17. Display and Illumination of Color and B&W Prints

Home , Albumen print, Darkroom

575 the PolaroidPermanent-Colorprocess, with thenewUltraStablePermanentColorprocessand ylene-resin-coated) papers. display, pected tohaveaverylonglifeundertypicalconditionsof a protectivetonerareextremelystableandmaybeex- prints thathavebeencorrectlyprocessedandtreatedwith see and inanextremelywiderangeoflightingconditions— and spectralcompositionofthe illuminationsourceaswell must bedeterminedwithconsideration fortheintensity must beunderstood.The planned totaltimeofdisplay teristics (includingfadingrate) ofthecolorprintmaterial be preservedforlongperiodsoftime,thestabilitycharac- or shouldnotbedisplayed,butifsuchphotographsare to port material.Thisdoesnotmeanthatcolorprintscannot other physicaldeteriorationoftheprintemulsionandsup- and ultraviolet( inexorable fadingandstainingoftheimage;visiblelight photographs tolightduringdisplaywillcauseslowbut prints, orforblack-and-whiteprintsmadeon h emnneadCr fClrPoorpsChapter17 17. The PermanenceandCareofColorPhotographs Introduction With thesingularexceptionofcolorpigmentprintsmade Photographs aredisplayedformanydifferentreasons Table 17.1 enough informationtomaintainthem. change ourways.Iwouldsaywedonothave say thatwedonothaveenoughinformationto the problemisbeingexaggerated.Theywill such anassessmentistooextremeandthat No doubttherewillbemanywhoclaimthat tographs. Thepracticecanandmustbechanged. radation ofourmostvaluedandimportantpho- a systematicprogramofacceleratingthedeg- existence tothoseveryexhibitionprograms. tices. Ontheotherhand,theylargelyowetheir by supportingreprehensibleexhibitionprac- of thephotographstheyarechargedtoprotect ing andabettinginthesystematicdestruction lemma. Ononehand,theyarechronicling,aid- heavily usedforexhibitionfaceaseriousdi- 2 thesamecannotbesaidformostkindsofcolor . Thecurrentexhibitionvogueamountsto Those servingtheneedsofcollectionsbeing Base Crackingof The AlarmingLight-InducedImageDiscolorationand and Color of Illumination Display and See page577forRecommendations Rochester, NewYork–September1986 atGeorgeEastmanHouse International MuseumofPhotography Grant B.Romer,Conservator . Whereasmodernfiber-baseblack-and-white UV ) radiationmayalsocausecrackingand B&W 3 exposureofcolor 1

RC RC (polyeth- PrintsonLong-Term Display Kodak Kodacolor tographs weremadeonearlier,low-stabilityfilmssuchas after yearshavepassed.Thisisespeciallytrueifthepho- negatives maybetoofadedtomakesatisfactoryprints prohibitive fortheselow-overhead,high-volumebusinesses. prints ismade;thecostoffilingandstoringnegatives is color negativesalmostimmediatelyaftertheselectionof graphs onlyafewdaysateachlocation—disposeoftheir from departmentstoretostore,takingphoto- market” portraitoperations—suchasthosethattravel that reordersmightcomein.Mostofthelow-cost“mass- short time—oftenonlyforaslongexperienceindicates tographers, however,keepnegativesforonlyarelatively the photographerwhotookthem.Manyprofessionalpho- portraits, weddingphotographs,andfamilyportraitsfrom placement colorprintsforfadedbabypictures,highschool lifetime. if afadedprintcouldbereplacedduringphotographer’s not generallyconsidertheirprintstobeexpendable,even airports areusuallyexpendable.Museums,however,do and inpublicplacessuchashotellobbies,restaurants, and muralsofthetypesfoundinmanycorporateoffices though theymaybeexpensivetoreplace,decorativeprints rated —itcanbedisplayedwithoutmuchcaution.Al- replaced withanewprintaftertheoriginalhasdeterio- print. Forexample, aprintdisplayedfor12 hoursadayin approximately proportional to thelightintensityon tions, thelightfadingrateof agiventypeofcolorprintis be assumedthatundertypical moderatedisplaycondi- materials aregiveninChapter 3.Asageneralrule,itmay the displaytimesofcurrent andmanyoldercolorprint the printcanbeexposedtolight ondisplay.Guidelinesfor for aslongpossible,therearelimitationsonhow The ExpendableorReplaceableColorPrint poses forwhichmostindividualsandmuseumscollectprints. tographs aremadeandfrequentlyconflictswiththepur- but avoidingdisplayrunscountertothereasonsmostpho- density stainlevelsshouldnotbepermittedtotakeplace. changes incolorbalance,overalldensity,andminimum be monitoredwithadensitometer,andvisuallysignificant ated. AsdiscussedinChapter7,valuablecolorprintsshould as forhowmuchimagefadingandstainingcanbetoler- Display ofNonreplaceableColorPrints E -3 Ektachromefilms. Even ifaphotographerdoeskeepcolornegatives,the In someinstancesitmightbepossibletoobtainre- If acolorprinthasnolastingvalue—orifitcanbe When itisdesiredtokeepacolorprintingoodcondition Display ofcolorprintsisinherentlydetrimentaltothem, II , Vericolor II , andProcess B&W Prints E -1, E -2, and

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints time. Morerecently, themuseumhasbeen periodically out onloantoasuccession ofinstitutionsforyearsata display; someofthemuseum’s travelingexhibitionswere on permanent photographs number ofitsbetter-known Museum ofPhotographyatGeorge EastmanHousekepta months every5to10years. Inthepast,International policy ofdisplayingcolorphotographs nomorethan3or4 The MetropolitanMuseumofArtinNewYorkCityhas a previous year,themuseumwillnotsenditoutonloan. every 2or3years;ifaprinthasbeenexhibitedinthe in Bostonpermitsamaximumdisplaytimeof3months in themuseumandoutonloan.TheMuseumofFineArts and black-and-whitephotographswhichapplytoworksboth stain beyondthoselimits(seeChapter7). to makecertainthatprintsarenotpermittedfadeor should beestablishedandamonitoringprograminstituted photographs, densitometriclimitsoftolerablecolorfading ent partsofabuilding.Inmuseumdisplayoriginalcolor of lightintensitiesthatusuallyexistinaroom,ordiffer- intensities, apersonisoftennotawareofthegreatrange human eyehasagreatabilitytoadaptdifferentlight displayed thesameamountoftimein500lux.Because 1,000 luxoflightwillfadeatabouttwicetherateaprint Some museumshaveguidelinesforexhibitionofcolor fading andstaining. unknown stabilitycharacteristics—thiswasthefirstphotographyexhibitiontobedensitometricallymonitoredforimage was latershownatGeorgeEastmanHouse.Withvintageprintsmadebyawidevarietyofcolorprocesses—mostwith Photography atGeorgeEastmanHouseinRochester,NewYork.TheexhibitionopenedtheCorcoranfor3monthsand major surveyofcolorphotographyasanartform,thisshowwascuratedbyJohnUptonfortheInternationalMuseum The displayareawasilluminatedwithincandescenttungstenlampsanaverageintensityofabout170lux.first The 1982exhibition Color asForm:AHistoryofPhotography when neededfor studyorexhibitionpurposes. erator, andtheotheriswithdrawn fromtherefrigerator one copyiskeptinpermanent storageinafrost-freerefrig- copies ofeachitschromogenic colorprintacquisitions; Modern ArtinNewYorkCity alsoattemptstoobtaintwo midity-controlled coldstorage facility.TheMuseumof poses andtheotherkeptin the darkinmuseum’shu- so thatoneprintcanbeusedforexhibitionandstudypur- prints ofthecolorphotographsacquiredforitscollection Art InstituteofChicagohasattemptedtoobtainduplicate two extraprintsfordisplaypurposes.Inrecentyearsthe own colorprints,itisasimplemattertoproduceoneor favorable conditionspossible.Forpersonsmakingtheir print shouldcontinuetobekeptinthedarkundermost can bemadefromthestoredprint;oneremainingoriginal where itisnolongeracceptable,acopyprintfordisplay poses. Whenthedisplayedprinthasfadedtopoint the othercanbekeptindarkforpreservationpur- played withtherealizationthatitwillfadeovertime,while obtain aduplicatecopyatlowcost;oneprintcanbedis- no printisonconstantdisplay. areas withotherphotographsfromthecollectionsothat replacing mostofthephotographsinitsregularexhibition When purchasingacolorprint,itmaybepossibleto attheCorcoranGalleryofArtinWashington,D.C. (continued onpage 578)

May 1982 576

This document originated at on June 6, 2003 under file name: 577 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs * * * * Illumination Levels * Display ofColorPrints Nonreplaceable colorprints. limits offadingandstaining should notbeexceeded an accurateelectronicdensitometer, andpredetermined and-white printsshouldbemeasured periodicallywith sities atselectedimagelocations oncolorandblack- be subjectedtoprolongedor“permanent”display. that replacementprintscanbemadeinthefuture,should ing keptindarkstorage,orthoseforwhichitiscertain no lastingvalue,orthoseforwhichduplicatesarebe- (see Chapter3).Only longer thanothersunderthesamedisplayconditions over awiderange,withsomecolorprintslastingfar fading stabilityofdifferenttypescolorprintsvaries never besubjectedtoprolongeddisplay.Thelight degraded. Valuableornonreplaceablecolorprintsshould fade overtimeandwilleventuallybecomeseverely of colorphotographsexposedtolightondisplayslowly Permanent-Color pigmentprints,almostallothertypes exception ofUltraStablePermanentColorandPolaroid Museums andarchivesshould monitorprints. mination conditionforevaluatingprints. and thatphotographersbeencouragedtousethisillu- halogen illuminationagainstalight,neutralbackground 300 luxofincandescenttungstenorglass-filteredquartz and archivesformallyadopttheabove-recommended or museum.Itisproposedthatgalleries,museums, illumination withwhichitwillbedisplayedinagallery in thedarkroomundersameintensityandtypeof that theprintbeevaluatedfordensityandcolorbalance the photographer.Toaccomplishthis,itisessential should accuratelyconveythesubtletiesenvisionedby dard illuminationlevel. Museums andphotographersshouldadoptastan- photographs totheirbestadvantage. quire significantlyhigherilluminationlevelstoshow situations, brightambientlightingconditionswillre- tion isrecommended.Inmanycommercialdisplay quartz halogen,orglass-filteredfluorescentillumina- mately 450luxofincandescenttungsten,glass-filtered curl and/oreventualcracking,especiallyin moisture content,whichmayinturncauseincreased grees. Heatingofprintsreducesemulsionandbase (d-max) areasdoesnotincreasemorethanafewde- long asthesurfacetemperatureofprintsinblack higher illuminationlevels(e.g.,600luxorhigher)as white fiber-baseprintsmaybedisplayedatsignificantly limited to does notoccur.Accumulateddisplaytimemustbe mum” illuminationlevelatwhichcolorprintfading played withadequateillumination.Thereisno“mini- particularly colorphotographs.Printsshouldbedis- ficient forpropervisualappreciationofphotographs, author believesthatlightlevelsbelow300luxareinsuf- tered quartzhalogenilluminationisrecommended.This mately 300luxofincandescenttungstenorglass-fil- For homeandcommercialapplications. For museums,galleries,andarchives. prevent excessivefading.Modernblack-and- expendable Aphotographondisplay Unfortunately,withthe colorprintshaving Recommendations RC Approxi- Approxi- prints. Den- * * Glass andUV-AbsorbingFramingMaterials * Black-and-White RCandFiber-BasePrints Glass isrecommendedoverPlexiglasandotherplas- Double-weight, fiber-basepapersarestronglyrecom- applications, standardclearPlexiglas for verylargeprintswherebreakagecouldoccur.Forthese however, itshouldnotbeusedfortravelingexhibitionsor easy tocut,chemicallyinert,andresistantscratches; tics formostframingapplications. nated withfluorescentortungstenlight(seeChapter3). their stability.Theimprovementismuchlessforprintsillumi- prints alsoappeartobelesssusceptiblethan cially whendisplayedforprolongedperiods.Fiber-base to printsframedwithPlexiglas 1991), whicharemanufacturedwithouta Ilford Ilfochromeprintmaterials(calledCibachrome1963– itself. developed seriousbrownishstainwithinthepaperbase cent tungstenillumination,whichhasverylow dulling theappearanceofprints.Evenwithincandes- current black-and-whitepapers;thishastheeffectofsubtly fluorescent brightenersthatareincorporatedinvirtuallyall the dullingeffectof ing. Thelight-yellowtintof tinctly different.Furthermore, or warm,appearance;prints framed withglasslookdis- and low-densityareasofphotographsadistinctlyyellowish, indirect daylight,framingwitha coat. WhenIlfochromeprintsaredisplayedunderdirector UF be displayed—notevenforshortperiods. (ca. 1840–1855)andalbumenprints1850–1895)never (see Chapter7).Itisrecommendedthatsaltedpaperprints print tolosesomeoftheiroriginal brilliance. brightener effectwillcausethe whitesandhighlightsofthe cessed fiber-baseprintare extremely stable,thelossof Thus, althoughtheimageand baseofan“archivally”pro- ers, whichgraduallyloseactivity (“fade”)whendisplayed. black-and-white papersaremade withfluorescentbrighten- essential thor considerstreatmentwithaprotectivetonertobean treated withanimage-protectivetoner(seetext).Thisau- prints intendedforlong-termdisplayorstorageshouldbe tant photographs,fineartprints,orportraits.Fiber-base effective materials, largelybecausetheyaremanufacturedwithan Displaying printsframedwithglassorPlexiglas levels ofairpollutants.Many quality storagematerials,and/orcommonlyencountered image discolorationcausedbysurfacecontaminants,poor- mended. tigrade oper-incorporated papers(e.g.,thenow-obsoleteIlfordMul- by ultravioletradiation.UltravioletfilterssuchasPlexiglas are, overall,substantiallymorestablethan ditions, imagefadingiscausedprimarilyby current colorprintmaterialsdisplayedintypicalindoorcon- Ektacolor, Fujicolor,KonicaColor,Agfacolor,andmostother UV -3 dolittleifanythingtoincreasethelifeofthesecolor filtersdolittletoprotectmostcolorprints. RC II RC UV Currentinformationindicatesthatfiber-baseprints papersshouldnotbeusedforhistoricallyimpor- partof“archival”processing.Virtuallyallmodern -absorbing emulsionovercoat.Oneexceptionis paper)have,afteronlyafewyearsofstorage, UF -3 isnoticeable. UF UF UF -3 giveswhitemountboards RC UV -3 suppressestheeffectsof -3 canbevisuallydistract- printsmadewithdevel- filtermarkedlyincreases Glassisinexpensive, G UV isrecommended. -absorbing over- visible RC prints,espe- RC UV G adjacent printsto light,not content, With

This document originated at on June 6, 2003 under file name: * * * * ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints and-white istics ofthe are availableonthebaseandimagestabilitycharacter- Until meaningfulcomparativeacceleratedagingdata afforded byits“stabilizerinthepapercore”technology. ing, andKodakalsohasdescribedthestabilitybenefits Seagull Select (see below).Shouldthisbethecase,OrientalNew visually unacceptablebecauseof“veiling”theblacks base and/oremulsioncrackingasaresultofdisplay. rated intheIlford2240and2150 stand-alone Ilford1250dryerandthedryersincorpo- be driedwithoneoftheIlfordinfraredprintdryers.The orations. Black-and-white resulting inuglyyellowishororange-redimagediscol- subject tolight-inducedoxidationofthesilverimage, Ilford ture, areprobablytheonlysatisfactoryalternatives. give goodresultsevenwhendriedatroomtempera- Oriental NewSeagull quality ofmost projections forits turer thathadpublishedmeaningfulacceleratedaging At thetimeofthiswriting,Kodakwasonlymanufac- peculiar typesofdiscoloration (oxidation)towhich nium Tonertohelpprotectthe silverimageagainstthe treated withKodakPoly-Toner orKodakRapidSele- Valuable at roomtemperaturewithoutstandingresults. sion-side downonclean,plastic-coatedfiberglassscreens method ofdrying;fiber-baseprintscanbedriedemul- fiber-base papersarenotnoticeablyaffectedbythe ers, Kodak Polymax provide excellentresults.AlsosatisfactoryistheKodak most otherblack-and-white gloss, andtheoverallvisualimagequalityofKodak mended. image andbasestabilityofblack-and-white ever, increasetheresistance of prints aresusceptible.Toner treatmentwillnot,how- ture ordriedwithconventionalhot-air degraded whentheprintsaredriedatroomtempera- filtered illumination,black-and-white for prolongedperiods,evenatlowlightlevelswith cially whenframedunderglassorplasticanddisplayed (discontinued in1991).Forbestresults, such asthedryerinKodakRoyalprintprocessor methods ofdrying It isrecognized,however,thatwiththemostcommon age-protective toner. dryer. Unlikethecasewith first Kodakprocessortobeequippedwithaninfrared Display ofblack-and-white Paper andPolyprint recommended. Thereare sion (non-developer-incorporated)papers,currentlyare decided tousean played, valuableblack-and-white Kodak B&W RC Thedepthoftheblacks,printsurface IR printprocessorsanddryersarerecom- RC RC RC processor;introducedin1991,thisisthe RC printsshouldbetreatedwithanim- printsshouldneverbedisplayed.Espe- paperswillcontinuetoberecommended. RC RC paperssuppliedbyothermanufactur- VC-RP papersarerecommended. RC papers,includingKodak,mayprove RC RC RC paperswithrespecttobasecrack- RP , avariable-contrastpaper,and paper,thenKodakPolymaxRC Especiallyiftheyaretobedis- prints,theimageandsurface Paper,bothconventional-emul- , agradedpaper,bothofwhich RC RC substantial RC RC printsarealsosubjectto papersaresignificantly prints. RC prints,theimageson RC RC paperstocracking. printprocessorsall printsshouldbe RC RC RC Valuableblack- differencesin printsmaybe printsshould printdryers, RC papers. Ifitis UV RC - processing machine,an and dryingof port essentiallywaterproof,veryfastprocessing,washing, solutions. the emulsionaccessibletodeveloperandotherprocessing coated ontopofthepigmentedpolyethylenelayer,leaving suspended ingelatin)fiber-baseprints.Theemulsionis function asthebarytalayer(composedofbariumsulfate high-reflectance pigmentedlayerservesthesamegeneral the introductionofKodakPolycontrastRapid first becamegenerallyavailableintheUnitedStateswith nium dioxide( light grayink)andpolyethylenepigmentedwithwhitetita- paper coreisfirstprintedwiththemanufacturer’snamein polyethylene iscoatedonthebackofprint(often ethylene onbothsidesofafiber-basepapercore;clear ods only. valuable instantprintsshouldbedisplayedforshortperi- stant colorprintshaverelativelypoorlightfadingstability; replaceable. Inaddition,allcurrentPolaroidandFujiin- negatives formakingnewprints,areinmostcasesnot washed, completely avoidedblack-and-white most othercountrieshave—fortunatelythusfaralmost unproven material,fineartphotographersintheU.S.and papers, orperhapsbecauseofareluctancetoadoptan face andimagequalitiesaffordedbythebestfiber-base base papers). perior retouchingandknife-etchingcapabilitiesoffiber- photographers (advertisingpreferthesu- commercial and advertising top-quality and hobbyists, is limitedtofineartphotographers,advanceddarkroom increasingly papers fiber-base of Use produced. papers tute thegreatmajorityofallblack-and-whitephotographic Ilford Multigrade papers), Agfa-Gevaert (Brovira (Brovira Agfa-Gevaert papers), Multigrade Ilford facturers worldwidesoonfollowed. latercalledBrovira-SpeedPaper),andothermanu- Paper, Caution IsNecessary Display ofBlack-and-WhiteRCPrints: processing istheprimaryappeal of the totaltimecanextendto as long12hours.Speedof perature —whatisoftencalled“archivalprocessing” air-drying onplastic-coatedfiberglassscreensatroomtem- processing fiber-baseprintsformaximumpermanence,with the otherhand,requiresaminimumofaboutanhour.When process, wash,anddrydouble-weightfiber-baseprints,on hair dryer,typicallytakes8or10minutes.Tocorrectly cessing, includingwashingintraysanddryingwithanelectric ronments withloworfluctuating humidity. prints, principal reasontheywereinvented. Andunlikefiber-base prints forexhibitionorsale. October 1972. coated on Because thepolyethylenelayersrenderpapersup- Black-and-white Instant colorphotographs,noneofwhichhaveusable RC RC Whether becauseofanappreciationthesuperiorsur- papersshouldnotbeconfused withprintmaterials paperismadebyhot-extrudingathinlayerofpoly- RC and dried papershavelittletendencyto curl,eveninenvi- ICI Melinex990,a highgloss,opaquewhitepoly- 4 RC

T RC i O printsarepossible.Withanautomatic 2 inaslittle55seconds;manualpro- papersmadebyIlford(Ilfospeedand ) iscoatedontheemulsionside; RC (polyethylene-resin-coated)papers RC printcanbedeveloped,fixed, RC RC RC papersnowconsti- papersandisthe papersinmaking RC Paperin PE 578

