy editing; Phillip Unetic, design; and liability for any resulting treatment of water-damaged objects. Will Brown, photography.