This document originated at on June 6, 2003 under file name: 579 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs Cibachrome the nameofallCibachromematerialstoIlfochrome— rial waschangedtoMelinex990(in1991,Ilford terial thanthe a lesscostlyfiber-basesupport couldhavebeenused. quired anonabsorbentsupport; hadthisnotbeenthecase, processing considerations,allofthesecolormaterialsre- Print MaterialType Duraflex Printing Material,FujichromeKodak Kodak wanted amaterialthatcostlittlemore thansingle- waterproof substituteforpigmented cellulosetriacetate. more expensive.Kodakhad longsearchedforalow-cost, and farmorestableduringaging—than ers aftertheyhavebeenaffixedtothepolyestersupport. formulation ofthegelatinusedtoovercoatimagelay- from asemi-glosstofairlyhighgloss,dependingonthe ester support;thesurfaceglossoftheseprintscanvary manent-Color prints arepoly- alsomade white on an opaque polyester colorprintmaterialfortransparencies. RC materials (semi-glossIlfochromeisan white polyestersupport)areIlfordIlfochromeglossyprint on Melinex990(orothercloselyrelatedhighgloss,opaque such astitaniumdioxide).Amongcurrentproductscoated terial isproducedwithouttheneedforanaddedpigment the polyesterstructureofMelinex990,abrightwhitema- billions ofmicroscopic“voids”highrefractiveindexwithin (through acomplexmanufacturingprocesswhichforms ester sheetmanufacturedbyImperialChemicalIndustries surface thatcanbeproducedonan that ismuchsmootherandglossierthanthehighestgloss ports. PrintsmadeonMelinex990haveamirror-likegloss of thestabilityproblemsassociatedwithblack-and-white material wereproperlymanufactured,itwouldavoidmost ester supports.Thisisunfortunate,becauseifsuchaprint black-and-white papersarenotpresentlysuppliedonpoly- phers generallyprefersemi-glossormattesurfacepapers. art, andmostotherareasofphotographywherephotogra- materials, has restricted their use inportrait,wedding,fine available andthis,alongwiththehighercostofpolyester gloss surfacesimilartothepopularKodakNisnot manufactured withotherthanahighglosssurface.Asemi- back ofMelinex990,however,isthatitcannotreadilybe tion ofIlfordCibachrome pigmented cellulosetriacetatesupport.Withtheintroduc- around 1980,Cibachromeprintmaterialswerecoatedon a produced byAnscofrom1943until1973.From1963 Ansco Printon,areversalcolormaterialforprintingslides tem) werecoatedonpigmentedacetatesupports,aswas prints (processedbyKodakusingtheKodachromesys- in theearly1940’s,KodakMinicolorandKotavachrome form, thesamematerialisusedforfilmbase).Beginning with white-pigmentedcelluloseacetate(initstransparent able around1980—waterproofprintsupportsweremade and beforeopaquewhitepolyestersupportsbecameavail- cial-purpose productssuchasFujiflex Before theinventionof Pigmented cellulosetriacetate isafarmorestablema- Solid polyestersupportsaremoreexpensive—buttougher UltraStable PermanentColorprintsandPolaroidPer- With theexceptionofafewspecial-purposeproducts, papers(itwould,however,alsobemoreexpensive). RA PrintMaterial,KonicaColor II becameIlfochromeClassic).Becauseof RC basepapersofthe1970’s— but itisalso A 3, andAgfachrome410highgloss II RC materials,thesupportmate- paperbaseinthe1960’s— RC RC paper.Onedraw- SFA QA paper),andspe- RC 3 Super-Gloss SuperGlossy papersup- deteriorated black-and-white in Ottawaareamongthewell-knowninstitutionsthathave Art InstituteofChicago,andtheNationalArchivesCanada discoloration. have hadamoreuniform,overallbrownish-yellowimage deteriorated Kodak mirroring hasbecomequite extreme.Althoughallofthe formation andsurfacemirroring; withsomeprints,the posable consumeritems. bags, plasticmilkbottles,andmanyotherinexpensivedis- which iswhyitalsothematerialofchoiceforgarbage application isthatittheleastexpensiveofallplastics— An importantreasonthatpolyethylenewaschosenforthis tation, thecompanyfounditinpolyethylene-coatedpaper. weight fiber-basepaper,andafterconsiderableexperimen- Polycontrast Rapid tions oftheimagemeet;PolycontrastRapid trated alongdensitygradientswherelightanddarkpor- Deteriorated Ilford times alsohavelargenumbersoforange-redmicrospots. white and displayedPolycontrastRapid be similarlyaffected. inevitable thathugenumbersof years ofdisplayandstorage;withthepassagetime,itis These printsbecameseverelydiscoloredafteronlyafew Kodak PolycontrastRapid ing andwashing. Deterioration ofDisplayedRCPrints RC and PolycontrastRapid sumed thatKodabrome able topositivelyidentifywere madeonPolycontrastRapid type have to thebestofthisauthor’sknowledge,microspots films, glass-platenegatives,andglasslanternslides.But, encountered onconventionalcameraandmotionpicture and astronomicalplates.Microspotsarealsooccasionally the pasthavebeenfoundprincipallyonstoredmicrofilms as “redoxblemishes”or“microscopicblemishes”)thatin spots, identicalinstructuretothemicrospots(alsoknown accompanied bylargenumbersofsmall,brightorange-red areas oftheimage.Sometimesthesediscolorationsare mirror” depositsontheemulsionsurfaceinhigh-density called “bronzing”)andhavedevelopedlocalized“silver like, orange-red,oryellowimagediscolorations(sometimes normal conditions,sufferedcatastrophic,irregulargold- during thecourseofonlyafewyearsdisplayunder Paper manufacturedinthe1970’sandearly1980’shave, the Kodak veloping-out papersinthelate1800’s.Thedeterioration of keted sincetheintroductionoffirstsilver-gelatinde- to bemar- ever materials photographic black-and-white tainly berankedassomeofthemostinherentlyunstable can becomeseverelydiscolored,thesepaperscouldcer- The CorcoranGalleryofArtinWashington,D.C.,the Many framedblack-and-whiteprintsmadeonKodak Judging fromthespeedatwhichimagesofframed The discolorationswhichthisauthorhasobservedin Both KodakandIlford PaperandPolycontrastRapid RC papersfromthe periodcanbesimilarlyaffected. never RC printshasoccurreddespitecarefulprocess- beenfoundonfiber-baseprints. RC RC RC prints,ontheotherhand,usually printswhichthisauthorhas been PaperandIlfordIlfospeed[ RC II RC

RC paperscansufferfrommicrospot RC andotherKodakblack-and- RC printsgenerallyareconcen- printsfromtheearly1980’s printsintheircollections. RC RC II printsworldwidewill printsfromthe1970’s

RC Paper,itisas- RC printssome- RC ]

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints cracking ofIlford ported intheliterature. early 1970’s).Asdiscussedbelow,crackingofthe played KodakEktacolor support material(crackinghasalsooccurredinmanydis- suffered fromseverecrackingofthepolyethylene-coated Ilfospeed product). Thisauthorhasnot yetencounteredaverified sible totellwhetheraparticular printisinfactanIlford the paperwithcompany’s name,soitisoftenimpos- the matterisfactthatIlford didnotimprintthebackof have beendisplayedforsignificantperiods(complicating only arelativelysmallnumberofIlfospeed in theU.S.1970’s,andthisauthorhasencountered cracking inblack-and-white appears tobeamuchmoreseriousproblemthansupport will developcracks.Todate,however,imagediscoloration time, itisexpectedthatincreasingnumbersoftheseprints humidity fluctuatesoverawiderange.Withthepassage of storage ordisplayinanenvironmentwhichtherelative port isfacilitatedbyacombinationofexposuretolightand Some KodakPolycontrastRapid Ilford Ilfospeed deterioration thatoccurredintheseunstableprints. were openmuchofthetime.Pollutantsfromautomobileexhaustmighthavebeenasignificantfactorinrapid conditioned, andduringwarmmonthswindowsinthephotographstoragearea,whichisneartoabusyWashingtonstreet, was causedbyexposuretolightorairpollutants(oracombinationofboth).Atthetime,Corcorannot developed seriousimagediscolorationbythetimethisphotographwastakenin1981.Itisnotknownwhetherdamage trast Rapid photographer andteacherattheCorcoran,examinediscoloredblack-and-white Fern Bleckner,atthetimeaconservatorCorcoranGalleryofArtinWashington,D.C.,andJoeCameron, RC printwhichhasdeveloped cracks; however, RC Paperinthemid-1970’s.Althoughprintshadbeendisplayedforonly2months,theynevertheless RC RC printsfromthiserahasbeen re- paperwasnotparticularlypopular 5 RC printsfromthelate1960’sand RC prints. RC printsalsohave RC printsthat RC sup- lation ofits issued toEastmanKodakforimprovementsintheformu- light orultravioletradiation.Accordingtoa1974patent ing poorstabilitywhensubjectedtoprolongedexposure to Cracking oftheImage-SidePolyethyleneLayer Light-Induced OxidationandSubsequent Polyethylene plastichaslongbeenrecognizedashav- they aretobeusefulinphotographic papers. be suitablystabilizedagainst suchhazardsif of primeimportancethatsuch resinouslayers oping chemicals..Ithas therefore become tive actionofphotographicprinting anddevel- of, forexample,ultravioletlight ortheoxida- cally deterioratequiterapidlyduetotheaction strength, etc.Suchresins[polyethylenes]typi- coat thepapertoachievedesiredwet especially polyolefins[polyethylenes],usedto to therelativelylowstabilityofresinsand, problems occur,nottheleastofwhichrelates In theuseofsuchresincoatedpapersmany RC papers: RC printsthathadbeenmadeonPolycon- 6

1981 580

This document originated at on June 6, 2003 under file name: 581 ide pigment,incorporatedinthetoppolyethylenelayerof greatly acceleratedbythepresenceofwhitetitaniumdiox- form oftitaniumdioxideintheemulsion-side term exposure tolightand nium dioxidepigmentedpolyethylene layerduringlong- in animportant1979articlebyParsons,Gray,andCrawford. the crackingtendencyofits erated testmethodsusedbyEastmanKodaktoevaluate layer andprintemulsion. ally causecrackstoformintheimage-sidepolyethylene improve thelong-termstabilityofablack-and-white conditions oflargenumbersdeteriorated ible lightcantriggerthesereactions,studyofthedisplay polyethylene. Althoughbothultravioletradiationandvis- active formofoxygen,whichinturncanattackadjacent substance andwhenexposedtolightitcangeneratean RC Chapter17 The PermanenceandCareofColorPhotographs the SilverImagesofRC Prints Light-Induced Destruction of ture ofKodak The additionofantioxidantsandstabilizerstothestruc- relative humidity(e.g.,between30and60%) the physicalstressesproducedbynormalfluctuationsin creasing brittlenessoftheplasticand,inconjunctionwith print. discoloration ofdisplayed Plexiglas of thedeterioration.Intypicalindoordisplayconditions,a gests thatvisiblelightis,inmostcases,theprimarycause other improvementsinKodak of scribed (thearticlerestricteditsdiscussiontotheproblem RC The light-induceddeteriorationofpolyethylenecanbe rator ofthePhysicsMuseum) (Print courtesyofGrantGale,physicsprofessorandcu- minated withbare-bulbCoolWhitefluorescentlamps. Physics MuseuminGrinnell,Iowa.Thecabinetwasillu- a glass-encloseddisplaycabinetintheGrinnellCollege base cracks.Theprintwasexhibitedforabout5yearsin Paper fromtheearly1970’s,hasdevelopedsevere This smallprint,madeonKodakPolycontrastRapid The peroxidesandotheroxidants generatedinthetita- Light-induced deteriorationofpolyethyleneandaccel- Oxidation ofthepolyethyleneresultsingraduallyin- prints.Titaniumdioxideisaphotochemicallyactive printcrackinganddidnotdealwithsilver-image UF -3 orother RC papers,thechangetoalessreactive UV RC filterwillprobablydolittleto RC UV prints). papershavebeenreviewed radiation—in association RC paperswerealsode- RC 7 RC , willeventu- printssug- layer,and RC RC RC 8 substance toform silverions.Particularly whentheemul- image areoxidizedbyperoxides orsomeotheroxidizing Chapter 2fordiscussionof image, ratherthanasilverthatisaffected(see on long-termdisplay.Withcolorprints,itisofcourseadye color paperswhentheyareframedunderglassorplastic certain typesofEktacolor,Fujicolor,Agfacolor,and3M increased ratesoffadingthatthisauthorhasobservedin polyethylene degradationmayalsobeimplicatedinthe doubtedly alsoacceleratetherateofdeterioration. the rateofimagediscoloration.Hightemperaturesun- reactions, withhighrelativehumiditysubstantiallyincreasing environment appearstobeanimportantvariableinthese fected. Therelativehumidityofthedisplayandstorage pers. Unframedprintsexposedtolightcanalsobeaf- Feldman ofEastmanKodak, cussed atlengthintheliterature. AsdescribedbyLarry rors,” arealsogenerallyunderstood andhavebeendis- formation ofyellow-orangecolloidal silverand“silvermir- subsequent reductionofthe silverimage,resultinginthe delicate filamentary silver grains which make uptheimage. brittle polyethyleneshouldalsobecapableofoxidizingthe suggest that an oxidant level sufficient to degrade em- and in humidenvironments,iswellestablished,andlogicwould very lowlevelsofperoxidesandotheroxidants,especially color prints). made onearlyKodakandIlfordblack-and-white that hasbeenobservedinmanyframedanddisplayedprints mechanism responsiblefortherapidimagedeterioration mirrors” ontheemulsionsurface.Thisapparentlyis severe imagediscolorationandtheformationof“silver dize) theadjacentsilverimage.Theeventualresultcanbe ture mayalsobeinvolved)—canprogressivelyattack(oxi- sion ingredientsorothercomponentsofthe with by-productsofpolyethylenedegradation(certainemul- Internally generatedperoxidesand/orby-productsof ing seenhere. on theunstable nation withthedegradingeffectsoflightand ambient level,andthisdailyhumiditycycling,incombi- were turnedoffatnight,thehumidityreturnedto thus loweringtherelativehumidity.Whenlamps cent lampselevatedthetemperatureinsidecabinet, A magnifiedviewofthe The chemicalprocessesinvolvedintheoxidationand The sensitivityofsilverphotographicimagestoeven RC base,eventuallyproducedthecrack- RC 9 basecracking.Thefluores- RC thesilvergrainsforming -base-associated fadingof RC UV paperstruc- radiation RC pa-

1990

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints some black-and-white may alsobeimplicatedintheincreasedsusceptibility of thereby reducethemanufacturers’costs.Thesechanges (thus increasing the “coveringpower”ofsilver),and the amountofsilverrequiredtoproduceanadequateblack grains in print emulsions in recent yearsinordertoreduce silver mirror.” tallic silverorsulfideparticlescanreflectlightasa When concentratednearthe[emulsion]surface,me- have acharacteristicyellow,orange,orredappearance. minute particlesrefractlight,groupingsofthese common airpollutant).AccordingtoFeldman,“Sincethese formed byreactionwith,forexample,hydrogensulfide,a ver, orconvertedtosilversulfide(silvercanbe are thenreducedtotinyparticlesofmetalliccolloidalsil- ence ofvariousatmosphericcontaminants,thesilverions silver grains.Throughtheactionoflight,orinpres- cally migrateashortdistancefromthesiteoforiginal sion hasahighmoisturecontent,thesilverionscanphysi- list ofpotentialcausesimage discolorationinframed normal display,black-and-white built-in abilitytogenerateoxidantsduringthecourseof tion. Althoughunframed constitutes anentirelynewtypeofphotographicdeteriora- the silverimageandsupportmaterialbeingattacked,this tially powerfulsourceoftheirowndestruction.Withboth revision of Kodak literaturetothisphenomenon.IntheApril1978 aware ofonlyonereference—avagueatthatin cation No. prints, thisauthor believesthatatleastwith earlyKodak of thismode prints thatsufferfromlight-inducedimagediscoloration.) own juices.”(Seepages600–601forreproductionsofRC support andframingglass,theprintisleftto“stewinits and withtheprintemulsionsandwichedbetween the silverimage.Witheverythingtrappedinsideframe, degradation productsintotheatmosphere,andawayfrom apparently bypreventingthediffusionofoxidantsandvolatile RC Can Self-Destruct Displayed Black-and-WhiteRCPrints subject tolight-inducedimagediscoloration,framingan Changes havebeenmadeinthestructureofsilver Although Kodakplaced“base degradation”lastonits We havehereaveryalarmingsituation—withtheir Over theyearsKodakhascarefullyavoideddiscussion printunderglassorplasticexacerbatestheproblem, agents, or adhesives usedinframeconstruction, cleaning the environment,residualprocessing chemicals, age discolorations.Suchoxidantsmightresultfrom may reactwiththesilvergrainsandresultinim- as beingframedunderglass),anyoxidantspresent stored ordisplayedinaconfinedatmosphere(such ers restricttheflowofgases.Whenprintsare ting easierworking),theresin[polyethylene]lay- absorption ofprocessingchemicals(thuspermit- In additiontoprotectingthepaperbasefrom G Kodak -1, itisstated: base RC

B/W imagedeterioration,andthisauthoris

degradation RC

Photographic papers toimage discoloration. RC printsondisplayarealso [italicsadded].. RC printscontainapoten-

Papers , KodakPubli- 10 RC RC great majorityofcasesthe Rapid many madebythisauthorfromaboxof8x10-inchPolycontrast (which, fortunately,wasspared).Theseprintswereamong lumberyard waslocatednextdoortothisauthor’shome lumberyard inGrinnell,Iowagoingupflames—the photographs weretakeninthemiddleofnight a ( photographs attheInternationalCenterofPhotography tion wasdeleted. display intwo nature ofthediscolorationobservedafterseveralyears of raphy without overmats, wereplacedunderglass in metalframes. (made bytheRisingPaperCompany). Themountedprints, 11x14-inch, 4-ply,100%cotton fibermuseummountboard The printsweredrymounted inthecentersofsheets borders weretrimmedfrom theprintsafterprocessing. temperature, followingKodak’s instructions.Thewhite been carefullyprocessed,washed, andair-driedatroom and displayedKodakPolycontrastRapid causes ofimagediscolorationinframed environment orfromresidualprocessingchemicalsaslikely dismissed theinfluenceofoxidantsoriginatingfrom 1978 editionof Commenting onthepreviouslydiscussedstatementin image discolorationwasdiscussedbyKlausB.Hendriks. Polycontrast Rapid of FramedandDisplayedRCPrints The “EdgeEffect”intheDiscoloration ship between tion publishedin1985,allreferencetoapossiblerelation- caused byoxidantsgeneratedthe presentation intheOctober1978issueof fiber-base papers,gaveadetailedaccountofHendriks’s Kodak andothermanufacturersnottoceaseproductionof raphers totheshortcomingsof in early1976hadstartedapubliccampaigntoalertphotog- in homeshadbeenencountered.) developed cracksafterlessthan10yearsofnormaldisplay TiO Publication No. sufficient lengthoftime.InthesubsequenteditionKodak have discolored,orwilldosointhefutureifdisplayedfora tion”; however,anumberofEktacolor definitely beattributedtothismechanismof“self-destruc- in thethen-newblack-and-white this authorhadyetseenanexampleofimagediscoloration the presentationwasgivenin1978,neitherHendriksnor prove tobeaseriousproblemintheyearscome.(When system” ofdeterioration,andhespeculatedthatthiscould playing aframedblack-and-white Division attheNationalArchivesofCanada,saidthatdis- silver image]becauseitisenclosedinaglassframe.” ing agent,andthenitwillcontinuetoattackitself[andthe said: “Firstthebasedegradesandproducessomeoxidiz- ICP Supporting theviewthatimagedeteriorationofframed In May1978,ataconferenceonpreservationofcolor Hendriks, whoisdirectoroftheConservationResearch David Vestal,aphotographerandinfluentialwriterwho 2 Blues.” ) inNewYorkCity,thismodeofblack-and-white magazineinanarticleentitled,“ RC Paperpurchasedin1974; 12 RC Kodak RC G basedegradationandimagediscolora- printsmadein1977bythisauthor.The -1, releasedinMay1982,andalateredi- RC

B/W prints,basedegradationisinthe

Photographic primary RC RC RC papersandtoconvince printcreateda“closed 13 reasonthatimages RC paperswhichcould alloftheprintshad RC paperitselfisthe

Papers RC RC Popular printsthathad RC printscanbe Report:The prints,and , Hendriks

Photog- RC 11 582

This document originated at on June 6, 2003 under file name: 583 not asignificantfactorinthediscoloration. the frameitselforfromsurroundingenvironmentwere duced edge-fadingalsosuggeststhatcontaminantswithin protected fromtheenvironmentbyframingglass,re- borne contaminants),andthattheprintemulsionswere help protecttheimagefromattackbackbyair- 100% cottonfibermuseummountboard(allofwhichwould polyethylene layers,thattheprintsweremountedon4-ply, fering fromimagedeteriorationcausedby than oxidantlevelsintherestofimagearea. centrations ofoxidantsattheedgesprintwerelower and thenabsorbedbythemountboard,localizedcon- the mountboardslightlyseparatedfromframingglass) edges oftheframedprint(thethicknesskept print. Passingintothethinairpocketsurrounding diffusing throughthepapercoreatouteredgesofa the oxidantsgeneratedbypigmentedpolyethylenelayer discoloration that occurredwiththe1972 “initialtype” framed anddisplayed fading aremostsevereneartheedgesofprints.With als, itisfrequentlyobservedthatthediscolorationand taminants frompollutedairorunsuitablestoragemateri- h emnneadCr fClrPoorpsChapter17 inward about However, theveryouteredgesofprints—extending locations adjoininglow-densityorwhiteareasoftheprints. tion andmirroringespeciallypronouncedinhigh-density medium- andhigh-densityimageareas,withthediscolora- tion, microspots,andsurfacemirroringhadoccurredin After lessthan5yearsofdisplay,severeimagediscolora- The PermanenceandCareofColorPhotographs and BaseCrackinginRC Prints to InduceSilverImageDiscoloration Accelerated LightExposure Tests exposure tolight,most in thestackwereunaffected.) from thestackandwereexposedtolight.Fiber-baseprints group discoloredwheretheedgesorcornershadprotruded structure itself.Intheexamplesofdiscolored ages areoxidizedbysubstancesgeneratedwithintheprint true; thisisadditionalsupportforthetheorythatim- into thepapercoreof possibility thatedge-penetrationofprocessingchemicals trimmed afterprocessinganddrying,thuseliminatingthe just cited,theprintsshowing“edgeeffect”hadbeen tion ofthesevolatilesubstanceshasnotbeenidentified. slow decompositionofpolyethylene.Theexactcomposi- The evolutionofthegasesisprobablyassociatedwith or evenyears,aftertheprintsareplacedindarkstorage. riod, emissionofthesegasescancontinueformanymonths, the printshavebeenexposedtolightforasufficientpe- if theprintshavebeenframedunderglassorplastic.Once distinct, pungentodor.Theodorisespeciallypronounced several KodakPolycontrastRapid sitting onashelfinhisofficefornumberofyears,and also discolor.Indeed,thisauthorhadastackofprints In viewofthefactthat (It isimportanttonotethatunframed In correctlyprocessedandwashedfiber-baseprintssuf- This authorbelievesthatthis“edgeeffect”iscausedby In 1986,afterexaminingthe nature ofthesevereimage It hasbeennotedbythisauthorthatafterprolonged 1 ⁄ 16 inch—sufferedlittleornodiscoloration. RC RC prints,theoppositeisgenerally RC papersevolvegasesthathavea printswasinvolved. RC printstructurehastwo RC printsamongthe RC external printsmay RC prints con- at 75 klux (125footcandles)CoolWhitefluorescentillumination densities —fromacleanwhitetodeepblack. test samplecontainedawhiteborderandfullrangeof dark duringthe9yearsbeforetestswerestarted.Each same manner.Theduplicateprintshadbeenstoredinthe session andhadbeenprocessed,washeddriedinthe All oftheprintshadbeenmadeduringsamedarkroom same boxthathadbeenusedforthe5-yeardisplayedprints. cut fromduplicateprintsmadein1977withpaperthe or plastic,thisauthorbeganaseriesoftestswithsamples image discoloration,andtheeffectsofframingunderglass Polycontrast Rapid rioration hadoccurredinmostoftheprints: been inprogressfor6years(72months)andvisibledete- with Plexiglas glass (bothwithandwithoutanovermat),printsframed prints exposedtobare-bulbillumination,framedwith times moreintensethanat1.35klux.Includedwereunframed equipment, seeChapter2).Illuminationat21.5kluxis16 reciprocity relationship,theinfluenceof color prints.) applied tothelightfadingandlight-inducedstainingof see Chapter2foradiscussionofreciprocityfailuresas time forimagediscolorationtoappearbyafactorof25— intensity 25times,forexample,wouldreducethelengthof (If noreciprocityfailurewereinvolved,increasingthelight extremely largereciprocityfailureinlightexposuretests. concluded thatthediscolorationmechanismmusthavean and withnosignofdiscolorationinthetestprint—itwas during the5yearsthatithadbeenhangingonwall— time) thanthedisplayedprintcouldpossiblyhavereceived test printhadbeenexposedtofarmorelight(intensityx discoloration. Afterseveralmonthshadpassedandthe with theexpectationofbeingabletoquicklysimulate to ahigh-intensity21.5kluxacceleratedlightexposuretest subjected asmallprintmadefromthesameboxofpaper at 75 high-intensity 21.5klux(2,000footcandles)illumination,also .1.35kluxUnframedPrint: 1. .1.35kluxOvermattedGlass-FramedPrint: 2. At thetimethisbookwenttopressin1992,testshad To moresystematicallyinvestigatethelightintensity One groupofprintswasplacedunderlow-intensity1.35 or Plexiglas image. Unliketheprintsthatwereframedwithglass areas immediatelyadjacenttowhiteportionsofthe and thiswasmostevidentinmediumlowdensity yellowish discolorationhadrathersuddenlyoccurred, eas, adjacentto lower-densitypartsoftheimage. After sooner). Thesespotsoccurred inmedium-densityar- oration, thespotsprobably would havebeennoticed had beenexperiencedinlooking forearly-stagediscol- face-mirrored microspotswere observed(ifthisauthor years oflightexposure,“classic” orange-colored,sur- UV even thoughithadbeenexposedtotherelativelyhigh emulsion crackingwasobservedwiththeunframedprint, severely discoloredareas.Evenafter6years,nobase/ surface “silvering-out”wasnotedadjacenttothemost ° ° F F contentofbare-bulbfluorescentillumination. (24 (24 ° ° C) and60% C) and60% UF UF -3, a -3, nomicrospotswereevident,although RC UV printsdiscussedabove,thisauthor RH RH -absorbing acrylicsheet. . Anothergroupwasexposedto (foradescriptionofthetest After4years,significant UV radiationon After 1 1 ⁄ 2

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints .21.5kluxUnframedPrint: 5. .1.35kluxPrintFramedinContactwithGlass: 3. 4. 1.35 klux Print Framed 1.35klux Print in Contact with 4. 6. 21.5 klux Print Framed inContactwithGlass: Print klux 21.5 6. more microspotsanddiscolorationwerenoted. centrated nearonecornerofthesample.After6years, 3mm to10mmfromtheborder;thesespotswerecon- and theprinthadalsodevelopedsomesmallmicrospots print border(identicaltothatdescribedinNo.2above) ored bandimmediatelyadjacenttotheuntrimmedwhite ticed. After not consciouslylookingforcracks,theywereno- image discoloration,andatthattimethisauthorwas test; butbecausethecrackswerenotaccompaniedby first cracksprobablyoccurredatanearlierpointinthe minimum-density (white)andlow-densityareas.The ing (whichtypeofcrackcouldnotbedetermined)in had developedextensiveemulsionand/orbasecrack- 1 be detected. oration becomingmoresevere;nosurfacecrackingcould After 6years,thispatterncontinuedwithimagediscol- occurred. Fewadditionallargemicrospotswerenoted. cent towhiteportionsoftheimagehadrathersuddenly discoloration inlow-andmedium-densityareasadja- the printborder.After4years,significantyellowish could beobservedinanimagearea3mmto8mmfrom magnification, alargenumberofverysmallmicrospots 2 noted intheovermattedprintwasevident. print. After6years,littleoftheyellowishdiscoloration the “large”spotsthatoccurredwithovermatted None ofthesespots,however,approachedthesize number ofsmallmicrospotshadincreasedmarkedly. der ashadoccurredwithNo.2above.But,overall,the developed adiscoloredareanexttothewhiteprintbor- areas oftheimage.After4years,printhadnot gradients). Nodiscolorationwasevidentinlow-density microspots tendedtobeconcentratedalongimage-density uted inmedium-tohigh-densityareasoftheprint(the very smallmicrospots,whichwerefairlyevenlydistrib- uniformly discoloredandsurface-mirrored.Under10 adjacent, untrimmedwhiteprintborder,hadbecome 1.0mm wide,andrunningalongthefulllengthof addition, anarrowbandoftheimage,approximately number ofthese“large”spotsremainedfairlysmall.In oration couldbedetected. severely cracked,nomicrospotsorotherimagediscol- after 6yearsofillumination,however,andwiththeprint very extensiveandcoveredallareasoftheprint.Even remaining freeofcracks.After4years,crackingwas print surface,withonlythemaximum-densityareasstill 2 adjacent tolow-density and/orwhiteareas.After 6years, immediately evident inmedium-andhigh-density areas bers ofdistinctmicrospots.The discolorationwasmost imagediscoloration intheformoflargenum- nificant 4 years,theprintrathersuddenly begantoshowsig- 1 2 1 ⁄ ⁄ ⁄ 3 3 3 years,theprintexhibitedanarrow,stronglydiscol- years,theprinthaddevelopedlargenumbersof years,thespotshadgrowninsize,buttotal 2 1 ⁄ 3 yearsthecrackscoveredmostof After 1 1 ⁄ 2 yearstheprint UF -3: After After After X may beverylowindeed(and thatalthoughexposureto dants bythetitaniumdioxide pigmentedpolyethylenelayer of illuminationnecessaryto initiate theproductionofoxi- ored duringnormaldisplay,suggestthatthethresholdlevel mination historyofanumberprintsthatbecamediscol- to acceleratethediscolorationprocess. least atroomtemperature)mayinfactdolittleifanything normal conditions—short-term,high-intensitytests(at to concludethat—comparedwithlong-termdisplayunder samples waslesspronounced).Therefore,onewouldhave 5 years,thediscolorationobservedin21.5kluxprint print thathadbeendisplayedundernormalconditionsfor times morelightexposurethandidtheseverelydiscolored the 21.5kluxtestsampleshadreceivedanestimated405 with thisparticular tion causedbylong-termdisplayundernormalconditions tests havean unframed print inthehigh-intensity,forced-air-cooled 21.5 alone isquitesufficienttoinitiate andsustaintheprocess). radiation appearstoaccelerate thereaction,visiblelight Conclusions SuggestedbyTheseTests Accumulated LightExposureofPrints: first discolorationsoccurredinthisprintisnotknown. conditioned. Thelengthoftimethathadpassedbeforethe most ofthetime,areawhereitwasdisplayedair print wasframedunderglass,withoutanovermat,andfor estimated tohavebeenapproximately14,300hours.The with anintensityofabout195lux—thetotaldisplaytimeis was displayedunderCoolWhitefluorescentillumination on thesamepaperastestsamplesdescribedabove), ted printthathadbeennormallydisplayedfor5years(made .21.5kluxPrintFramedinContactwithUF-3: 7. The previouslydiscussed These results,togetherwithaninvestigationoftheillu- It isclearthattoproducethetypeofimagediscolora- (405x lightexposureofnormallydisplayedprint) 21.5 kluxtestprintsfor6years = (25x lightexposureofnormallydisplayedprint) 1.35 kluxtestprintsfor6years = (estimated lightexposureaccumulatedduring5years) Print normally displayed for 5 years = The factthat,evenafter6years oflightexposure,the 16 timesmorelightexposurethanthe1.35kluxprint! — despitethefactthat21.5kluxprinthadreceived discoloration onthesetwoprintswasalmostidentical In fact,after6yearsoflightexposure,thepattern spots wereconcentratednearonecorneroftheprint. der. Likethe1.35kluxprintframedwith small microspotsalonganareafartherinfromthebor- cent tothewhiteprintborder;alsoexhibited discolored bandalongthefulllengthofimageadja- 2 ing moresevere. crospots andthedegreeofimagediscolorationbecom- this patterncontinuedwiththesizeandnumberofmi- 1 ⁄ 3 years,theprinthaddevelopedaverynarrow,strongly extremely RC paper,acceleratedlight-exposure largereciprocityfailure(although severely 1,130,040 klux-hours 70,956 klux-hours discoloredandspot- 2,790 klux-hours UF -3, these After UV 584

This document originated at on June 6, 2003 under file name: 585 overmat; infact, inthe1.35kluxtestswith framedprints, least) byseparatingprints from framingglasswithan ing tobegained(withrespect toimagediscolorationat periods insomewayaccelerated imagediscoloration. mately 12hourseachday; it ispossiblethatthesedark the normallydisplayedprint wasinthedarkforapproxi- exposed tocontinuousilluminationfor24hoursaday,and more resistanttooxidation)and/orchangesinthe of thesilvergrainsthatresultedinimagebecoming may haveoccurredinthesilverimage(e.g.,mildsulfiding tests, andduringthisperiodofdarkstoragesubtlechanges subjected totheintenseilluminationofaccelerated were storedinthedarkfornearly9yearsbeforethey 60% relative humiditythatwassignificantlyhigherthanthe of 5years,thenormallydisplayedprintwassubjected to light-induced imagediscoloration. per basethatrenderedthetestprintslesssusceptible to the normallydisplayedprint: account forthemoreseverediscolorationthatoccurredin same image,andtheywereprocessedatthetime. trast Rapid swered. All ofthe prints were made with Kodak Polycon- played undernormalconditionsfor5years,remainsunan- had notdiscoloredasmuchdidtheprintthatwasdis- 6 yearsofhigh-intensityilluminationinacceleratedtests, Chapter17 exposed tolightinnormalofficestorageconditions. came discoloredafterseveralyearsofsittinginstacks tion thathavebeenobservedinunframedprintsbe- years. Thiscorrelateswellwiththepatternsofdiscolora- while the21.5kluxunframedprintstillhadnotafter6 print inthistestbegantoshowdiscolorationafter4years, klux test,andthisisprobablythereasonthatunframed over thesurfaceofprintthaniscasewith21.5 can causeseverediscolorationofthesilverimage. package, formingadestructivemicroclimatethatovertime are toamuchgreaterextentretainedwithintheframe from theprintemulsion.Withframedprints,oxidants oxidants arefreetodiffuseintotheatmosphere,andaway ethylene coatingoftheprints.Withunframedprints,these titanium dioxidewhitepigmentintheemulsion-sidepoly- production ofoxidizingsubstances(e.g.,peroxides)bythe RC to thetheorythatdiscolorationobservedwithframed klux testhadnotyetdiscoloredlendsconsiderablesupport The PermanenceandCareofColorPhotographs played black-and-white peratures, cangreatlyacceleratethediscolorationofdis- relative humidity,especiallyinconjunctionwithhightem- that relativehumidityisaveryimportantvariable:high the northernUnitedStatesandinCanadamakesitclear southern areasintheUnitedStates,anddrierregions discolored printsdisplayedintropicalcountries,humid cur) andtheambientrelativehumidity.Examinationof required forthistypeoflight-induceddiscolorationtooc- mination levelmightbe,prolongedexposureperiodsare tion oftheillumination(regardlesshowintenseillu- affecting discolorationoftheimageappeartobedura- An importantfindingofthese testsisthattherenoth- This authorcansuggestonlythreethingsthatmight Exactly whythetestprints,whichhadbeenexposedto For anygiventypeof In the1.35kluxtest,thereismuchlessaircirculation printsisbroughtaboutprimarilybythelight-initiated RH usedintheacceleratedtests. RC Paperfromthesamebox,theyhad RC RC prints. paper,themostcriticalfactors (1) Attimesduringthecourse (3) Thetestprintswere (2) Thetestprints RC pa- matted printwasnotincludedinthe21.5kluxtests.) the groupatendof6years.(Unfortunately,anover- the overmattedprintwasmostseverelydiscoloredof sulfate —which, unliketitaniumdioxide,is notphotoreac- behavior of remain unansweredquestions.Likewise,thelong-term dency forthesepaperstodiscoloronlong-termdisplay ated testscanbedevisedtomeaningfullyevaluatetheten- But howmuchbettertheyareandwhatkindsofacceler- type” PolycontrastRapid have greaterresistancetodiscolorationthanthe“initial oper-incorporated with fiber-basepapers.Apparently,thelongeradevel- light-induced deteriorationthat afflict dreds ofprintswithIlfordIlfospeedMultigrade cent Kodak and frames, thebackprintingonprintsframedunderglass prints (toavoiddisturbingthemicroclimateinsidesealed beyond recognitiononboththe1.35and21.5kluxunframed ably beaccountedforbytwo principalfactors: RC PrintsandFiber-Base Prints Inherent StabilityDifferences Between Developer-Incorporated RCPapers Brownish Base-Stainingin many also appearstohavealargereciprocityfailure. images, thefadingofinkusedtobackprintpaper the silverimagesofframedblack-and-white are simplynotvalidwhenitcomestothediscolorationof dye fadingincolorprintshigh-intensitylighttests “clean” extrapolationsthatcanbedonewiththeratesof samples wouldbeusefulinthistypeoftest.Thekinds pearance ofthediscoloration.Anincreasednumbertest irregularities mayalsoinfluencetherateandvisualap- cessing chemicalorwashwaterresidues,printdrying currently producing ental, Fuji,andthemanyothermanufacturersworldwide sion atthetimeofmanufacture, caused bythedeveloperincorporatedinpaper’semul- according toCtein,awell-knownphotographywriter, is polyethylene layer.Thistypeofpaper-basestaining,which shielding effectofthewhitetitaniumdioxidepigmented apparent ontheemulsionsideofprintsbecause pronounced onthebacksofprints,butismuchless within thepaperbaseitself.Thediscolorationisquite all oftheseprintsnowexhibitheavybrownishstaining watermark) printedonthebackof sure, thegrayKodakidentification(sometimescalleda sheet), andintothefiber-basepapercoreof ethylene layer(andthroughthebacksideofadjacent oper migratesfromtheemulsion,throughtop-sidepoly- tually become.Duringstorage,theincorporateddevel- processing, themoreseverebrownishstainmayeven- It isalsoworthnotingthat,after1 Observation ofdisplayed That fiber-baseprintsarenot subjecttothetypesof In 1983thisauthorandCarolBrowermademanyhun- The oftenirregularpatternsofdiscolorationnotedwith UF RC -3 wasnotexamined).Likethediscolorationof printssuggeststhatsurfacecontamination,pro- RC RC paperssuggeststhattheyalmostcertainly papersmadebyIlford,Agfa-Gevaert,Ori- RC RC paperremainsinstoragepriorto papersisnotknown. RC Paperevaluatedinthesetests. RC printsmadewithmorere- 14 hasneverbeenobserved 1 ⁄2 RC RC yearsoflightexpo- paperhadfaded printscanprob- RC (1) prints. RC RC Barium paper; paper.

This document originated at on June 6, 2003 under file name: poor stabilityinthepresenceoflightand as mentionedpreviously,isaplasticlongrecognizedforits and Agfa be accountedforbydifferencesintheformulationsofKodak black-and-white prints.Thesedifferencespossiblycould encountered farmorecrackedcolorprintsthan aspect of Agfa-Gevaert againstavehementattackonvirtuallyevery partially negatetheprincipaladvantage increase processing,washing,anddryingtimes—thereby light-sensitive emulsion,buttodosowouldsignificantly of papershadbeenreduced andthat“[ it wasclaimed,amongother things,thatthesilvercontent stated that“damage throughflaking[ the imagesfadein15years atthelatest.”Itwasalso low quality,andtestshave proved beyondquestionthat but inKodak Agfacolor base papersappeartobemorestablethanimageson gested thatoneofthereasonswhysilverimagesonfiber- article publishedin1980,GunterKolfofAgfa-Gevaertsug- pollutants and/orcontaminantsinstoragematerials.Inan pers —areunusuallysensitivetotheeffectsofatmospheric entitled Dieuzaide. InadocumentpublishedbyDieuzaidein1977 led bytheFrenchphotographerandgalleryownerJean color that thecrackingdefecthadnotbeenobservedinAgfa- rioration ofthepolyethylenelayersinAgfa of “silvermirrors”ontheemulsionsurface. Kolf, canaccelerateimagediscolorationandtheformation from theemulsionandsilverimage,this,accordingto emulsion preventsmigrationofharmfulsubstancesaway papers, thenonabsorbentpolyethylenelayerbeneath sion layer,adjacenttothesilverimagegrains. preventing themfrombecomingconcentratedintheemul- radation productssuchasmigratingsilverions,thereby pollutants, contaminantsfromstoragematerials,anddeg- fiber-base printsactasa“sump”whichabsorbsairborne papers isthatthebarytalayerandabsorbentpaperbaseof tional barytalayeronan papers. Itwould,ofcourse,bepossibletocoataconven- Chapter17 ide appearstohavetheopticalpropertiesrequiredfor RC (2) layer coatedbeneaththeemulsioninfiber-basepapers. tive —isusedasthepigmentinsmooth,whitebaryta Display andIlluminationofColorBlack-and-WhitePrints Polycontrast Rapid mitted bytheverythinemulsion-sidepolyethylenelayerof make itsuitableasapigmentinthesmallquantitiesper- a highenoughrelativereflectanceorrefractiveindexto white coating.Bariumsulfatedoesnot,unfortunately,have barium sulfaterequiredtoachieveabrightandopaque papers canaccommodatetherelativelylargeamountof (especially whencompoundedwithtitaniumdioxide). RC Paper had littlefirsthandexperiencewithearlyAgfa Kolf’s articlewaspublishedprimarilyasadefenseby Kolf alsostatedthatimagesilveracceleratesthedete- There isalsoevidencethatprintsmadeonearlyKodak The thicknessofthegelatinbarytalayerinfiber-base Paper—indeed,possibly prints.Ofavailablewhitepigments,onlytitaniumdiox- Fiber-basepapersdonotcontainpolyethylene,which, RC

Which Appeal prints(thisauthorrecentlyexaminedacracked RC RC RC papersfromthatera. papersbyagroupoffineartphotographers

printfromthemid-1980’s).Thisauthorhas is RC

for Threatened papersfromthe1970’s,thisauthorhas

the RC

Preservation PaperandPolycontrastRapid RC

basepaperpriortocoatingthe by

the all

black-and-white

Cessation of

Genuine RC RC of RC cracking]isun- ] papersareof RC

UV Photographic papers.

papersand Production 15 RC radiation With papers; RC pa- RC RC RC II , ity ofthe terms ofthepermanencesilverimageandstabil- were lessstablethantheirfiber-basecounterparts,bothin implication, the criticisms of discussed later. prevent thedemiseof“quality”fiber-basepaperswillbe oxidation of and [ sible sincethegradationsandblacktonesareinsufficient; avoidable; well-printedreproductionsarevirtuallyimpos- that havebeenobservedinKodak the oftenlargedifferencesinimageandsupportstability at Kodak,Feldman’sarticlemadeeveryefforttominimize Arthur Goldsmithof concurrent campaignintheU.S.ledbyDavidVestaland tion. TheeventualoutcomeofDieuzaide’sefforts—anda turer R.GuilleminotBoespflug&Cietodiscussthesitua- man Kodak,Agfa-Gevaert,Ilford,andtheFrenchmanufac- mit conferences”inFrancewithrepresentativesofEast- discontinue fiber-basepapers.Thegroupheldtwo“sum- tions urgingthemajorphotographicmanufacturersnotto photographers collectedthousandsofsignaturesonpeti- scribed themechanismsofsilver-imagedeteriorationin image discolorationofframed in 1980);andhedidnotaddressthetopicoflight-induced article, did ever, inacarefullywordedparagraphneartheendof Kodak hasremainedsilentonthissubject.)Feldman,how- radation. (IntheyearssinceFeldmanpresentation, tions involvingtitaniumdioxideand/orpolyethylenedeg- rectly processedandwashed mary, ifnottheonly,causeofimagedeteriorationcor- the impressionthatattackbyexternaloxidantsispri- Many readersoftheFeldmanarticlehavebeenleftwith dants from effects causedtosilverimagesbyperoxidesandotheroxi- RC RC PapersversusFiber-Base Kodak’s CurrentPositionon knowledge thatAgfablack-and-white white barytapapers.” ers willcontinuetomarketabroadrangeofblack-andthis workremainsuncompleted,responsiblemanufactur- exhibit fewerdetrimentalagingcharacteristics.Solongas which whilepossessingthepositivevirtuesofpolyethylene “. .plasticsotherthanpolyethyleneshouldbesought induced deteriorationofpolyethylene,Kolfsuggestedthat was neededtofindwaysofretardingorstoppingthelight- ticle wasfirstpresentedasapaperatan fiber-base papersmarketedinthe1970’s(Feldman’sar- Probably becauseoflegalandmarketingconsiderations During 1977,DieuzaideandotherconcernedEuropean In LarryFeldman'spreviouslymentionedarticle,hede- While disputingnearlyallofthepracticalandaesthetic andfiber-baseprintsemphasizedthedamaging RC tic shouldbeconsidered fortreatmentwithtoners oxidizing gases,orframedunder glassorplas- intense orextendedillumination, exposedto coated paperbasethatmay besubjectedto papers]areunpleasanttothetouch.” In particular,black-and-white printsonresin- RC external allude RC basepaperitself.Sayingthatmoreresearch RC images: RC papersmadebyDieuzaide,Kolfdidac- tothepossibilityofinternally caused papersofothermanufacturersaswell) sourcessuchasoil-basepaintfumes. Popular

RC Photography RC prints. printscausedbyreac- RC RC papersandKodak SPSE papers(andby magazine—to 16 conference 586

This document originated at on June 6, 2003 under file name: 587 higher incidenceofcracking. mosaic cracking”ofKodakfiber-baseand intentionally vaguediscussionof“emulsioncrackingor the early1970’s. made onearlyversionsofKodak that thesourceof“activeoxidants”indisplayedprints of imagedeteriorationinearlyKodakblack-and-white and Discoloration to HelpPreventImageOxidation Treating PrintswithaProtectiveToner base or According toKodak,“Thiseffectmayoccuroneitherfiber- differences betweenKodakfiber-baseand divert thereaderfromrealityofverylargestability papers,” thestatementcanonlybeviewedasanattemptto sion that“Thisphenomenoncanalsooccuronfiber-based 1985 book prints, thecompanyincludedfollowingstatementinits and 1970’sleavesnodoubtthatthe has takenplaceandthenatureofcracks, prints areshown;judgingfromtheamountoffadingthat the the impressionthatKodak appears todatefromtheearly1970’s.Thereaderisgiven tion ofmanyKodak velop cracks.Thisnotionisobviouslyincorrect;examina- this eradidnotdifferappreciablyintheirtendencytode- conditions.” protection afforded byvarioustoners). image silver(seesectionbelow onnewresearchthe more resistanttooxidation thanisnormal,unprotected grains toformsilverselenide, acompoundthatismuch lenite —combineswiththeouter layerofthesilverimage — presentinthetonersolution intheformofsodiumse- Kodak RapidSeleniumToner, forexample,seleniummetal tance toimagediscoloration.Whenaprintistreatedwith Poly-Toner, orKodakSepiaTonertoincreasetheirresis- ber-base prints)withKodakRapidSeleniumToner, h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs Feldman’s articlesuggestedtreating Conservation The Kodakbookcarefullyavoidedmentionofthefact In amasterfulattempttofurtherobfuscatetherealcause RC on earlyversionsof of allblack-and-whitephotographicprints. ers isrecommendedtofurtherextendthelife conditions. Nonetheless,treatmentwithton- which prolongsthelifeofprintsunderdisplay have incorporatedastabilizerinthepaperstock under adversestorageordisplayconditions. those applicationsrequiringlong-termkeeping fiber-base papersislikewiserecommendedfor to extendimagelife.Thetoningofprintson Kodak black-and-whitepaperson occur onfiber-basedpapers.Forsometime, dal silverspots.Thisphenomenoncanalso tion could,overaperiodoftime,developcolloi- subjected toactiveoxidantsatlowconcentra- paperbaseitself.Especiallyinlightoftheadmis- RC Displayed black-and-whitephotographicprints Conservation printsunderadversedisplayand/orstorage 19 Examplesofcrackedfiber-baseand

RC Photographs andfiber-baseprintsfromthe1960’s

Photographs RC RC paperbase,thatwere andfiber-basepapersfrom alsocontainedasimilar, RC papersmostlikelywas RC RC : printshaveafar RC paperbase RC RC prints(andfi- colorprints. printsfrom 18 RC RC 17 print color RC of foraphotographertotreat Kodak black-and-white been eliminatedonatleastsomeinformationsheetsfor volving “adversestorageordisplayconditions”hasnow packaged withKodakPolyprint toned downitswarnings;forexample,theinformationsheets cially forprints. Mostcontemporaryfine artphotogra- been avocaladvocateofthe useofseleniumtoner,espe- images ofhiscarefullymade prints.Thisauthorhaslong photographer AnselAdams toprotectandintensifythe and alonglistofothermaterials. many typesofplastics,poor-quality cardboardandpaper, from particleboard,plywood,wood,paintsandvarnishes, quently arepresentinpollutedairandthatmaybeevolved gen oxides,ozone,andotheroxidizingsubstancesthatfre- ers offeredsubstantialprotectionagainstperoxides,nitro- ment ofsilverimageswithselenium,sulfiding,orgoldton- appeared inKodak Polycontrast for BothRCandFiber-BasePrints Poly-Toner Are CurrentlyRecommended Kodak RapidSeleniumTonerand use required fortheseadditionalprocessingsteps—donot permanence —andwhomightbewillingtospendthetime processors. Mostphotographerswhoareinterestedin as theKodakPolymaxprocessororIlford21502240 age ordisplayconditions.” cations requiringlong-termkeepingunderadversestor- base paperscontinuetoberecommendedforthoseappli- accompanied bytheaddedrecommendation:“Tonedfiber- that black-and-white poor stabilityofitsearlyblack-and-white protect Kodakagainstpossiblelawsuitsrelatedtothevery (which couldalsobeviewedasalegaldisclaimertohelp or FujiAg-Guard). toner (oranimage-protectivesolutionsuchasAgfaSistan the backsideisnotavailableforexamination. ture ofan cult orimpossibletoidentifythetypeanddateofmanufac- the contraryisavailable.Inaddition,itgenerallydiffi- a protectivetonersolution,unlessspecificinformationto modated byautomatic along withanaddedwash,neitherofwhichcanbeaccom- ment withatonerrequiresanadditionalprocessingstep nience andspeedofprocessing,washing,drying.Treat- It isthisauthor’sobservationthatitvirtuallyunheard The advicetousefiber-basepapersforapplicationsin- Selenium tonerhadbeenused fordecadesbythelate For manyyearsitwasgenerallyacceptedthattreat- Because ofthis,museumsorarchivesshouldassume Feldman’s advicetotreat RC minutes at70 Rapid SeleniumToner,useddiluted1:20for3 to adversedisplayorstorageconditions.Kodak may beexposedtooxidizinggasesorsubjected packaged tonerstoextendthelifeofprintswhich out changingtheimagecolor. papersinthefirstplace. Print RC print,particularlyifithasbeenmountedand III

Storage

RC ° Papernowsayonly: F RC RC (21 RC

and RC papersarechosenfortheirconve- paperproduct-informationsheets, RC ° printshave C), providesprotectionwith-

print-processingmachinessuch Display: papers. 20 RC MorerecentlyKodakhas RC printswithasuitabletoner printswithaprotective YoucanuseKodak RC 21 not PaperandKodak beentreatedwith RC papers)soon

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints their studiesreleasedin1991: both seleniumandpotassiumsulfide)mightproveadequate. Selenium TonerandKodakPoly-Toner(whichcontains the imageprotectionitoffers.AcombinationofRapid wash followingtoningshouldbeadequate. by othertypesoftoners.) mark withwhichtocomparetheimageprotectionafforded than alaboratorycuriosity—sometimesusedasbench- in goldtoners,hadlongsincerenderedthemlittlemore characteristics ofcurrentand pastblack-and-white been madepublicaboutthe specificlong-termstability Should NotBeDisplayed Valuable Black-and-WhiteRCPrints wet), anda30-minutewash.For sion frillingprovestobeaproblemwhiletheprintsare ing Agent(followedwithKodakLiquidHardenerifemul- requires asubsequenttreatmentwithKodakHypoClear- current papers.UseofPoly-Tonerwithfiber-basepapers and anoticeableamountofimageintensificationwithmany recommended. Thisgivesapleasing,near-neutraltone a 1:10dilutionforabout2minutesatroomtemperatureis degree ofimageprotectionisdesired,KodakPoly-Tonerin mixed directlywithKodakHypoClearingAgent).Ifagreater simplify treatmentoffiber-basepapers,thetonercanbe continues torecommendKodakRapidSeleniumToner(to mended instead. silver imagesofmicrofilms.Sulfidingtonerswererecom- protection againstoxidationtotheextremelyfinegrain tiveness andadvocateditsuseforbothprintsfilms. published aseriesofarticlesthatdemonstrateditseffec- Kodak RapidSeleniumToner.Intheearly1980’s phers nowroutinelytreattheirblack-and-whiteprintswith the properties ofblack-and-white major manufacturers.Essentially nothingisavailableon pers suppliedbyKodak,Ilford, Agfa-Gevaert,andtheother that KodakRapidSeleniumToneraffordedrelatively age PermanenceInstituteinRochester,NewYorkreported For treatingboth Kodak maymodifyRapidSeleniumTonertoimprove It mustbeemphasizedthat 1988,James M.Reillyandhisco-workersattheIm- In (The prohibitivecostofgoldchloride,thekeyingredient cal andeffectivechoice. formulas. Polysulfideseemedthemostpracti- stituent ofthemosteffectivegoldtreatment and thepossibletoxicityofthioureacon- gold, however,isimpracticalbecauseofitscost Gold andpolysulfideprotectalldensitylevels; it mayfunctionwellwithphotographicpapers. out seleniumasamicrofilmtreatment,though reason forthisisnotclear,itafact,andrules as middleandhighdensityareas.Whilethe low densityareastosilverselenideasreadily suggests thatseleniumdoesnotconvertthe sity areasofmicrofilm.Theevidencewehave recommended, doesnotprotectthelowden- ment provedeffectiveenough.Selenium,often oxide testing,onlygoldandpolysulfidetreat- Using acriterionofrigoroushydrogenper- 23 Asexplainedina172-pagereporton RC andfiber-basepapers,thisauthor 24 very RC RC

little papersproduced by papers,a5-minute informationhas RC little pa- 22 with Polaroid were adistinctlynewtypeofphotographicmaterial.As short periods. black-and-white use. JudgingfromearlyKodakpronouncementsaboutits fiber-base printsinthemanyyearsthattheyhadbeen in Kodak black-and-white display times,oreventhebestframingmethodsforany is notpossibletosuggest“safe”illuminationconditions, the manysmallermanufacturersinfield.Atpresentit occurred with base crackingandgarishimagediscolorationthatsoon image andbasedeterioration;thepeculiarlight-induced black-and-white Kodak’s EarlyClaimsConcerningRCPaper exhibition purposes.Black-and-white not bedisplayed;instead,copyprintsshouldmadefor is recommendedthatvaluableblack-and-white pers madebyothermanufacturers.Forthesereasons,it date fromthe1970’sshould introducing themtothemarket: aware ofthestabilitylimitationspapersprior to When light-exposure testingofblack-and-white there isaverylargereciprocityfailureinaccelerated tion canoccurafterfarlesslightexposure,indicatingthat display conditions,asimilardegreeofimagediscolora- ver “microspot”formationhadoccurred.Undernormal and significantlight-inducedimagediscolorationsil- ture wastaken,thetestshadbeeninprogressfor6years intensity 21.5kluxfluorescenttestunit.Whenthispic- in thisauthor’stemperature-andhumidity-controlledhigh- Paper introducedin1972undergoinglight-exposuretests Samples of“originaltype”KodakPolycontrastRapid offers yousomuch today. have longlife..Trythis new productthat ferrotyping. Printslieflat,remain flexibleand surface provideahigh-gloss surfacewithout you alotofprocessingtime. fixes intwominutesandwashes in4tosave surface, hasmanyimportant advantages.It This newresin-coatedpaper,ineitherForN dium weight—isthenewestpaperinline. Kodak PolycontrastRapid RC papersenteredthemarketin1960's,they SX RC RC RC -70 printsandsomeothercolorproducts, printshadneverbeenobservedwith papers,thecompanyitselfwasnotfully printsexhibitedentirelynewtypesof RC prints,letaloneforthe never 25 bedisplayed,evenfor RC RC Paper—me- RC papersinF RC printsknownto papers. RC prints RC RC pa-

October 1992 588

This document originated at on June 6, 2003 under file name: 589 and ing andotherdeterioration of theprintsupportmaterial; the 2 hoursofwashingseemedwonderful.And fate thancouldbeachievedinafiber-baseprintaftereven only 4minutesandobtainalowerlevelofresidualthiosul- many photographers.Tobeabletowashan the dark coloration mayinsomeinstancesfirstmanifestitself display conditions.Therealsoisevidencethatimagedis- aging testsinawaythatcanbeextrapolatedtonormal devised todeterminethestabilitypropertiesof papers. light-induced imagedeteriorationcharacteristicsofthese revealed onlythebarestdetailsofhowitevaluates these earlyblack-and-white good tobetrue.And,astheunfortunatefateofmany were ledtobelieve,wasapermanentprint.Itseemedtoo drying, be driedwithaperfectglossinminuteorless.After used toassessthestabilityof and manyquestionsremainunansweredaboutthetests of CurrentBlack-and-WhiteRCPapers Evaluating theStabilityCharacteristics Chapter17 in RC The PermanenceandCareofColorPhotographs too goodtobetrueitwas. terials, andother lutants, harmfulsubstances inmountingandstoragema- discoloration causedbyairbornepol- and image tofading to evaluatethefourprincipalaspectsof images onfilmsdonotincludeanytestswhichcanbeused of acteristics the worsen indarkstorage. is alreadyvisuallyapparentinadisplayedprint,itmay ing exposuretolightondisplay.Likewise,ifdeterioration ford dants from displayed printstofadingand discolorationcausedbyoxi- ration: current image incommonconditionsofdisplayorstorage.The methods topredicttheusefullifeofsupportand/or of framed independent laboratoriesarenotavailable. and comprehensive,comparativestability-testdatafrom less In theearly1970’s,allofthisseemedlikeapanaceato No generallyacceptedacceleratedtestshaveyetbeen The abovequoteisfrom No As discussedpreviously,thelight-induceddiscoloration printscouldbecompletelyprocessed,washed,anddried

28 Professional, (4) havedisclosedlittleabouttheirrespectivetestmethods, attain optimumstability. prints inwhich time time is recommended, for conventionalpapers.a4-minutewash step. Insteadoftheminimumanhourwash resistant [

than ANSI (1) 27 printcracking caused—orcontributed to —by RC ANSI Kodak Publication Faster The bigsavinginprocessingtimeforwater- after Agfa-Gevaert,Oriental,Mitsubishi,Fuji,andIl- susceptibility of the silver imageofframedand the of susceptibility RC printsstayed

internal 60 standardscurrentlyexisteitherforthechar- printsisdifficulttosimulateinaccelerated standardsrelatedtothestabilityofsilver aprinthasbeenreturnedtostoragefollow-

seconds

and RC KodakPublicationP4-73(October1972). external RC sources;

] papersoccursinthewashing Better supportmaterialitselforfortest , andtheresult,mostphotographers sources; flat

B/W G Kodak RC (2) -6 (July1976) . Withmachineprocessing, 26 RC printsnowclearlyshows,

susceptibilityofthesilver Print basepaper.Kodakhas

Photographic (3)

Processing light-causedcrack- RC RC printdeterio- printscould RC RC

Papers printfor papers,

for sign of ture ofblack-and-whitefiber-basepapers. measures thatneverhadtobeconsideredinthemanufac- self inanattempttoprotectthesilverimage.Thesewere port materialand,apparently,intotheemulsionlayerit- ingful informationonthestabilityoftheirrespective or othermanufacturers(noneofwhomhavepublishedmean- has suppliedonthestabilityofitsblack-and-white has madeaboutthestabilityofits gether andtoassumethatwhateverclaimsEastmanKodak content toleaveitthatway.In1980,however,anew comings ofthesematerials—hasinthepastbeenquite photographic industry—wellawareofthestabilityshort- apply toother their turers madevariousmodificationstotheformulationsof rioration werebeginningtobeunderstood,themanufac- early 1970’s,andthemechanismsofimagebasedete- problems of exposed tolightondisplay.Oncetheseriousstability press, papers). Inrecentyears,somewritersinthephotographic RC RC PapersAreNotAllAlike for subcommittee wasestablishedtodevelopateststandard rather neglectedby fluctuations inrelativehumidity. titanium dioxideinits In another,earliermodification,Kodakchangedthetype of granted toKodakin1974(U.S.patentsexpireafter17years). grate intothepolyethylenelayers)iscoveredbyapatent papers (aftermanufacture,thestabilizersgraduallymi- ylene stabilizersintotheporouspapercoreofKodak the next;forexample,systemofincorporatingpolyeth- facturing techniqueswhichvaryfromonemanufacturer to plex productsmadewithproprietaryformulationsandmanu- formation aboutaparticularKodak RC have tendedtolump current withtheintroduction ofKodak’stype“ this newtechnologyappeared aroundtheendof1978,con- black-and-white papers;however, thisauthorbelievesthat lizer inthepapercore”improvement wasappliedtoits this improvementwasmade initsproducts. the pigment—Kodakhasdeclinedtorevealexactlywhen protective substanceswereincorporatedintothe Antioxidants, stabilizers,peroxidescavengers,andother oper-incorporated black-and-white pers —incompleteasitis tion in1993or1994. it appearsthatthenewstandardmaybereadyforpublica- accelerated testspresentssomeformidableproblems,but evaluation ofblack-and-white ber ofthissubcommitteesinceitbegan).Themeaningful Unlike fiber-baseblack-and-whitepapers,thebasicde- papersmadebyIlford,Agfa-Gevaert,Oriental,Mitsubishi, The readershouldbeawarethattheinformationKodak Paper printmaterialsingeneralhavehistoricallybeen As aresult,modern Kodak alsohasrefusedtosay exactlywhenthe“stabi- papers,regardlessofthemanufacturer.Evenin- RC RC 29 andfiber-basepapers(thisauthorhasbeenamem- RC andevensomepeopleintheconservationfield, papersinanattempttoincreasetheirstability. papersrendersthem RC RC papershadmanifestedthemselvesinthe papersmadebyKodak. ANSI RC all RC paperstoaless-reactiveformof black-and-white ; inthecaseof papershaveevolvedintocom- cannot RC papersusingshort-term, inherently beassumedtoapply RC RC RC papersapplytoall papers(e.g., Poly- productmaynot RC

RC unstable papers,the papersto- II ” devel- RC RC when ANSI sup- pa- RC RC 30

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints The sourceof emulsion coatingandpackagingofthefinishedproduct. contrast Rapid made in1983bythisauthorandCarolBrowerwithPoly- oration becameevident.Unfortunately,anumberofprints “metallic” surface sheen. a disconcerting“veiling”of the image,andhaveagrainy blacks andotherhigh-density portionsoftheimageexhibit workers), darkroom the by amateur employed method home-type electrichairdryer (themostcommondrying dried atroomtemperature, or aftertheyaredriedwitha ferent brandsof known; thedegreeofedge-penetrationvariesamongdif- this problemposesinnormal,long-termstorageisnotyet edge-penetration duringprocessing.Howmuchdanger factured byPhotochemicalIndustry practice ofpurchasing industry common the is matter the complicating ther stability differencesfoundamongfiber-basepapers.Fur- pers ofvariousmanufacturerslikelyaremuchgreaterthan and-white and-white Japan. subsequent Kodak tions, ithadbeenhopedthatprintsmadeontheseand coloration appeartobecausedbythesameoxidativereac- black-and-white cals retainedintheabsorbentpapercoreatedgesofa developer andfixerinthecourseofprocessing. suffered fromextremeedge-penetrationandretentionof prints hadnotevenbeendisplayed!ThisFortepaperalso ethylene layerimmediatelyafterprocessing—andthe of theFortepaperexhibitedcrackingbacksidepoly- the courseofnormalhandlingandflexing,somesamples ers, on theAppearanceofRCPrints in RCPrints:TheInfluenceofDryingMethod The Problemof“Veiling”theBlacks 1 prints inindividualpolyestersleeves,ortrimmingtheouter To agreaterorlesserextent,all Rapid better thanthatoftheinitial1972versionPolycontrast these printstolight-induceddiscolorationappearsnotmuch oration afteronlyafewyearsofdisplay—theresistance contrast Rapid periods thanearlierKodak possibility ofthistypedamage. suppliers ofthesematerialsare Because light-induced prolonged storage,especiallyunderhumidconditions. is incontactwiththeimageareaofanotherprintduring terioration ofanadjacentprintwhentheedge stability characteristics;thedifferencesbetween for plant inEurope,forexample,mayuseadifferentsupplier ⁄ 8 inchofallfouredges Black-and-white A frequentandoftenvociferouscomplaintaboutblack- This authorhasseenanumberoftrulydreadfulblack- It hasbeenreportedthatthiosulfateandotherchemi- 31 RC withthephotographicmanufacturerdoingonly RC basepaperthanthesamecompany’sfactoryin Paper. RC RC papers;amongthemisForte papershasbeenthatafterthe printsareair- RC II RC II RC

RC RC basepapermaychangeintime,anda RC printcanproducelocalizedimagede- RC Paperbegantoexhibitimagediscol- paper.Storingblack-and-white PaperandKodabrome paperscouldtoleratelongerdisplay RC RC paperssoldbythemanycurrent basedegradationandimagedis- basepaperfromoutsidesuppli- RC RC papersbeforeimagediscol- prints,willeliminatethe RC certain papersaresubjectto VAC tohavedifferent inHungary.In RC II papermanu-

RC Paper). RC pa- RC 32 on glossy face backscatter,”or“haze,”andisespeciallynoticeable ing oftheblacksinallbrandsglossy between theheatingelements—degradationorveil- faces tocarryevaporatingmoistureawayastheprintpasses unheated, room-temperatureairoverthehotprintsur- both aboveandbelowtheprint,withablowertoforce that employspowerfulinfraredheatingelementsplaced peculiar toblack-and-white reflected offtheemulsionsurface.Thisvisualdefectis acute whenaprintisviewedatananglewithspecularlight ply nolongerreallydeepblacks.Theeffectisespecially wet duringfixingandwashing—thedeepblacksaresim- degraded appearancecomparedwithhowtheylookedwhen the sameexcellentresultsasIlford1250 base papers.Surprisingly,italsodoesnotoccurin experience, doesnotoccurinanysignificantwayfiber- gloss orsheen,theimagequalityitselfislittleaffected.) with ahigherdryertemperatureusuallyproducing RC RC Fiber-Base Prints AreNot Fiber-Base Affected bytheMannerofDrying,andWhy Why theImagesofMostRCPapersAre and-white for processingalltypesofIlford,Kodak,andotherblack- print processor($7,695),whicharehigh-speedmachines lated thatseveralfactorsmay beinvolved: and aleadingauthorityonphotographictechnology,specu- fully explained.PeterKrause,aformerpresidentofIlford ing problem,andfiber-basepapersdonot,hasnotbeen print processor($13,545)andthetable-topIlford2150 8x10-inch printsanhour.BoththeautomaticIlford2240 time, accordingtoIlford,thismachinecandryabout500 onds. Withacapabilityofdryingtwo8x10-inchprintsat squeegees anddriesan8x10-inchprintinabout10sec- low relativehumidity. than thatreachedbytheprintitself;hotairhasavery over amoistprinttosignificantlyhighertemperature A hot-airdryer,ontheotherhand,heatsairpassing than thesurroundingcoolerandcomparativelyhumidair. tion absorbedbyaprintheatsittohighertemperature hot-air dryersinthataninfrareddryer,radia- cable tothe1250printdryer.) cerning the1050printdryerthatfollowareequallyappli- speed versionofthe1050model;allcommentscon- replaced withtheIlford1250dryer,animproved,variable- raculously eliminated.(In1990,theIlford1050dryerwas ford 1050 Theverythingelatin emulsionandsurfacecoatofblack- • This imagedefectissometimescalled“blooming,”“sur- Exactly whyblack-and-white When black-and-white The Ilford1250 Infrared dryersfunctiondifferentlyfromconventional papersvarydependingonhowtheprintsaredried, papers.(Althoughthesurfaceglosspropertiesofcolor ditives causethe emulsiontohaveverydifferent sur- dency tocurlinlow-humidity environments.Thesead- additives toimpartflexibility andtoreducetheten- and-white RC RC RC printdryer papers.Thedriedprintshaveadistinctly prints,havebuilt-ininfrareddryersandgive RC paperscontainlatexesand other gelatin RC printdryer,whichcostsabout$1,990, 33 RC —apatentedmotorizeddryer RC papersaredriedwithanIl- papersand,inthisauthor’s RC papersexhibittheveil- RC 34 RC papersismi- printdryer. color RC 590

This document originated at on June 6, 2003 under file name: 591 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs time peoplejustrefusedto use and thattheveilingproblem hasbeenreduced.“Atone a decentblack.” had suchaverystrongblooming —youreallycouldn’tget improvements inblack-and-white Theextrudedpolyethylenesurfaceof • Fluorescentbrightenersincorporatedinathincoating • regardless ofhowtheyaredried). papers, introducedin1988–89,whichgivegoodresults print andDektomatic dryers suchasfoundinthenow-obsoleteKodakRoyal- prints atroomtemperature,orwithconventionalhot-air proved 1250dryerin1990).Dryingblack-and-white print dryer(the1050wasreplacedwiththeim- Wet exceptions tothisaretheOrientalNewSeagull graded, “veiled”blacks(inthisauthor’stests,theonly Krause saidthatthepaper manufacturers havemade is asubstancethatdoesnotstronglyabsorb used inplaceoftitaniumdioxidefiber-basepapers, baryta layerbecausebariumsulfate,thewhitepigment eners canbeincorporatedintoboththepaperbaseand ing, washing,anddrying.(Withfiber-basepapers,bright- migrate tothesurfaceofemulsionduringprocess- to thesurfacethanwhenprintsdrymoreslowly. RC between theemulsionlayerand ture conditions. than whenslowlyair-driedatnormalroom-tempera- face characteristicswhenrapidlydriedunderhighheat creases theapparentdensity. light-scattering bythesilverimage,andtherebyin- smoother, higher-glosssurface.Thisresultsinless ment beforedryingiscompleted,leavingitwitha heat infrareddryingmeltsthemoistgelatinmo- gelatin emulsionandsurfacecoatoftheprint.High- microscopic surfaceirregularityisimpartedtothethin has aslightlyrough,or“toothed,”texture,andthis For reasonsthatarenotentirelyclear,rapiddryingof can significantlydegradetheappearanceofblacks. image portionoftheemulsionorgelatinsurfacecoat presence ofevensmallamountsabrightenerinthe tion andthusallowsthebrightenerstofluoresce.)The papersapparentlyallowslessbrightenertomigrate RC printsbeingfedintoanIlford1050infrared 34 RC printprocessors,resultsinde- RC RC papersinrecentyears papersbecausethey RC RC basetendto basepaper RP UV [ radia- RC RC RC ] gull trast developer-incorporated) papersincludedKodakPolyprint cluding KodakPolycontrastRapid with glossy(Fsurface),developer-incorporatedpapersin- with anIlford1050 dryers foundinmanyhomesanddarkrooms);drying dryer (thisunitcostabout$35andissimilartothehair drying withahand-heldGillettePromax1200-watthair ture aftercarefulsqueegeeingtoremovesurfacewater; teristics oftheprintsledto followingconclusions: dryer ($800)wereexamined. Ilford Multigrade print processor($13,545)werealsoobtained.Inaddition, 1991, theunitlastsoldfor$14,800)andinanIlford2240 Kodak RoyalprintProcessorModel417(discontinued in Ilford Multigrade was notavailableatthetimethesetestswereconducted), RC of DryingRCPrints Experiments withDifferentMethods Ilford Multigrade trast HighSpeed Polycontrast Rapid predecessor oftheIlford1250printdryer.Samples of .WiththeexceptionofOriental NewSeagull 1. dry mostcurrent infrared dryingappearstobetheonlysatisfactoryway the moistureoff.Intermsofimageandsurfacequality, emulsion, andfan-forced,room-temperatureaircarries drying zone.Infraredradiationrapidlyheatstheprint infrared tubesareplacedaboveandbelowtheprint- In theIlford1050and1250 This authortriedseveraldifferentdryingtechniques RC the Ilford1250areemployedin2240and2150 cessor introducedin1991alsofeaturesaninfrareddryer. Included inthetestswereair-dryingatroomtempera- A carefulappraisalofimagequalityandsurfacecharac- Paper(KodakPolymaxRCPaper,introducedin1992, degraded, and thesurfaceglosswassomewhat sub- of allthedryingmethods.The blacksweresignificantly perature (withoutafan)produced theworstimagequality air-dryingatroomtem- papers introducedin1988–89, RP III printprocessors.TheKodakPolymax Paper,andNewSeagullSelect

RC Paper,IlfordIlfospeedMultigrade RC II III III

RC RC II RC

Paper.Conventional-emulsion(non- RC RC

papers.Infrareddryerssimilarto RC printsdriedwithanArkay printdryer($1,995),whichisthe DeluxePaper,OrientalNewSea- RapidPaper,andAgfaMulticon- printsprocessedanddriedina RC dryers,electricallyheated II

RC VC-RP Paper,Polycon- IR printpro- Paper. II

RC RP RC Paper, [ -1100 RC ]

July 1987

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints count oftheresultsdifferent methodsofdrying superior drying characteristicsofits markable. Surprisingly,Oriental hasnotpromotedthe methods, thisomissioninthe photographicpressisre- Given thegreatdifferences obtained withdifferentdrying .Regardlessofhowaprintwasoriginallydried,itcould 7. .Prints driedwiththehairdryer(switchedtohigh- 2. 6. With glossy Ilford Multigrade Multigrade Ilford With glossy 6. TheKodakRoyalprintProcessorModel417produced 5. PrintsprocessedanddriedwithanIlford2240proces- 4. .The Ilford1050dryer(replacedbytheimproved 3. This authorhasbeenunable tofindanypublishedac- tal NewSeagull without thehardener.WithexceptionofOrien- ener addedappearedslightlyworsethanthosefixed ment was surprisingly small when compared with Seagull with compared when small surprisingly was ment best whendriedwiththeIlford1050dryer,improve- temperature. graded appearanceofprintsoriginallydriedatroom slowly driedatroomtemperaturehadtheidenticalde- cessor, oranIlford2240processorandthenre-wet dried withanIlford1050dryer,KodakRoyalprintPro- diately afterprocessingandwashing.Conversely,prints the sameexcellentprintqualityofadriedimme- be re-wetanddriedwithanIlford1050dryertoobtain an Ilford1050dryer. judged significantlyinferiortothequalityobtainedwith grade Ilford units.Thesurfacequalityofpearl-surfaceMulti- drying butnotasgoodresultsobtainedwiththe print Processor—muchbetterthanroom-temperature 1100 dryergaveresultssimilartotheKodakRoyal- New Seagull at roomtemperature;withtheexceptionofOriental est heatlevel)werehardlybetterthantheprintsdried difference intheappearanceofprintsafterdrying. Selenium Toneraspartofprocessingmadenoobvious characteristics, treatingtheprintswithKodakRapid respect totheveilingofblacksandsurfacegloss all oftheseprintstobevisuallyunacceptable.With 2240 processor. as thoseprocessedwiththeIlford1050dryeror ited someveilingandforthisreasonwerenotasgood or withanelectrichairdryer,buttheprintsstillexhib- much betterresultsthandryingatroomtemperature 1050 dryer. sor appearedidenticaltothosedriedwiththeIlford dryer. RC with theearlierKodakPolycontrastRapid dued (thereductioninsurfaceglosswasquitepronounced Oriental NewSeagull gloss wasverygood.Whilethesurfacefinishof appeared tohavenoveilingwhatever,andthesurface rior totheabovemethodsonallpapers.Theblacks 1250 dryerin1990)producedresultsthatwerefarsupe- visually unacceptable. per). Prints fixedinKodakRapidFixer printsair-driedatroomtemperatureorwithahair II PaperdriedwiththeArkay RP [ RP RC [ ] papers,allthepapersweredeemed RC RP ] papers,thisauthorconsidered [ RC ] paperswasjudgedtobe II Paper, the the Arkay Paper, RC RC papers,norhas -1100 dryerwas with thehard- II RC

RC prints. Pa- RC - potential historicalimportance. base papersforfineartprintsandallphotographs of however, andthisauthorcontinuestorecommendfiber- hair dryertospeedtheprocess.ThenewOriental tographers musteitherair-dryprintsoruseahand-held infrared printdryerssuchastheIlford1250.Thesepho- home darkrooms,andwhogenerallydonothaveexpensive have greatappealtoamateurphotographersworkingin Priced at$7,950,thisisthefirstKodak that provideshighersurfaceglossthannormalairdryers.” [Polymax] processorisequippedwithaninfrareddryer its DektomaticProcessor.AccordingtoKodak,“The aware ofthestabilityproblems ofblack-and-white Photography as theydidwithfiber-basepapers.” what theirproblemis—printsjustdon’tlookasgood thing wrong.”Schwalbergsaid,“Theyreallydon’tknow discouraged bythisandwonderiftheyaredoingsome- the veilingofblacks.Mostthemareconfusedand dryer mightbecomediscontentedwith photographers whocannotaffordtopurchasea$2,000print introduced thePolymax avoided theissuecompletelyuntil1991,whencompany ment produces“thebestglossintheindustry.”Kodak advertising literaturesaysonlythatitsinfrareddryingequip- glossy fiber-basepapers. unable tomaketop-qualityprintson sive infrared few homedarkroomenthusiastshaveaccesstoanexpen- frankly, isstilltheonlywaytogetadecentgloss.” papers duringthepastfewyears,“Infrareddrying,quite ucts andsystems,saidthatdespiteimprovementsin Ilford’s nationalmarketingmanagerformonochromeprod- to useaninfrareddryer(apparentlylicensedfromIlford). sincere, iflow-key, efforttoinformphotographers ofthe RC meaningful technicalinformation onthepropertiesofits Are CurrentlyRecommended Especially KodakPolyprintRCPaper, Kodak Black-and-WhiteRCPapers, glossy papers forthefirsttimeallowtheseindividualstoproduce ward minimizingthem.Kodak hasalsopublished pers andapparentlyhasdevoted considerableeffortto- sion ofthisaspect problem withprintsair-driedatroomtemperature. the companyrevealedhowitmanagedtosolveveiling headquartered inSwitzerland.) by Ciba-Geigy,agiantchemicalandpharmaceuticalfirm chased byInternationalPaperCompany,Ilfordwasowned pany basedinPurchase,NewYork.Priortobeingpur- International PaperCompany,a$10billionAmericancom- that haditsbeginningsin1879,waspurchased1989by may interestthereaderthatIlford,anold-lineBritishfirm Since 1974,andperhapsearlier, Kodakhasbeenacutely The OrientalNewSeagull Potential imageand In aconversationwiththisauthor,however,BarrySinclair, Kodak, Ilford,andAgfaappeartohaveavoideddiscus- Discussing thematterwiththisauthorin1987, papersandinrecentyears hasmadeanapparently RC printswithimagequalitythatapproachesof magazinewriterBobSchwalbergnotedthat RC printdryerand,asaresult,are“simply RC RC IR papersforfearthatthemany -base stabilityproblemsremain, Processorasareplacementfor RP [ RC 36 RC ] papersarelikelyto RC papersbecauseof RC paperprocessor papers.Ilford Popular RC 35 some (It pa- RC RC 592

This document originated at on June 6, 2003 under file name: 593 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs cessed withKodakDektolorasimilardeveloper. also haveapleasingneutralimagetonewhentraypro- a photographerdoesnothaveaccesstoanIlford1250 surface qualityofKodak or useanordinaryhand-heldhairdryer—theimageand equipment —andmustair-dryprintsatroomtemperature of their with littleornomeaningfulinformationaboutthestability ers. Theothermanufacturershaveprovidedconsumers Kodak paperssuchasPolycontrast degree ofcontrolduringdevelopmentthanispossiblewith absence ofanincorporateddeveloperalsoallowsagreater sible causeofgradualbrownishbase-paperstaining.The the absenceofanincorporateddevelopereliminatesapos- per areparticularlyrecommendedbythisauthorbecause causing incorporateddeveloper). ommended becauseitismadewithoutapotentiallystain- with ceptable. Shouldthisbethecase,OrientalNewSeagull peared. Withfiber-base prints,thegeneral practiceatthe examined numerousdeteriorated facturers aboutthestabilityoftheirrespectiveproducts, This authorhasmaderepeatedinquiriestothemajormanu- come forwardwithmeaningfulcomparativetestresults. other manufacturersoranindependentlaboratorywere to tedly scantdataandcouldcertainlychangeifanyofthe late 1950’sandearly1960’s, the onlysatisfactoryalternatives(ofthesetwoOriental papers, NewSeagull Paper andOrientalNewSeagullSelect dryer orotherexpensive todisplayed benefits afforded Papers forSomeApplications RC PapersArePreferabletoFiber-Base ington dak high schoolsportsphotographer forthenow-defunct author recallsthedayswhen heworkedasapart-time least, thisisavalidrecommendation. available informationclosely,andbelievesthatfornow,at sion). KodakPolymaxRCPaperandPolyprint manufactured withadeveloperincorporatedintheemul- dent sourcesarenotavailable. and-white raphy — this authorcurrentlyrecommendsKodakblack- because oftimedemands,suchaswithnewspaperphotog- lines cations. Innewspaperphotography, forexample,tightdead- Polymax RCPaper The preferenceforKodak Included amongcurrentKodak Kodak Polymax Premier IIRCPaper Panalure SelectRCPaper Kodabrome IIRCPaper Polycontrast IIIRCPaper Polyprint RCPaper It isrecognizedthatthespeedofprocessingpossible For thesereasons—andif RC RC require

Daily paperswitha“ papersmakesthemindispensableinsomeappli- RC RC papers,andcomparativedatafromindepen- thefastestpossibleprocessing ofprints.This

News papers. If, however,aspreviouslydiscussed, papers. inWashington,D.C.Backthen, inthe RC RP PaperandKodakPolyprint II (conventional emulsion)

paper,agraded ” or“ RC (conventional emulsion) (developer-incorporated) RC papersmayprovetobeunac- printprocessinganddrying RC (developer-incorporated) RC RC III (developer-incorporated) (developer-incorporated) papersisbasedonadmit- ” aspartofthenameare papershadnotyetap- RC printsbyprotectiveton- RC RC papermustbeused III prints,studiedother papersare:

RC VC-RP RC Paper(allKo- paper,isrec- Paperare RC RC Paper Wash- Pa- RC RP RC Kodak RapidSeleniumTonerorPoly-Tonerisan fiber-base paperswithanimage-protectivetonersuchas play ofprintsisevenaremotepossibility.Treatment fine artfieldorinotherapplicationswhereprolongeddis- should beselected.Thisisparticularlyimportantinthe weight fiber-basepapers,treatedwithaprotectivetoner, by EastmanKodak—bestrictlyavoided.Instead,double- had beenexpressed principallybyDavidVestal andArthur threatened demiseofblack-and-white fiber-basepaperswhich that allblack-and-white or archivecollections,thisauthor labs using newspapers, magazines,andin-housecommercialphoto longer thantheyoncedid.Itissuggested,however,that tions willforthemostpartremainingoodconditionfar to tage, especiallywithmachineprocessing.Theconversion Daily essential Fine ArtPhotographers Avoided byMuseums,Archives,and Black-and-White RCPapersShouldBe cloth dryerbeltwhentheprintwasbeingdried. sequently reabsorbfixerfromthestainedandfixer-laden out foralate-nighthamburger,example),itwouldsub- (when itwasleftinthewasherwhilesportsstaffwent Even ifaprinthappenedtobecomeadequatelywashed up ashighitwouldgowithoutscorchingtheprints. cloth-belt ferrotypingdrumdryerwiththetemperatureturned contaminated withfixerfromprevious,poorlywashedprints. Pakosol “glossing-aidsolution”whichwasalwaysheavily trouble”). Theprintswerethendunkedinahygroscopic used becausetheextraprocessingstepwas“toomuch though available,KodakHypoClearingAgentwasnever sometimes rinsedforjustafewsecondsinhotwater(al- time toonlyaminuteortwo—inrealrush,printswere display orfordonationtoamuseum,example. need arisesfora“special”print,intendedlong-term erly processingandwashingfiber-baseprintswhenthe ber-base papers as possible.Recommendedhigh-quality,double-weightfi- RC Zone In 1976,apparentlyresponding toconcernsaboutthe Oriental NewSeagull Mitsubishi GekkoPaper Kodak PolyfiberPaper Kodak EliteFine-ArtPaper Ilford Multigrade Oriental NewSeagullSelect In thefineartfield,andforprintsintendedmuseum Oriental NewSeagullPortrait In situationslikethis, To drytheprints,theywereplacedonaheatedPako Ilford Galerie Fuji MuseumPaper Agfa RecordRapidPaper Agfa Portriga-RapidPaper Agfa InsigniaFineArtPaper Agfa BroviraPaper papersmeansthatphotographsinnewspapercollec- News partofprocessingiftheprintsaretolastaslong VI RC BrilliantPaper wastocutKodak’srecommended1-hourwash papersatleasthavethe 37 include(inalphabeticalorder): FB Paper FB RC Paper RC G papers—includingthosemade Paper papersofferadecidedadvan- VC-FB FB strongly Paper capability Paper recommends ofprop-

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints the companystated: Preservation Eastman Kodaksaid: readers’ viewsonthesubjectin Goldsmith inaseriesofarticles,editorials,andpoll dak In the1985Kodakbook The Kodakstatementwasprintedagainin1978

Oriental NewSeagullSelect Agfa introducedInsigniaFineArtPaperin1988.Otherexcellentfiber-basepapersincludeOrientalNewSeagull introduced in1978—thefirstofnew,“premium”fiber-basepapers.KodakfollowedwithEliteFine-ArtPaper1984,and discontinue allofitsfiber-basepapers).Vestal’simpassionedpleashelpedconvinceIlfordtodevelopGaleriepaper, Ilford nottoabandontheirblack-and-whitefiber-basepapers(in1976Agfa-Gevaerthadactuallyannouncedthatitplanned black-and-white Photography David VestalinthebasementdarkroomofhishomeBethlehem,Connecticut.Inaseriesarticles B/W Concurrent with themanufactureofblack-and- continued availabilityof[fiber-base] papers. adverse storageordisplayconditions. customers requiringlong-termkeepingunder produced byEastmanKodakCompanyforthose tographic paperwithoutaresincoatwillbe on conventionalpaperbase,black-and-whitepho- can beexpectedtolastaslongprintsmade indicate thatprintsonresin-coatedpaperbase Recently therehasbeenconcern overthe Until extensivetestingandnaturalagingdata

Photographic

Photographs magazineinthe1970’s,Vestalraisedseriousquestionsaboutstabilityandimagequalityofthen-new RC papers.Afineartphotographeraswellawriter,VestalwasinfluentialinpersuadingAgfa,Kodak,and

Papers , publishedin1979byKodak. Conservation VC-FB 40 andwasalsoincludedin Popular paper,andIlfordMultigrade

of Photography 39

Photographs Ko- , 41 38 , about thestabilitylimitationsof tinction, VestalandGoldsmithwereconcernednotonly raphers —aboutthedecidedly inferiorqualityof reflecting thefeelingsofmanyworld’sfinestphotog- the situation. number ofwell-knownphotographers togettheirviewson sity, andoverallappearance oftheimage. qualities, tone-reproductioncharacteristics, maximumden- pers versusthebestfiber-base papersintermsofsurface FB In theircampaigntosavefiber-basepapersfromex- paper. For anarticlepublishedin 1977, Vestalintervieweda white papers. many usersofphotographic among reasons preferred papers for Fiber-base aesthetic are servation purposes for as long as they needed. are vide thebestproductsforphotographiccon- and EktamaticPaperswillcontinuetopro- Art Paper,KodakPolyfiberKodabromide, fiber-base productssuchasKodakEliteFine- RC 43 42 AnselAdams toldVestal: papers,Kodaksuppliesanumberof RC papersbutalso— G Popular paper, RC pa-

1981 594

This document originated at on June 6, 2003 under file name: 595 h emnneadCr fClrPoorpsChapter 17 The PermanenceandCareofColorPhotographs along withPolycontrast [fiber-basepaper]. Icanuseit, I thinkwillgiveupphotography. .I’malsolimping W. EugeneSmithsaid:“Ifthey gototheplasticpapers, help ofseveralassistants,hecontinuedtoworkupuntilthetimehisdeathin1984. Ansel Adamsinthewell-equippeddarkroomhishomeCarmel,California.wasaprolificprinter,andwith all tofindoutthatwehadreceived badadvice. nency factor.Itwoulddoour causenogoodat tant thatwebeabsolutelysure oftheperma- consultant toPolaroid],Ithinkitisveryimpor- roid) [atthetime,Adamswasservingasapaid turers verystronglyprotestingthe ing towardubiquitousplastic-coatedsheets. the availabilityofpapersandapparentlylead- to feelthatthemanufacturersarecuttingdown and partiallyinherentdefects.Itisheartbreaking graphic paper.Itispartiallysurfacequality wise treatedarchivally. matically becomehistoryandshouldbelike- manence, butimagesofnewscharacterauto- largely onthebasisofimpermanence. photographic manufacturingworld( sion ofopinionbyapersonveryhighinthe were substantiatedbythetelephonedexpres- . Iampreparingalettertothemanufac- There isadefinitedeteriorationinphoto- While mystrongfeelingsabout Not onlydoesfinecreativeworkrequireper- RC RC not papers, papers Pola- the feelofclothinprints.About doesn’t havethebrillianceitusedto.Icannolongerget but Idon’tlikeit.Thepaperisgray,andthesurface turns mystomach—andyoucanquotemeonthat.” Paul Caponigrowrote: they willnoteven last. textureless, scaleless,andlifeless. Iamtold pers. Blech!Ipersonallyfind themaffronting: we haveknownareofcourse plastic-coatedpa- papers onphotodealers’shelves. locate anyleftoverstocksof good discontinued over theUnitedStatesandCanadatryingto six monthsIhavefoundmyselftelephoningall mum ofusablepapersremains.Forthelast Today thesituationisdesperate.Abaremini- papers loseinquality,whileothersdisappear. nipulate. are becomingunyieldinganddifficulttoma- degenerated. Myownexperienceisthatthey acteristics. Sincethen,thepapershavesteadily with beautifulsurfacesandgoodworkingchar- could printonawidevarietyofsilverpapers The replacementsforthefine silverpapers Each year,moreofourremainingdecent Until roughly10yearsago,aphotographer RC paper:it

March 1981

This document originated at on June 6, 2003 under file name: March 1981 Alan Ross – ca. 1978 ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints of thevolume hisprintproduction. room. Thislargestoreoftoner concentrateisevidence Bottles ofKodakRapidSelenium TonerinAdams’sdark- added permanence. lutants andothercontaminants,therebygivingtheprints to thesilverimagefromdamagingeffectsofairpol- prints whileatsametimeaffordingsignificantprotection Toner tointensifytheblacksanddarkertonesoffineart Adams popularizedtheuseofKodakRapidSelenium the readersof ference inArles,France. mer of1977attheinternationalfineartphotographycon- sentatives ofthephotographicmanufacturersinsum- ference” betweenDieuzaideandhissupportersrepre- tems, workonGaleriebegansoonafterthe“summitcon- tant productmanagerformonochromeproductsandsys- demise “quality,of high-silver-content” fiber-base papers. in theU.S.andJeanDieuzaideEuropetoprevent came indirectresponsetothecampaignbyDavidVestal double-weight paperbase. The paperissuppliedinonlytwosurfaces—andon prints aremoreimportantthanconvenienceandprice. black-and-white longest-lasting and quality visual best pers intendedforthosespecializedmarketswhichthe new generationofexpensive,“silver-rich”fiber-basepa- Paper (nowcalledIlfordGalerie to marketingtheseproducts. Portriga Rapidfiber-basepapersanddevotedmoreeffort that forsomeyearshadplagueditspopularBroviraand papers —tookstepstocorrectthepoorquality-control ally announcedplanstodiscontinueallofitsfiber-base fiber-base papers,Agfa-Gevaert—whichin1976hadactu- consistency. It tonesverywellinselenium. .Ihave Adams stated:“Thispaperhas hadexceptionalqualityand said, “Quitesimply,thebest paperI’veeverused.”Ansel work hasbeenfeaturedin advertisements forOriental, lar withmanyfineartphotographers. BrettWeston,whose est BarytaPaperforExhibition Prints,”alsobecamepopu- vertised byitsJapanesemanufacturer asthe“World’sFin- value control.” intensification duringtoningisarewardingrefinement of occurs withotherpapers.Thisabilitytoacquiresome greater extent,andwithoutthemarkedcolorchangethat [in KodakRapidSeleniumToner],butGaleriedoessotoa other paperIhaveused.Mostpapersintensifysomewhat which Iuseextensively..Ittonesdifferentlyfromany Adams, whosaid:“Thisisapaperofveryhighquality Germany inSeptember1978. was formallyintroducedatthePhotokinatradeshowin rave reviewsatArlesthefollowingyear,andnewpaper tographers. PrototypesofGalerieweredemonstratedwith hand ofthesensitivitiesandexpectationsfineartpho- of theannualArlesgatheringsandhadbecomeawarefirst- from you—innouncertainterms.” hope tohearfromyou,andIthephotoindustryhears Ilford IntroducesGaleriePaper At theconclusionofhisinterviewarticle,Vestalasked Under thedirectionofJacquesRegent,Ilford’sassis- Ilford’s decisiontodevelopandmarketGaleriepaper The followingyear,1978,IlfordintroducedIlfobromGalerie During thisperiod,OrientalNewSeagull In responsetothereneweddemandforhigh-quality Galerie soonbecameoneofthefavoritepapersAnsel modity shouldtakeprecedenceoverexcellence. of photographicpapersthatmediocrityandcom- lose it,andasadcommentaryontheproducers and communication.Ithinkitagreatpityto Beauty isanimportantpartofexpression Popular 45

Photography 44 Regenthadattendedanumber FB , “Whatdoyouthink?I Paper),thefirstofa G Paper,ad- 596

This document originated at on June 6, 2003 under file name: 597

March 1981 Brovira Grade6,andthetoneismagnificent.” efforts intheexpandingblack-and-white — fromanaesthetic pointofview—any majorphoto- barrassing positionofhaving theworstfiber-basepapers paper markets,andby1980 found itselfintheratherem- Becomes Concerned Its Fiber-BasePapers,KodakFinally With Well-KnownPhotographersAbandoning Frozen found thatSeagullGrade4givesmeabetterprintofmy Zone Guilleminot Boespflug&Cie;thepaperissoldunder weight fiber-basepapermadebytheFrenchfirmofR. teacher, hasbeenimportingapremium-quality,double- mont runbyFredPicker,aphotographerandworkshop h emnneadCr fClrPoorpsChapter 17 The PermanenceandCareofColorPhotographs product afteritsintroductionin1984. photographs appearedinadvertisementspromotingthe Kodak inthedevelopmentofEliteFine-ArtPaper,andhis assistant. Sextonlaterservedasapaidconsultantto visiting photographerisJohnSexton,Adams’stechnical quality. Discussingthemeritsofvariouspaperswitha abandoned Kodakpapersbecauseoftheirinferiorimage and Orientalpaperstomakehisprints.Hehadlargely was takenin1981,AdamsusingIlford,Agfa-Gevaert, side ofAnselAdams’sdarkroom.Whenthisphotograph The paper-storagecabinetintheprint-finishingroomout- During the1970’s,EastmanKodak hadconcentratedits Zone VI

Brilliantname. Lake VI Studios,asmallmail-ordercompanyinVer-

and

Cliffs 47 thanIwasabletogetonAgfa RC andcolor 46 RC Photographic the displayof albumen printsaswell all 19th-century 50-lux level,”Reillyrecommends 50-luxilluminationfor adequately seenandappreciated whenilluminatedatthe as oilandtemperapaintingsareabout200lux. suggested illuminationlevelsformorestablematerialssuch jects suchaswatercolors,textiles,andcolorphotographs; been suggestedformuseumdisplayoflight-sensitiveob- have made.” der normalstorageconditions—thebestofanypaperwe processing, ElitePaperhasexcellentimagestabilityun- product. SaidKodak: Sexton’s photographsinadvertisementspromotingthenew ations inthedesignofElitePaper.Kodaklaterfeatured sion scientistsandengineersadviceonaestheticconsider- photographer inhisownright,togivethecompany’semul- former technicalassistanttoAnselAdamsandawell-known ver-rich” fiber-basepaper.KodakhiredJohnSexton,a Paper, apremium-quality,premium-priced,graded,“sil- Polycontrast fiber-basepaper,and,in1984,EliteFine-Art introduced PolyfiberPaper,animprovedversionof inely painedbythisunexpectedturnofevents. everything,” andmanyKodakemployeesseemedgenu- history, Kodakhadprideditselfonproducing“thebestof supplied byIlford,Agfa,andOriental.Formuchofitslong tirely desertedKodakandswitchedtofiber-basepapers tographers andtopcommercialprintershadalmosten- graphic manufacturerintheworld.Seriousfineartpho- Display IlluminationLevelsforPhotographs sten illuminationisacceptable. of 19th-centuryprints,adding thatonlyincandescenttung- 50-lux recommendationforthe morelight-sensitivetypes 1986 Kodakbook Offering theopinionthat“photographic printscanbe Very lowilluminationlevelsofabout50luxhaveoften Eastman Kodakalsostated:“Withtherecommended It wasagainstthisbackgroundthatKodakinlate1983 dling, lesscurl,bettermounting. than double-weight.Thatmeanseasierhan- fiber-base paperisahefty13.2mils—heavier onds tocontroldevelopment.Theextra-thick, extraordinary exposurelatitude:upto240sec- paper we’veevermade.Theemulsiondelivers image thatcannotbedescribed.It’sthebrightest perb. Imagesarealive.Thereisarichnessof search andrefinementlater,we’reready. more thantwoyearsanduntoldhoursofre- wanted intheultimatepaper.Welistened.Now, tations togowithit.Theytolduswhatthey black-and-white photographyandhavetherepu- like you.Peoplewhoareveryseriousabout So beforewewenttothelab,users that itsverytouchstatedtherewasnoequal. makers. requested bysomeoftheworld’sbestprint- create thebestfine-artblack-and-whitepaper Whites andblacksarenothingshortofsu- Elite fine-artpaperhadtobesosuperior Our goalwithElitefine-artpaperwassimple: 49

Prints Care , authorJamesReillyconcurswiththe

and

Identification 51 48

19th-Century 50 Inthe

This document originated at on June 6, 2003 under file name: UV lux ofincandescenttungstenlight, they expectborrowinginstitutionstoadhere;thelimitof50 als themselves.” nents ofprintsratherthanfromthephotographicmateri- on paperandfromexperiencewiththeindividualcompo- extrapolated fromtherecommendationsforworksofart perimentally establishedforeachprintprocess,butare however, that“theseilluminationlevelshavenotbeenex- illumination levelnotexceed100lux.Reillypointsout, and collodionprinting-outpapers,Reillysuggeststhatthe including gelatinprinting-outanddeveloping-outpapers, bon prints).For19th-centuryprintswithbarytacoatings, gum bichromateprints,cyanotypes,platinotypes,andcar- bers ontheimageside(amongthesearesaltedpaperprints, photographic printmaterialsthathaveexposedpaperfi- Chapter17 Display andIlluminationofColorBlack-and-WhitePrints and donatedits collectiontoBritain’snew NationalMu- Harrow, EnglandbeforeKodak closedthemuseumin1984 tal guidelinesforexhibiting photographs. have notevenestablishedformal lightingandenvironmen- recommendations; indeed,some museumsandarchives mental conditionswhichexceed theirownlending-policy tinely displayphotographsinlightinglevelsandenviron- ever, andithasbeenobservedthatsomemuseumsrou- forcement oflightingspecificationsisoftenratherlax,how- Most museumshavelight-levelspecificationstowhich Brian Coe—whowascurator oftheKodakMuseumin -filtered fluorescentlightiscommonlyspecified.En- accommodate differentexhibitions. center oftheroomandrecessedceilinglampsalongoutsidewalls.Theverticaldisplaypanelscanberearrangedto The mainexhibitionareaforphotographsattheArtInstituteofChicagoemploysincandescenttungstentracklightsin UV -filtered daylight,or man Kodakstated: may beeliminatedaltogether. Ina1986publication,East- lowered. Theperceptionofcolorindarkerpartsaprint duced, andtheapparentbrightnessrangeofprint is instances arecompletelyobscured,colorsaturationisre- darker areasofaprintareperceivedimproperlyorinsome graphic images.Atlowilluminationlevels,detailsinthe sual appreciationofmostcolorandblack-and-whitephoto- viewing conditions,50luxissimplytoolowforpropervi- returned theyhadfadedseverely. tion inCologne,WestGermany;bythetimetheywere vintage Dufaycolourtransparenciesfora6-weekexhibi- has reportedthattheKodakMuseumonceloanedsome seum ofPhotography,Film,andTelevisioninBradford— Archives, andGalleries Is Recommended for Museums, 300 LuxTungstenIllumination bright fluorescentlamps. encies wereback-illuminatedonlightboxesequippedwith This authorbelievesthatevenunderthemostfavorable an illuminance of1,400lux+⁄–590lux. For goodviewing,alightsource shouldprovide the amountofdetailthatcan beseeninaprint. The intensityofthelightsource influences 52 Coesaidthetranspar- 53

February 1983 598

This document originated at on June 6, 2003 under file name: 599 cantly higherthan300luxfor properviewingofprints: or more. conventional lamps,canreduceheatingeffectsbytwo-thirds red quartzhalogenequipment,orglassinfraredfiltersover Aluminized Reflector)lampsorspecialtypesoflow-infra- where printsaretobeviewedandadjustthecamera’s Place awhitesheetofpaperinthesamelocationandplane lens metercanbeusedtoindicatetheproperlightlevel. surements, asingle-lensreflexcamerawiththrough-the- h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs second at setting to100andtheshutterspeed intensity of300luxwillregisteranexposureabout being carefulnottocastashadowonthepaper.Alight the camerasowhitepaperfillsentireviewfinder, In high-intensityapplications,CoolBeam which mayintimecausecracksorothertypesofdamage. dration andcanproducephysicalstressintheemulsion ing oftheprintemulsionandsupport;thisresultsindehy- lux) areusuallyaccompaniedbysignificantinfraredheat- Higher levelsoftungstenillumination(inexcess1,000 300 luxisnotsignificantinmostwall-displaysituations. refrigerated inhumidity-controlledconditions. should bekeptinthedark,and,ifmaterialrequiresit, visual perception.Fortheremainderoftime,prints short-term displayatlightlevelshighenoughforproper chrome (Cibachrome).Fortheseprints,oneshouldoptfor terials suchasEktacolor,Fujicolor,DyeTransfer,andIlfo- majority ofcolorphotographsareonmuchlessstablema- richromie printsarefoundinmuseumcollections;thegreat UltraStable, PolaroidPermanent-Color,orFressonQuad- tolerate prolongeddisplay.Asyet,however,veryfew a limitedclienteleinFrance—arealsoverystableandcan rate colorreproduction—andwhichareproducedonlyfor significant shortcomingsintermsofsharpnessandaccu- display. FressonQuadrichromieprints,whichhavesome ment printsaresufficientlystabletopermitpermanent Permanent ColorprintsandPolaroidPermanent-Colorpig- mination thatissolownolightfadingoccurs. of fading.Shorttotaldarkness,thereisnolevelillu- equate illuminationforviewingandminimizingtherate level ofabout300luxisagoodcompromisebetweenad- other sourcesofbrightlightarepresent),anillumination general areaofthedisplayedprints(andifnowindowsor cent tungstenfloodlampswhichconcentratelightinthe tions hasledthisauthortoconcludethat,withincandes- wide varietyofmuseum,gallery,andotherdisplaysitua- nation ofcolorandblack-and-whiteprintsondisplayina cannot berecommendedformuseumapplications.Exami- causes fairlyrapidfadingofmosttypescolorprintsand by thisauthorinatungsten-illuminateddisplayarea— proximates themostintenseilluminationeverencountered Ansel Adamshadrecommendedalightlevelsignifi- If aluxmeter Infrared heatingofprintsbytungstenlightatalevel From thepointofviewamuseum,onlyUltraStable However, anilluminationlevelof1,400lux—whichap- of amiddlevalue. able ifthewallsandgeneral environmentare [860–1,076 lux]attheprintposition tobeagree- have foundilluminationlevels of80to100ft-c Although personalpreference isafactor,I

f 4.0. 54,55 isnotavailableforlight-levelmea- 56 1 ⁄ 30 second.Locate PAR (Parabolic ISO 1 ⁄ 30 tions, salons,andotherexhibitions”: and exhibitingphotographicreflectionprintsincompeti- tion sheetforEktacolorPortra been similartothisadvice,givenina1992Kodakinforma- been discussed,Kodak’srecommendationshavegenerally tioned inmostofthecompany’spublications;whereithas color printsasafunctionoflightintensitywasnotmen- and-white andcolorprints.Untilrecently,thefadingof play illuminationlevelsof538to1,400luxforbothblack- tions Eastman Kodak’sRecommendations and ExhibitingColorPrints ANSI RecommendationsforViewing tography Prints, Eastman KodakCompanygenerallyrecommendsdis- ANSI makes illuminationrecommendationsfor“judging 5000 low aspossible. level consistentwithyourviewingneeds. ever possible.Displayprintsinthelowestlight footcandles (538lux). of 85to100,andanilluminanceatleast50 4000 is alightsourcewithcolortemperatureof final prints.Agoodaverageviewingcondition and brightnessthatyouwillusetoviewthe judging andexhibiting. lated colortemperatureshallbeusedforboth be used[ifpossible].Lightofthesamecorre- lated colortemperaturebetween3000 tral powerdistributionshould[have]acorre- be atleast60%ofthatthecenter. and theluminanceatedgeofprintshall of theprintsurfaceshallbe800lux+⁄–200 nating theprintsshallbe85orgreater.. eral color-renderingindexofthelightillumi- than 0.20. selective andhaveareflection densitygreater tion. Thesurroundshould be spectrallynon- fourth themountdimension in thesamedirec- ing beyondthemountonall sides atleastone- as mountedagainstagraybackground extend- by mounting,itshallbejudged andexhibited the printisassociatedwithagivensurround the printdimensioninsamedirection.If beyond theprintonallsidesatleastone-third viewed againstagraybackgroundextending a givensurroundbymatormount,itshallbe

Transparencies

PH2.30 Illuminance. . Keepthetemperatureandhumidityas . Illuminateprintswithtungstenlightwhen- Evaluate printsunderlightofthesamecolor General Color-RenderingIndex. Spectral PowerDistribution. Surround. (Sensitometry) ° ± K . Thehighercolortemperatureshould 1000K,aColorRenderingIndex(CRI) - 1985 Iftheprintisnotassociatedwith , 57

Theilluminanceatthecenter American

, –

and Viewing

Photomechanical II

National

Conditions Paper: Thespec-

Standard Thegen- –

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This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints the early1970’s withKodakPolycontrastRCpaper, switchedtofiber-basepaper. the printswasimmediatelyhalted, andSaudek,whohadprintedmuchofhisworkfrom problem, thegalleryhadsoldmore than200ofSaudek’sPolycontrastRCprints.Sale tions begantoappear.By1980, whentheBaruchslearnedfullscopeofRCpaper work ofEasternEuropeanartists. Theprintwasreturnedtothegalleryafterdiscolora- Baruch Gallery,aChicagogallery establishedbyJacquesandAnneBaruchtoexhibitthe this typedoesnotoccurwithfiber-base prints.TheSaudekprintwassoldbytheJacques initiated byexposuretolight(see discussionbeginningonpage581).Discolorationof dioxide-pigmented polyethylenelayerundertheemulsioninRC papers;thereactionis image iscausedbyperoxidesandotheroxidantsthataregenerated inthetitanium- an overmat,arefreeofdiscoloration).Thistype“self-destructive” oxidationofthesilver exposed tolight(notethattheouteredgesofprint,whichwere protectedfromlightby 5 yearsofdisplayitbegantodevelopsmallreddish-orangespots intheimageareas purpose black-and-whiteRCpaper.Theprintwasframedunder glassandafterabout Polycontrast RapidRCPaperin1976.Introduced1972,thiswas Kodak’sfirstgeneral- This photographbyJanSaudek,aCzechoslovakianartist, was printedwithKodak contrast RCprint tolightduringdisplay. caused byexposureoftheKodak Poly- colloidal silver“microspots”that were A magnifiedviewofthereddish-orange

1975 by Jan Saudek (Courtesy of Anne and Jacques Baruch of the Jacques Baruch Gallery, Chicago, Illinois)

1983 600

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Henry Wilhelm – October 2, 1977 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs contrast RapidRCPaperpurchasedin1974. print wasmadebythisauthorin1977withKodakPoly- reddish-orange “microspots”overitsentiresurface.The After 5yearsofdisplay,thisKodakRCprinthadformed Klaus B.Hendriks, thedirectorofconservation researchattheNationalArchives. the silverimage.Inphotograph above(atthefarleft),studyingprint,is Ottawa, thephotographbegan toexhibitseriousorange-browndiscolorationsin throne. Afteronlyafewyears ofdisplayattheNationalArchivesCanadain worldwide SilverJubileeTour,which commemoratedher25thanniversaryonthe Queen Elizabethwhileshewas visitingthecountryinOctober1977aspartofher Prince Philip,DukeofEdinburgh, waspresentedtothepeopleofCanadaby The black-and-whiteportrait(at theright)ofQueenElizabethIIandherhusband, the silverimageinblack-and-whiteRCprints. sufficient toinitiatethereactionsthatcausediscolorationof illumination levelscan—overaperiodofseveralyearsbe sity image-discolorationtestswithRCpapers.Evenverylow extremely largereciprocityfailureinshort-term,high-inten- described onpage583.Thesetestsrevealedthatthereisan were usedintheauthor’sacceleratedlight-exposuretests duplicate printsthathadbeenprocessedtogetherin1977 RC PaperintroducedbyKodakin1972.Sectionscutfrom Grinnell wasprintedwiththe“initialtype”PolycontrastRapid stroyed theVosburglumberyardnearthisauthor’shomein light source.Thephotograph,attheleft,ofafirethatde- reflections fromthesurfaceofaprintheldatanangleto face silver-mirroring,whichcanbeobservedbyviewingspecular clearly evident.DiscoloredRCprintsfrequentlyexhibitsur- that occurredonthefirehoseleftsideofpictureis ents. Inthemagnifiedviewabove,severediscoloration colorations thatareconcentratedalongimage-densitygradi- is usuallycharacterizedbyreddish-orangeoryellowishdis- Light-induced imagedeteriorationofblack-and-whiteRCprints now instorage at theArchives. discoloration ofthesilverimage andis play becauseofthelight-induced England, wasremovedfrompublic dis- by HerMajesty’sStationeryOffice in with IlfordRCpaperin1976or 1977 which isbelievedtohavebeen printed The framedandinscribedphotograph,

August 1982

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints — canevaluateunder editors, colorseparators,printers,andbuyersofprinting with apublicationsproject—photographers,artdirectors, “standard” illuminationconditionssothateveryoneinvolved American lux recommendationgiveninthecurrent for “criticalviewing,”andwhichisnearlydoublethe800 1,400 lux, ANSI tographic tion levelisoften usedbycolorlabsfor evaluating por- ration housesandprinting plants. The500-luxillumina- the Standardareprovidedin mostgraphicartscolorsepa- conforming closelytothe2000-lux conditionspecifiedin index ofmorethan90arespecified: archives. (Itshouldbenoted,however,thatatonetime does notdirectlyaddresstheconcernsofmuseumsand for photographycontestsandshort-termexhibitions section oftheStandardquotedaboveisintendedprimarily high lightlevelshaveonthestabilityofcolorprints.The apparently withoutconsiderationofthedeleteriouseffects try, andtheilluminationrecommendationswerearrivedat Standard waswrittenprimarilyforthegraphicartsindus- tion factorswhichinfluencecolorandtoneperception.The related colortemperatureof5000 graphed orwithreproductions.”Lightsourcesacor- parisons ofsuchprintswiththeoriginalobjectsphoto- praisal ofphotographicreflectioncolorprintsandthecom- two illuminationandviewingconditions“forcriticalap- color proofs,andreproductionswhenajobisonpress. color balanceanddensityoforiginalphotographs,pre-press judging anddisplay.Thenow-obsolete The mainpurposeof ANSI Special photographevaluation areaswithillumination For graphicartsapplications,theStandardspecifies recommendedahigherilluminationlevelforexhibit 2000-Lux Level. sources 45 may beachievedbyplacingthelightsourceor to thecenterofprintisminimized.This the eyesofanobserveronornearnormal the amountoflightspecularlyreflectedtoward lighting andprintshallbepositionedsothat photometer. measured withacosine-correctedillumination print surfaceshallbe500lux+⁄–125lux,as or library,theilluminanceatcenterof brightly illuminatedareainaresidence,office, print wouldlookinwhatbeconsidereda . . isdesirabletojudgethe waythe .whenit tone reproductionandcolorsofreflectionprints 500-Lux Level. cosine-corrected illuminationphotometer. shall be2000lux+⁄–500asmeasuredwitha illuminance atthecenterofprintsurface able toseedetailinthedarkesttones. colors ofreflectionprints.whenitisdesir-

Geometry ofIlluminatingandViewing. PH2.30 59

National Color whichEastmanKodakcurrentlyrecommends

° - offthenormaltoprintsurface. Prints 1985

Standard Forcriticalappraisalofthe ismostlyconcernedwithillumina- Forcriticalappraisalofthe uniform specifiedanilluminationlevelof ANSI

Viewing illuminationconditionsthe

PH2.30 K andacolor-rendering

Conditions ANSI - 1985 ANSI

PH2.41 istospecify Standard.) The

for 58 - 1976

Pho- , gestions: play area.EastmanKodakhasofferedthefollowingsug- the samebrightnessandcolorasthatofintendeddis- room orworkroomviewingarea,shouldbeofapproximately “surround,” orthewallsandotherconditionsindark- cent brightenersontheemulsionside).Inaddition, most colorprintmaterialsdonotcontainactivefluores- papers (becauseof porated inthebasematerialofallcurrentblack-and-white because ofitseffectonthefluorescentbrightenersincor- ultraviolet componentofthelightsourceisalsoimportant, that inwhichtheprintswillbedisplayed.Therelative room beofthesamespectralquality—andintensityas and PolaroidPolacolor2 experience, theappearanceof IlfordIlfochrome(Cibachrome) rials showthiseffectmore than others.Inthisauthor’s fluorescent, ordaylightillumination. Sometypesofmate- color valueswhenviewedunder incandescenttungsten, Printing PhotographsforDisplay that willbedisplayedincustomers’homesandoffices. traits, weddingpictures,snapshots,andotherphotographs light sources;most fluorescentlampsproduce particularly substantially alteredwhenviewed underdifferenttypesof mize It iscriticalthatthelightforviewingprintsindark- Color printsoftenappeartohavesignificantlydifferent UV out” whendisplayed. have enoughtonesothattheywillnot“wash nance display.Thediffusehighlightsshould prints, andespeciallyinprintsforhighillumi- mal. should besomewhatlighter,overall,thannor- display underrelativelylowlevelsofilluminance greater densitiesoverall,whileprintsmadefor der highlevelsofilluminanceshouldhaveslightly lessen. separation betweenthelightstepsappearsto two darkstepsappearsgreater,whilethetonal out intothefullsun,separationbetween will lookblack. visible; allthemedium-grayanddarkgraysteps given byafullmoon,onlythelightstepswillbe Under verylowlightlevels,suchasthe tween thelightstepsseemstogrowlarger. steps disappear,whilethetoneseparationbe- level isreduced,thestepsbetweendarkest than stepsbetweenthedarktones.Aslight sees thestepsbetweenlighttonesaslarger to 100footcandles[5381,076lux],theeye viewed underanormalinteriorlightlevelof50 depends onthelevelofambientillumination. The eyehasavariableresponsetotonesthat ation levelunderwhichtheywillbedisplayed. made fordisplaymustbeadjustedtheillumin- -caused fading,andforothertechnicalreasons, Good highlightrenditionisimportantinall meansthatprintsmadefordisplayun- This On theotherhand,ifgrayscaleistaken If agrayscalethathasevendensitystepsis Display LightLevel: UV -absorbing emulsionlayerstomini- 60 ER Thequalityofprints printsinparticularcanbe 602

This document originated at on June 6, 2003 under file name: 603

November 1985 tor floodtype—withacolor temperatureof2800–3200 glass-filtered quartzhalogen lamps—usuallyofthereflec- display, itcanbeassumedthat incandescenttungstenor work: ConsidertheIlluminatingSource.” by RoyS.BernsandFrancGrumentitled,“ExhibitingArt- the appearanceofoilpaintings,seeinformativearticle discussion oftheinfluencedifferentspectralsourceson energy distributionoftheparticularlightsource.(Fora and yellowdyesinthecolorimagetospectral spectral absorptioncharacteristicsofthecyan,magenta, when viewedunderdifferentlightsourcesisrelatedtothe unpleasant effects.Thealteredappearanceofcolorprints Chapter 17 The PermanenceandCareofColorPhotographs major collecting institutionswouldagreeon a“standard” will beusedforillumination. for GalleryandMuseumExhibition Illumination forEvaluationofPrints cent, orother“full-spectrum”fluorescentillumination. light, Chroma50fluorescent,DeluxeCoolWhitefluores- much lesssaturatedthanwhenviewedwithtungsten,day- result ofthisisthatredsare“dulled”andappeartobe and at546578nanometersinthegreenregion.One sions at436nanometersinthebluepartofspectrum, sion; thelampalsohaspronouncedmercuryvaporemis- portion ofthespectrum,withcomparativelylittleredemis- widely usedCoolWhitefluorescentlampisinthegreen of themercuryvapordischarge.Thepeakoutput by anumberofenergypeaksinthenarrowspectralbands lamps producelightofirregularspectraldistributionmarked nium Tonerorothertoners. when theprintshavebeentreatedwithKodakRapidSele- der differenttypesofillumination—thisisespeciallytrue tone ofblack-and-whiteprintsalsovarieswhenviewedun- In thecaseofprintsintended formuseumandgallery It wouldbenefitbothphotographers andmuseumsifthe Unlike tungstenlampsanddaylight,mostfluorescent 61 ) Theimage K would besimilarinconcepttothepreviouslymentioned the darkroomunderspecifiedlightingconditions.This round, sothatpeoplemakingprintscouldevaluatethemin tribution, lightinggeometry,andcharacteristicsofthesur- display conditionintermsofintensity,spectralenergydis- ing conditions. to givetheappearanceofadded whitenessinmanylight- (and theemulsion-sidebaryta coatingonfiber-baseprints) pers havefluorescentbrighteners addedtothepaperbase on FluorescentBrighteners inPrints The EffectofDisplayLighting ANSI 30–45 prints. Lightsshouldbeplacedabovedisplayedprintsata mination withanintensityof300luxonthesurface candescent tungstenorglass-filteredquartzhalogenillu- for museumswouldofnecessitybedifferent. ing industries—thoughthespecifiedviewingconditions tion ischanged. practical toalterthedisplaylightingeverytimeanexhibi- many typesofcontemporarycolorprints,itusuallyisim- 19th-century processes,untonedsilver-gelatinprints,and a widevarietyofprocesses,includingalbumenandother most museumcollectionsconsistofphotographsmadewith illuminated atlevelsmuchhigherthan300lux,butsince nium TonerorKodakPoly-Toner)couldofcoursebesafely treated withaprotectivetoner(e.g.,KodakRapidSele- nent-Color prints,andblack-and-whitefiber-baseprints than walls. Floorsshould bedarker a reflectiondensityof0.15–0.30. areas shouldbeofalight,near-neutral,orgraycolor,with should beavoided.Wallsorotherbackgroundsindisplay Virtually allcurrentblack-and-white photographicpa- For suchamuseumstandard,thisauthorsuggestsin- UltraStable PermanentColorprints,PolaroidPerma-

° PH2.30 angle.Windowsorotherextraneouslightsources - 1985 UV Standardforthegraphicartsandprint- radiationcauses thesebrightenersto condition. an averagemuseumdisplay tion areainordertosimulate stalled overtheprint-evalua- cent tungstenlampswerein- in NewYorkCity.Incandes- Karen Baloghof Guy Stricherz,KurtRowell,and seums andgalleries. mination foundinmostmu- perature ofthetungstenillu- intensity andlowercolortem- is verydifferentfromthelower in cent lamps,asrecommended 5000 fairly intenseilluminationfrom evaluate colorprintsunder phers. Mostcommerciallabs prints forfineartphotogra- making KodakDyeTransfer ANSI PH K wide-spectrumfluores- CVI 2.30-1985. specializesin CVI ColorLab This

This document originated at on June 6, 2003 under file name: not located the brightenerisdiffusedinto theemulsionitself(andis how muchbrightenercanbe usedinthisfashion—since what brightenthewhitesof prints.Therearelimitsto processing andwashingsteps, butenoughremainstosome- development. Someofthebrightenerislostinsubsequent rescent brightenerwhichmordantstotheemulsionduring pers, suchasEktacolorProfessionalPaper,containafluo- and similarcolordevelopersolutionsforchromogenicpa- fluorescing basematerial,KodakEktaprint2Developer materials). paper tobeusedwithbothcolorandblack-and-whiteprint light and gradually losetheirabilitytofluoresceduringexposure dak EliteFine-ArtPaperalsoshowthatthebrighteners cal cause the brighteners inthebasepaperonemulsionsidebe- brighteners in pers inthelate1970’s,andKodakstartedusingfluorescent extended washingtimes. paper, thelossofbrightenercouldbeconsiderablewith the courseofwashing;dependingontypeandbrand in bothtypesofpaperswereprogressivelyleachedout RC Chapter17 UV in theblueregion.Ifrelativelylittle fluoresce inthevisibleportionofspectrum,primarily Display andIlluminationofColorBlack-and-WhitePrints in thebasepaperofmost prevents thebrightenersfromfluorescing;found be abrighterwhite(orpossiblytoallowthesame included onlytomakethebacksidesofprintsappear to degrade thedarker colorsandblacksofaprint. base paperwithbrighteners), toomuchbrightenerwould incorporating brightenersintheirfiber-baseand pers isafairlyrecentinnovation.IlfordandAgfabegan somewhat “dull”isagoodwaytodescribeit. may appeartobesubtlyyellowishandlessbrilliant— rescent brightenersfromblack-and-whitefiber-baseand never containedabrightener. for agreatmanyyears,hastothisauthor’sknowledge fiber-base paperwhichhasbeenmanufacturedbyKodak fluorescent brighteners.Kodabromide,agraded-contrast pers, whichwerereplacedbyPolyfiberpaper,didnothave Kodak PolycontrastandRapidfiber-basepa- duced inlate1984,alsocontainsafluorescentbrightener. and perhapsearlier).KodakEliteFine-ArtPaper,intro- contained afluorescentbrightenersincethemid-1970’s, ber-base paperintendedfor“stabilization”processing,has fluorescent brightener(KodakEktamaticSCPaper,afi- Kodak marketedageneral-purposefiber-basepaperwith was notuntilthe1983introductionofPolyfiberpaperthat dustry, fluorescentbrightenersaresometimescalled corporated brighteners(inthepapermanufacturingin- tercolors aremanufacturedwithstronglyfluorescingin- as isthecasewithconventionaltungstenlampsor Most colorpapersdonothave In anattempttopartiallycompensateforthelackofa This author’sacceleratedlight-exposuretestswithKo- The useoffluorescentbrightenersinphotographicpa- In astudyoftheeffectwashingtimesonlossfluo- Many modernartists’papersusedfordrawingsandwa- papers,RichardJ.Henryreportedthatthebrighteners -filtered fluorescentor bleaches UV UV underneath or radiationonprolongeddisplay. -absorbing layersintheiremulsionstructure RC blancophores papersataboutthesametime.Butit theemulsion,asincase ofa 62 UV RC ). -filtered daylight,theprints colorprintmaterialsare functioning UV radiationispresent, fluorescent RC RC base opti- pa- effective dye mordantforgreaterimagesharpnessandalsohadan Dye TransferReceiverPaperthatincorporatedanimproved Kodak trade-testedan“improved”productcalledNo.45203 factured withlittleornofluorescentbrightener.(In1988 book wenttopressin1992,thepapercontinuedbemanu- ticeably brighter whenilluminatedwithaglass-filtered quartz such asKodakEliteFine-Art Paper,forexample,lookno- prints madeonpaperscontaining fluorescentbrighteners, cent tungstenlamps.Thus,the whitesandlightertonesof approximately twiceasmuch level, glass-filteredquartz halogen lampstypicallyemit which effectivelyexcitesfluorescentbrighteners). a strongmercuryvaporemissionlineat365nanometers rescent illumination(glass-filteredfluorescentlampshave papers andphotographicmaterialsthandaylightorfluo- effect onthefluorescentbrightenersfoundinmanyartists’ fects variouslevelsof servation reasonsandbecauseofthedifferentvisualef- play illuminationmustbepreciselydefined—bothforcon- retouching ledKodaktoabandontheproduct.) culties inchemicallybleachingthedyescourseof Paper donothave tively smallamountof brighteners. Incandescenttungstenlampsemitarela- sample ontherightwascoveredwithPlexiglas center wascoveredwithglassduringthetest;and was exposedtobare-bulbillumination;thesamplein less brilliant.Ofthethreesamples,oneonleft siderable activityandthepaperappearedperceptibly 2), thefluorescentbrightenersinpaperhadlostcon- years ofdisplayunderaverageconditions—seeChapter posure to21.5kluxillumination(equivalentabout25 accelerated fluorescentlighttest.After100daysofex- Samples ofKodakEliteFine-ArtPapersubjectedtoan black-and-white papers. lasting brightenerswouldbeasignificantimprovementin discernible.) Thedevelopmentofmorestable,longer- appear tobenearlyasgreat,butareneverthelessreadily mal illuminationwithvisiblelight,thedifferencesdonot were photographedunder loss ofbrightnessafterthe100-daytest,samples Elite paper,withfullbrighteneractivity.Toillustratethe UV To furthercomplicatematters, atagivenillumination The ultravioletcomponentofa“standard”museumdis- Kodak DyeTransferprintsmadewith filter.Thebackgroundisafreshlyprocessedsheetof UV -absorbing emulsionovercoat;however,diffi- UV -absorbing layersbutatthetimethis UV UV radiationhaveonfluorescent radiationandhavelessofan UV illumination.(Undernor- UV radiationasincandes- UF -3, a

1989 604

This document originated at on June 6, 2003 under file name: 605 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs graphic materialshavecyandyeswhichfade in homes—aswellmuseums. tungsten illuminationalltheirlivesandgenerallyaccept it edly orange-redcolorbalance,mostpeoplehavelivedwith sten illuminationhasalowcolortemperatureanddecid- conservation pointofview.Eventhoughincandescenttung- descent tungstenlampsarealmostidealfromageneral tively lowultravioletradiationandbluelightoutput,incan- and redportionsofthespectrum.Becausetheirrela- more harmfulthanthelongerwavelengthsingreen ultraviolet radiationandshort-wavelengthbluelightare under glass. types ofphotographsframed most illuminate to lamps there islittlenecessityfor ultraviolet outputthananyothercommonlightsource,so illumination, incandescenttungstenlampshavealower built-in reflectorscanalsobeused.Atagivenlevelof factory. Withproperfixtures,conventionallampswithout Cool Beamreduced-infraredtypes)andareequallysatis- variety ofbeam-spreadconfigurations(includingseveral able insizesfrom40wattsto150watts,aresupplieda brightened paperswasnotaffectedbythe ent. ThevisualappearanceofPolycontrastandothernon- pers containingfluorescentbrightenerswasreadilyappar- ultraviolet component,thereduced“brightness”ofpa- 150-watt (150 cient incandescent tungstenilluminationdoesnotcontainsuffi- fading rateofthe cyanimagedyeissignificantly increased under tungstenillumination. 1976 areamongthosematerials thatfademorerapidly lumination leftnodoubtthattungstenillumination under daylight,fluorescent,andincandescenttungstenil- author’s examinationofprintsmadeonavarietypapers Lamps AreRecommended Display Lighting—IncandescentTungsten tungsten illuminationwasfilteredwith tained brightenerswhileotherpapersdidnot.Whenthe of thepapers,includingKodakEliteFine-ArtPaper,con- visibly activatefluorescentbrighteners.Inthetests,some temperature. IfthelampsarefittedwithPlexiglas ventional incandescenttungstenlampofthesamecolor halogen lampthantheydowhenilluminatedwithacon- tial versionsofKodak reversal printmaterial(marketed 1983–1985),andtheini- 800 InstantColorFilms,the obsoleteAgfachrome-Speed Ilfochrome (Cibachrome)printmaterials,FujiFI-10and common fluorescent lamps of thesameluxintensity.Ilford when illuminatedwithtungstenlampsthantheydo light sources. activated andtheprintswillappearsameunderboth filters, thefluorescentbrightenerinpaperwillnotbe flector tographs. Themoreexpensiveheavy-glass,internal-re- satisfactory forilluminatingblack-and-whiteandcolorpho- It shouldbenoted,however,thatcertaincolorphoto- With mostorganicmaterials,otherthingsbeingequal, Common incandescenttungsten75-watt(75 For example,inIlfordIlfochrome printmaterials,the Contrary toassertionsbyKodak UV PAR radiationtoactivatefluorescentbrighteners,this (ParabolicAluminizedReflector)lamps,avail- R / FL ) internalreflectorfloodlampsarequite PR 10 InstantPrintsintroduced in UV filterswhenusingtungsten 63 andsomeothersthat UF -3 toremovethe UF more -3 filter. R 30/

rapidly FL UF does ) or -3 halogen lampemitsalmosttwiceasmuch cause reddening(sunburn).Evenaglass-filteredquartz intensity quartzhalogenlampswithoutaglassfiltercan influences oncolorprintfading,seeChapters2and3. obviously notcorrect.Forfurtherdiscussionofspectral some ofthedyesusedincolorphotography,thisbeliefis little ornodamagetoorganicmaterials;withregard the photochemicalenergyofredlightissolowastocause of theliteratureconcernedwithdyefadingsuggeststhat also contributetofadingoftheIlfochromecyandye).Most color temperature(typically 3100 efficiently. Quartzhalogenlamps haveasomewhathigher heat andinfraredradiation, usuallyuseelectricitymore in lightoutputduringthelife ofthelamp,generateless ventional tungstenlamps,do notsufferasignificantdrop descent tungstenlampsandfixtures. which theyoperate,areexpensivecomparedwithincan- tures (generallyover480 glass becausetheveryhighinternaloperatingtempera- fill thelamp.Thelampsaremadeofquartzratherthan envelope containingahalogenalongwithnormalgasesto current colorprintmaterials. Ektacolor, Fujicolor,KonicaColor,Agfacolor,andmostother ably oflittleconsequenceintermsthefadingrates violet outputofglass-filteredquartzhalogenlampsisprob- halogen lampshaveaveryhigh “whiter” lightwith comparativelygreaterblue andlessred visually pleasinglightthanconventional lamps,emittinga lamp. causes fading( and withthecyandyeinIlfochrome,thisabsorbedenergy have anabsorptionpeakintheredportionof spectrum; lamps madebyavarietyofmanufacturers).Cyandyes the mostwidelyusedfluorescentlamps(e.g.,CoolWhite relative redlightoutputoftungstenlampscomparedwith this istruecanalmostcertainlybeattributedtothehigher Cool Whitefluorescentlampsatthesameintensity.That when illuminationcomesfromtungstenlightinsteadof in other organicmaterials,thesignificanceofthisdifference and-white photographs,gelatin,artists’papers,fabrics,and cent tungstenlamp.Intermsofthedeteriorationblack- the 350–400nanometerregionasanunfilteredincandes- (typically withadropofonlyabout50 maintains afairlyuniformoutputandcolortemperature rated tungstenweredepositedonthelampenvelope)and vents thelampfromdarkening(whichwouldoccurifevapo- This constantredepositionoftungstenonthefilamentpre- to decompose,redepositingthetungstenonfilament. back tothefilament,wherehightemperaturecauses it bines chemicallywiththehalogengaswhichthenmigrates sten filamentslowlyevaporates;thetungstenvaporcom- dinary glass.Duringoperationofthelamp,hottung- Also Satisfactory If Properly Filtered Also Satisfactory Quartz HalogenLampsAre heat-resistant glassor below 250nanometers,andshouldalwaysbefittedwith UV Quartz halogenlampshavetungstenfilamentsinaquartz Unlike incandescenttungstenlamps,bare-bulbquartz Quartz halogenlampslastuptotwiceaslongcon- 64 radiationlevelsisnotyetknown.Thegreaterultra- Quartzlamps,however,andmostofthefixturesin UV radiationandothervisiblewavelengths UV ° filters.Exposureofskintohigh- F [250 ° UV C]) cansoftenormeltor- K output,extendingeven ) andproduceamore K ) overthelifeof UV radiationin

This document originated at on June 6, 2003 under file name: November 1986 ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints Not allofthe by thelampphosphor,causing ittoproducevisiblelight. arc producesultravioletenergywhichinturnisabsorbed amount ofcertainothergases.Inoperation,themercury halophosphate, andfilledwithmercuryvaporasmall inside withfluorescentphosphors,suchascalcium Fluorescent Lamps on thedeteriorationofphotographsdeservefurtherstudy. effects ofquartzhalogenandincandescenttungstenlamps use inmuseumsissteadilyincreasing.Thecomparative them appealingformuseumdisplayapplications,andtheir output. Thesefeaturesofquartzhalogenlampshavemade by thephosphors andultravioletradiation atthemercury fluorescent lampsisacombination ofvisiblelightemitted light, isradiatedfromthe lamp. Thetotalradiationof glass wallsofthetubeand rest,alongwiththevisible however; someoftheremainder isabsorbedbythethin Fluorescent lampsconsistofaglasstubecoatedonthe the restrictedceilingheight. size ofthefixturesisparticularadvantagebecause th provide theillumination;in building inNewYorkCity,quartz-halogentracklights ums. IntheLIFEGalleryofPhotographyinTime-Life increasingly popularincommercialgalleriesandmuse- and compactsize,quartz-halogenlampsarebecoming Because oftheirnoticeably“whiter”light,highoutput, UV radiationisabsorbedbythe phosphors, is installationthecompact ing effectonKodakDyeTransfer, Polacolor2, tive wavelength,itspoweris sufficienttohaveadevastat- of fluorescentlamps,butat this veryphotochemicallyac- ticularly strongonthespectral powerdistributioncurves Verilux cent lamps,suchastheGeneralElectricChroma50and more than80%ofallfluorescentlampssold.Somefluores- available typesoflow- vidual lamps,or,asalastresort,tochooseoneofthe Osram, Toshiba, manufacturers suchasPhilips,GeneralElectric,Sylvania, the standardCoolWhitelamps,producedworldwideby which resultsinadditionalsavings. rescent lampsalsolastfarlongerthantungstenlamps, reducing costswhenoutdoortemperaturesarewarm.Fluo- of fluorescentlampslowersairconditioningcosts,further for agivenamountofelectricity.Thereducedheatoutput spondingly smalleramountofheatandinfraredradiation, four timesasmuchlighttungstenlamps,andacorre- stores, etc.becauseoftheirefficiency,producingupto replaced incandescentlampsinoffices,schools,grocery peaks areat405,408,436,546,and578nanometers. emission linesof313and365nanometers;visible ER UV manufactured withouta greatly acceleratesfadingofmosttypescolorprints fixtures, ortoplace radiation offluorescent lampsatthe365nanometer mer- Color prints,andpre-1986 Agfacolor prints.Ultraviolet able toinstalla applications. emission, arelikewisenotrecommendedformostmuseum proved colorrenderingproperties,orreducedultraviolet on display.Special-purposefluorescentlampswithim- recommend fluorescentlampsforilluminatingphotographs number ofotherreasons,thisauthordoesnotgenerally intensities associatedwithfluorescentlamps,andfora are muchlessimportant.Becauseofthehighillumination spectral differencesbetweenthetwotypesoflightsources rates ofmostcolorprintmaterialsframedunderglass,the that istheirprincipaldrawback;withrespecttothefading high levelofilluminationassociatedwithfluorescentlamps increases inratesofcolorprintfading.Indeed,itisthe is usuallymuchbrighterthantungsten,withconsequent and othersettingswheregoodcolorrenditionisimportant. arts firms,printingcompanies,photographiclaboratories, clothing stores,meatcountersingrocerygraphic small partofthetotalmarketandarefoundprimarilyin dard CoolWhitelamps.Theselampsconstituteonlya for thesameelectricalconsumptioncomparedwithstan- are moreexpensiveandgiveabout30%lesslightoutput duce lightofmoreuniformspectraldistribution,butthey made withamixtureofphosphorsandraregasestopro- sorbed byaglassoracrylicplasticsheet,this 313 nanometermercuryvaporemissionline;unlessab- fluorescent lampshaveanultravioletenergypeakatthe The 313nanometeremissiondoesnotappeartobepar- Although therearemanytypesoffluorescentlamps, In recentyears,fluorescentlampshavealmosttotally If fluorescentlampsareusedtoilluminateuncovered, In typicallightinginstallations,fluorescentillumination , pre-1982Ektacolorprints,pre-1985 FujicolorandKonica -sensitive colorphotographsondisplay,itmaybeadvis- VLX/M , haveabettercolorrendition.Theyare UV NEC filtersuchasPlexiglas UV UV , andHitachi,probablyaccountfor -filter plastictubes -emission fluorescentlamps. UV -absorbing emulsionovercoat. 65 overtheindi- UF UV -3 overthe radiation 66 Most 606

This document originated at on June 6, 2003 under file name: 607 incorporated a Agfacolor Type8papermanufacturedaftermid-1986also to thenewpaperstheyintroducedduring1984and1985. Konica, andMitsubishiaddedtheadditionalemulsionlayer primary causeoffading;rather,itis mitigate theeffectsof turers ofchromogenicprintmaterialstookvariousstepsto the primarycauseofimagefadingis of colorphotographsdisplayedintypicalindoorsituations, areas. Oneshouldbeaware,however,thatwithmosttypes keep ultravioletradiationlevelstoaminimumindisplay other high- fading whenilluminatedwithdirectfluorescentlightor current colorprintmaterials ers intotheprintemulsionstructure—andwithmost as lessexpensiveinthelongrun,thaninstalling cent lightfixtures;thisisgenerallymorepractical,aswell installed eitheraboveorbelowthediffusersinallfluores- tion conditions.Plexiglas Ektacolor dye intheseprintsfadesrapidly underhigh- Paper donothavea tics littleifanyundermostdisplayconditions. per andsimilarproductsimprovesthefadingcharacteris- the lightsourceandprintsmadeoncurrentEktacolorpa- let radiationistheprimary,ifnot persistent beliefsinthephotographyfieldisthatultravio- if anythingtoextendthelifeofprints.Onemost filters inplaceofglass,oradditiontowilldolittle Chapter 17 Ultraviolet RadiationandUVFilters stalled withoutglassorplasticcoversheets. lamps indisplaycases;sucharelikelytobein- lamps. Particularattentionshouldbegiventofluorescent The PermanenceandCareofColorPhotographs innovation. Kodakfirstaddeda absorbing layeroverthecyandyeisarelativelyrecent layer without underlying magentaandyellowdyes;thisleftthecyandye absorbing layerbetweenthetopmostcyandyeand negative printpapersweremadewithanincorporated chief causeoffadingincolorphotographs.” that “Ultravioletradiationintheilluminationsourceis print materialsandisreflectedinKodak’s1970statement print fading.Thiswasindeedtruewithmanyearlycolor most ofthedamage.Aseparate principally byincorporatingoneormore recommended that graphic andothertypesofmaterialsmaybedisplayed,itis with ultravioletradiationatthe313nanometeremission. dyes usedinmostcolorphotographicmaterialscompared glass andmostclearplastics,hasmuchlesseffectonthe cury vaporemissionline,whichreadilypassesthrough tubes overthelamps,orthanpurchasingspeciallow- give thebestprotection. Thisauthor’stests alsosuggest ing progresses.Framingthe printswithglassappearsto dye, causinganincreasingcolor shifttowardcyanasfad- Beginning around1970,Kodakandmostothermanufac- In museumsandarchives,itisalwaysgoodpracticeto Kodak DyeTransferprintsmade withKodakDyeTransfer In theearly1970’s,Ektacolor37 In museumsandarchives,whereavarietyofphoto- RC UV papersaboutthebeginningof1982.Fuji, lightsources.Coatinganadditional UV UV protectionandresultedinrapidcyan -absorbing emulsionovercoat. UF UV -3 sheets,cuttothepropersize,be UV -absorbing overcoat,andthe cyan radiationondisplayedprints— UF UV -3 “overprotects”thecyan radiationisnolongerthe UV UV visible -absorbing overcoatto filterplacedbetween RC visible sole andsimilarcolor UV

light causeofcolor -absorbing lay- 67

UV light thatcauses illumina- UV , so -filter UV UV UV UV - - eliminate thepotentiallydamaging these materialsunderordinaryglassoracrylicsheetwill emulsion andpaperbase.Thesimpleexpedientofframing image discoloration,andphysicaldegradationofboththe with north daylight coming through glass windows. sion Resistant) lengths belowabout320nanometers. ration Polycast that aneffective sensitive materialsmaybedisplayed,itisstronglyadvised colors, paintings,fabrics,andavarietyofotherpotentially High filtered with in museumsandarchivesshould, inmostcases,alsobe previously discussed,quartzhalogenandfluorescentlamps from bothdirectandindirectdaylighttoaminimum.As ered withPlexiglas worthwhile improvementinlightfadingstabilitywhencov- als thatreplacedCibachromematerialsin1991)showed prints ofalltypes(andpresumablytheIlfochromemateri- UV ER that glass,andnot Filtered toRemoveUVRadiation High-UV IlluminationSourcesShouldBe Instead ofFramingPrintswithPlexiglasUF-3, be avoidedwithblack-and-whiteprints,especially ther overthelampsorcoveringprints),shouldalways halogen orfluorescentlamps(withoutasheetofglassei- direct exposureofprintstolightfromunfilteredquartz ing andstainingofcolorprints,seeChapters34. tually identicaltoPlexiglas prints by ports intheliterature, the appear tohave further informationontheeffectsof cal indoorconditions,thebenefits,ifany,willbesmall.For ucts madebyFuji,Konica,andAgfa,displayedundertypi- used, butwithcurrentEktacolorpapers,andsimilarprod- of a small improvementinstaincharacteristicsaffordedbyuse most suchpapersintypicalindoordisplayconditions,the mogenic paperssuchasEktacolorandFujicolor;butwith will somewhatlessenminimum-densityyellowingofchro- (indoors) overwindowsandskylightstokeep glas first. Thisisnottosaythat case, dyefadingorimagecolorimbalanceswerereached stain orcolorimbalancelimitsasafirstfailure;inevery limits, noneofthecurrentcolorpapersreachedd-min eral HomeandCommercialUse”setoffadingstaining sive stainmaymakelittledifference. comes rathersevere.Atthatpoint,thepresenceofexces- print hasbeendisplayedforsolongthatdyefadingbe- Elimination of In museumsandarchives,wherephotographs,water- A fewcolormaterialsdobenefitfromtheadditionofa DuPont Lucite Very highlevelsof In acceleratedlightfadingtestsusingthisauthor’s“Gen- filter;however,inthisauthor’stests,IlfordCibachrome prints. UV UF UV filterisnotverynoticeable—atleastuntilthe -3 acrylicsheet,orDuPontLucite exposuremaycontributetoemulsionyellowing, UF -3 is particularly striking in prints illuminated -3 isparticularlystrikinginprints UF UF UV -3. UF UV UV -3 acrylicsheet,bepermanentlyinstalled -absorption characteristicsthat arevir- UF SAR -3, andCYROIndustriesAcrylite filter,suchasRohmandHaasPlexi- UF radiationfromilluminationsources -3, isbestforframingPolacolor2and

-3. Theprotectionaffordedthese UF UV -3, PolycastTechnologyCorpo- radiation,suchasoccurwith UF UV UV -3. -absorption capabilities of 68 filtersshouldneverbe Contrarytosomere- UV UV radiationatwave- filtersonthefad- SAR (SuperAbra- UV RC radiation prints. OP -3

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints much astonowbenearlyillegible. was writtenin1776,andtheinkinscriptionshavefadedso tion ofIndependenceearlierinitshistory;thedocument a consequenceofgrosslyimproperdisplaytheDeclara- they aredisplayedbydeep-yellowfilters.Thisisinpartas of thevery-low-intensitytungstenilluminationinwhich D.C., haveformanyyearsbeenprotectedfromtheeffects of Rights,housedintheNationalArchivesWashington, Declaration ofIndependence,theConstitution,andBill be visuallyunacceptableformostapplications.TheU.S. tion withmanyorganicmaterials,butthis,ofcourse,would and visiblelightwithoutbeing“objectionably”yellow. dye fading. sarily limitedlifeonprolonged displayduetolight-induced white prints,andbecausecolor printswillhaveaneces- sensitive tolowlevelsofperoxides thanareblack-and- apply tocolorprints,bothbecause theyappeartobeless not currentlyavailable.This concernprobablydoesnot silver images;long-termdata onthispotentialhazardis peroxides orothersubstanceswhichcouldharmsensitive cause overtimetheplasticmightreleasetraceamounts of approximately 385nanometersandisthusalesseffective with Plexiglas because theviewinglightmustpassthrough placed incontactwithaphotograph(andmountboard) lowish tintwhichisexaggeratedwhentheplasticsheet all which aresomewhatbetterthanglass,absorbingnearly selected toeliminateessentially sorber incorporatedintothesheetduringmanufacturewas UV filter; however,ittransmitssignificant eters. Thedesignof does notreach80%transmittanceuntilabout420nanom- absorbers, hasasomewhatslopedabsorptioncurveand ing ofcolorphotographsisconcerned. stitute theprincipalultravioletregion,insofarasfad- below 400nanometers,downtoabout280con- spectrum isbetween400and700nanometers;wavelengths resulting intheyellowishtint.Thevisibleportionof process alsoabsorbssomeshort-wavelengthbluelight, spectrum (wavelengthsbelow400nanometers),andinthe equally affectedbytheyellownessof only once;inaddition,everythingtheviewingareais Plexiglas a lightsourceisfilteredwith framed photographs,andotherobjectsintheroom.When board isreadilyapparentwhencomparedwithwalls,glass- the viewer.Theadded“yellowness”ofaprintandmount and asecondtimewhenreflectedfromtheprintbackto twice —oncetoreachtheprintfromilluminationsource, There areseveralreasonsforthis. slight colorchangeofthelightisnotnoticed. protection againstthedamagingeffectsof with years ofexposuretodirectsunlightandoutdoorweather. Plexiglas (Plexiglas An orangeorredfilterwouldoffermuchmoreprotec- UF One shouldavoidframingvaluableblack-and-whiteprints The yellowishtintof Whenever possible,itisbettertofilterilluminationsources absorberthan UV UF -4 isanalmostcolorlessgradeofacrylicultraviolet radiationbelowabout330nanometers. -3 thantoframephotographswiththematerial. UF -3 donotdiminishwithage,evenaftermany UF -3 andothertypesofacrylicsheetbe- UF G UF ) have -3. Standardgradesoftransparent -3 attemptstogivethemaximum UF -3 isunavoidable;the UV UF -absorption characteristics all -3, lightpassesthroughit ofthe UF UV UF -3 hasaslightyel- UF UV radiationabove -3, likeother -3 filtersothe portionofthe UV UF radiation -3 sheet UV ab- UV and lessexpensivethanPlexiglas prone todevelopdust-attractingstaticelectricalcharges, plastics arethatglassismuchmorescratchresistant,less bumen printswith seem prudenttofilterlightsourcesusedilluminateal- different thanthatofhistoricalalbumenprints,itwould men printsunderilluminationmayinsomerespectsbe nology inRochester,NewYork. Permanence InstituteattheRochesterofTech- 1981 byJamesM.Reilly,currentlydirectoroftheImage The gold-tonedalbumenprintsinthesetestsweremade the lowlevelsof color photographic copiesshouldbemade andthecopies played. Instead,high-quality Ilfochromeorotherfacsimile played. Likewise,saltedpaper printsshouldnotbedis- light, thisauthorrecommends thattheprintsnotbedis- cantly afteronlyafewmonthsofexposuretolow-level, extremely poorlightfadingstability,somesignifi- Sergio Burgiin1981revealedthatmanyofthesedyeshave yellowing sufferedbyalbumenprints.Investigation done inpartanattempttocounteracttheinevitable give aslighttinttothealbumenlayerofpaper;thiswas with dilutesolutionsofpink,rose,mauve,orbluedyes to will probablydonoharm. prints unprotectedby prints alsofadedsomewhat(reddensitywaslost),withthe filtered sample.Duringthecourseoftests,all tungsten lamps.Asillustratedin tungsten illuminationwhenprotectedwithPlexiglas duced rateofyellowstainformationunderincandescent newly processedalbumenprintshaveasignificantlyre- ior, withthe a glasswindow)for2yearsshowedsimilarstainingbehav- Samples illuminatedwithindirectnorthdaylight(through stained lessneartheedgesthanincenterportions. light. than intheuncoveredtestsampledirectlyexposedtotungsten Very HarmfultoAlbumenPrints Even Low-LevelUVRadiationIs Facsimile ColorCopies Should BeUsedInstead Albumen PrintsShouldNotbeDisplayed; UF from acrylicplasticssuchasPlexiglas albumen imagestooxidizinggases,whichcouldbeevolved filter. Becauseoftheapparenthighsensitivitysilver- filtered tungstenillumination. prints such with of framing long-term advises against tion intheglass-filteredalbumenprintwassomewhat For reasonsnotyetunderstood,thedegreeofstainforma- prints with suspected ofhavingparticularlypoorstability. shouldbe ing dyesinalbumenpapersmadebefore1880 Other reasonstoframeprintswithglassratherthan Although thestainingbehaviorofthesemodernalbu- Albumen printsappeartobeuniquelysensitiveeven Because ofthehighsensitivity ofalbumenprintsto During manufacture,albumenpaperswereoftentreated Both theglass-filteredanddirect-exposuresamples -3; glass shouldbeusedinstead.Framingalbumen -3; UF UF -3 forshortperiods(e.g.,duringshipping) -3 samplestainingmuchlessthantheglass- UV UF radiationemittedbyincandescent -3 oranotherequallyeffective UF -3 fadinglessthantheothers. 69 Burgiindicatedthattint- Figure 17.1 UF -3. UF -3, thisauthor , samplesof higher UF UV UV -3. - 608

This document originated at on June 6, 2003 under file name: 609 ideal), lightsshould beatabouta45-degree angletothe possible. Givenadequateceiling height(about15feetis tance thatprovidesaseven illuminationoftheprintsas minating photographsonawall shouldbeplacedatadis- 60–75 ture oftheshippingcontainerscanbemaintainedin they aresealedinvapor-proofpackagesandthetempera- graphs shouldneverbeloanedtootherinstitutionsunless for example.Saltedpaperprintsshouldneverbedisplayed. pigment tothecheeksofpeopleindaguerreotypeportraits, Placement ofLampsin Display Areas adhered to. that thesetemperatureconditionsare certain make to accompanied byarepresentativeoftheloaninginstitution transit; duringshipment,thephotographsshouldbe in or dyes. tinted orhand-coloredwithpotentiallyunstablepigments palladium prints,andblack-and-whiteprintsthathavebeen tographs, suchasambrotypes,cyanotypes,platinumprints, employed whendisplayingotherkindsof19th-centurypho- that theynotbedisplayed,evenforshortperiodsoftime. prints cannotbemonitored,thisauthor tions oflowrelativehumidity(i.e.,30–40%).Ifalbumen portance ofstoringanddisplayingalbumenprintsincondi- minimize stainingandfading,Reillyhasstressedtheim- turned. Displayilluminationlevelsshouldbekeptlow.To after printsshippedtootherinstitutionsonloanhavere- tored, especiallyduringandafterperiodsofdisplay essential thattheybeperiodicallydensitometricallymoni- tone andbasetintoftheprintsarenotreproduced. not satisfactorybecausethedelicatepurple-blackimage displayed. Black-and-whitecopiesofalbumenprintsare h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs Within thelimitationsof ceilingheight,lampsillu- Albumen printsandothertypesof19th-centuryphoto- Caution shouldalsobeexercisedandprintmonitoring If, however,itisdecidedtodisplayalbumenprints, ° F (15.5–24 70 Itwascommonpracticetoaddalittlepink ° C) range at

all

times whentheprintsare strongly advises with ease. areas, asindividuallampscanbemovedandredirected museums andgalleries,areexcellentforlightingdisplay bulbs shouldbeavoided. duce aminimumamountofglareonframingglass;bare end ofthelampsothatlightsonoppositewallswillpro- close totheprint.Lightfixturesshouldextendbeyond shadow oftheviewerontophotographifpersonis glare imageofthelampinviewer’seyesorevencasta the overmat;increasingangletoomuchmayproducea shadow ontheimagefromframeorbevelededgeof minimized. Lightingattoonarrowananglewillproducea on thewall—sothatspecularreflectionsandglareare angle andplacementofthelights—photographs surface oftheprints.Caremustbetakentoadjust ing withthehalogen cycle. cannot bedimmedbeyonda certain pointwithoutinterfer- require specialtypesofdimmers, andquartzhalogenlamps low normal.Low-voltagelamps operatedbyatransformer progressively redder,asthe lightintensityisreducedbe- perature ofthelightislowered, andthelightbecomes mers shouldbeusedwithrestraint, sincethecolortem- the selectionoflampwattageandlocation.However,dim- in lightintensitywhichmaynotbeeasilyaccomplishedby lamps agebygraduallydecreasingthesettingofrheostats. to thedesiredlevelandthenmaintainthatas are new;dimmerscanbeusedtolowerthelightintensity a somewhathigherlightlevelthandesiredwhenthelamps the distanceoflampsfromphotographstoachieve pensated forbyselectinglampwattagesandre-adjusting ment ontheglassenvelope.Ifnecessary,thiscanbecom- result ofdepositsevaporatedtungstenfromthehotfila- crease incolortemperature(about100 Incandescent tungstenlampsdarkensomewhatandde- ing blackmetalscreens,andbyusingdimmercontrols. ing theproperwattageoflamps,byinstallinglight-absorb- Movable tracklights,ofthetypescommonlyseenin Dimmers arealsohelpfulformakingminoradjustments 71 Lightintensitiescanbecontrolledbyselect- framed withaPlexiglas edly reducedintheprint nation. Yellowingwasmark- incandescent tungstenillumi- prints exposedto1.35klux cessed, gold-tonedalbumen Figure 17.1 were madebyJamesM.Reilly. bulb illumination.)Theprints covered printexposedtobare- somewhat morethantheun- framed withglassyellowed plained reasons,theprint ultraviolet filter.(Forunex- K Freshlypro- ) withageasa UF -3

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints addition, unless specialmeasuresaretaken, thelightin- and difficultviewingconditions duringdaytimehours;in ence ofwindowsindisplayareas createsunevenlighting buildings thatwerenotdesigned tobemuseums,thepres- eliminated inphotographdisplay areasifatallpossible.In people donotlikethe“cave”feeling ofdarklypaintedrooms. black wallsandceilingsshouldalsobeavoidedsincemost cussion offrames,nonglareglass,andplastic).Darkor or otherwisecoveredwithglass(seeChapter15foradis- walls. Formanyreasons,printsondisplayshouldbeframed increase glareontheglassoverphotographsopposite of reducingtheapparentbrightnessprintandwill display areas,sincethebrightsurfaceswillhaveeffect rescent lampswillnotappearnearlyasbright. same leveloflightinaroomuniformlyilluminatedbyfluo- minated thanisactuallythecase.Bycomparison, present, photographswillappeartobemorebrightlyillu- and whennowindowsorothersourcesofbrightlightare or othernear-neutralcolor,whenfloodlampsareused, When wallsarepaintedorcoveredwithamaterialofgray graph, thevisualappearanceofphotographisenhanced. surrounding areasaresomewhatdarkerthanthephoto- moderate concentrationoflightonthephotograph;if Design ofPhotographDisplayAreas Windows andothersources ofbrightlightshouldbe White orverylight-coloredwallsshouldbeavoidedin In mostdisplayareas,floodlampsproduceapleasing, lights, recessedceilinglampsareunobtrusiveandcanbeparticularlyadvantageousinroomssuchasthiswithlowceilings. Recessed incandescenttungstenlampsinadisplayareaattheArtInstituteofChicago.Althoughlessflexiblethantrack feeling intheillumination ofanexhibition. adjusts alampdimmerpanelto obtainthedesiredoverall David Travis,curatorofphotography attheArtInstitute,

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This document originated at on June 6, 2003 under file name: 611 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs particularly foralbumenprintsandothersensitive19th-centurymaterials. illumination onprintsincertainpartsofthebuildingduringdaywasfarhigherthanrecommendedforproperdisplay, renovation in1988,theglarefromdaylightthroughwindowsmadeitdifficulttoproperlyviewprints,andintensityof Museum ofPhotographyatGeorgeEastmanHouseinRochester,NewYork,shownherebeforethebuildingwasclosedfor Outdoor windowspresentseriouslightingproblemsinexhibitionareas.IntheupstairsgalleriesatInternational windows. After 1988,theareaspicturedhere were nolongerusedtoexhibit photographsfromthepermanent collection. insofar aspossible,thebuilding hasbeenpreservedasitwaswhenEastmanlivedinthehome. Thisprecludedcoveringthe during theday.GeorgeEastman HousewasthehomeofGeorgeEastman,founderEastman KodakCompany,and, The sameexhibitionareaatnight. Withincandescenttungstenillumination,displayconditions weremuchbetterthan

February 1982 February 1982

This document originated at on June 6, 2003 under file name: Jorge Gutierrez – March 1981 ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints light canmosteasilybereducedbyusinga the viewerwhen thepersonislookingat print,orthe curtains canbeplacedover theprint,tobeheldasideby time thattheyarebeingviewed. Opaqueclothcoversor graphs areprotectedfromlight exceptduringtheactual Kodak DyeTransfer,orFuji Dyecolorandifthephoto- made onadark-stablematerial suchasIlfordIlfochrome, room temperaturesforextended periodsiftheprintsare progressively lowerillumination. parts ofthemuseum,viewerpassesthroughareas of ment; whilewalkingtothephotographygalleriesfromother examples ofgoodgallerydesignandlighting-fixtureplace- Art InstituteofChicago,whichwereopenedin1982,are the lightingconditions.Thephotographygalleriesin tion areas,sothatviewers’eyeswillhavetimetoadjust to areas, aswellintheroomsorhallsleadingtoexhibi- kept closedduringdaytimehours. glaze thewindows,oropaquecurtainscanbeinstalledand density glassoracrylicplasticsheetingcanbeusedtore- may precludesuchalterations.Asacompromise,neutral- tain theoriginalarchitecturalintegrityofstructure opaque intheexhibitionareas;however,desiretomain- in suchabuildingshouldbeclosedofforotherwisemade Table 17.1 lar partoftheyear,dependingonanglesun(see levels duringcertaintimesofthedayoraparticu- tensities onprintsinsomelocationscanreachveryhigh desired, toreducetransmissionofvisiblelightaswell. of DisplayedPrints Special MethodsofReducingLightExposure as Lucite plied towindowglassreduce coated plasticfilmsareavailablewhichcanreadilybeap- in additiontoglass—thewindows.Variousadhesive- It ispossibletodisplaycolorphotographsatnormal Light levelsshouldbereasonablyuniformindisplay of theprintandmount,orotherformsphysicaldamage. intense sunlightcouldcauseemulsioncracking,warping is verystableonexposuretobrightlight,heatingbythe though theselenium-tonedimageofthisfiber-baseprint was shiningdirectlyontheprintthroughawindow.Al- and nolongerusedforprintdisplay.Theafternoonsun area atEastmanHousebeforethewasremodeled An AnselAdamsprintondisplayintheupstairsexhibition SAR ) andthelengthofday.Ideally,windows

UF -3 orPlexiglas UF UV -3 inplaceofglass—or UV transmissionand,if radiationfromsun- UV filtersuch 72 of artonpaper inspeciallyconstructedcabinets fittedwith California hasdisplayedold,light-sensitive booksandworks at EastmanHouse(seeChapter 7). were monitoreddensitometrically bytheconservationstaff dition, manyoftheoriginal photographs intheexhibition Ektachrome transparencycopies weresubstituted.Inad- and someothermaterialswerenotexhibited;instead,modern early colorprocesses,originalsofAutochrome,FinlayColour, cause ofthepotentiallyveryunstabledyesinmany months atGeorgeEastmanHouselaterthatyear.Be- months beginninginApril1982andforanadditional 3 at theCorcoranGalleryofArtinWashington,D.C.for 3 was notloanedtootherinstitutionsafteritexhibited tional MuseumofPhotographyatGeorgeEastmanHouse, Color after itclosedattheScienceMuseum. cause ofthistheexhibitionwasnotsenttoothermuseums processes areextremelysensitivetolight,andpartlybe- modern eraofcolorphotography.Manytheearly parency filmin1935,whichmarksthebeginningof isted priortotheintroductionofKodakKodachrometrans- amples ofmosttheformscolorphotographythatex- 1981 untilFebruary1982.Thisexhibitioncontainedex- hibited attheScienceMuseuminLondonfromNovember of theformerKodakMuseuminHarrow,Englandandex- in theexhibition trolled lightingwasusedforsomeofthecolorphotographs prints andotherearlyformsofphotography.Viewer-con- number ofinstitutionstodisplaylight-sensitivealbumen print forashorttime. switch canbeactuatedbytheviewertoilluminate located inadarkenedarea,push-button(ortimed)light door thatcanbeliftedforviewing.Ifthephotographis print canbeplacedinahorizontalboxequippedwith For thesamereason, The LosAngelesCountyMuseum ofArtinLosAngeles, Special techniquesofthistypehavebeenemployedbya in SanFrancisco. 1987 theFriendsofPhotographymovedtonewfacilities to theirbestadvantagewhenbrightlyilluminated.In with AnselAdams’srecognitionthatphotographsareshown the printsurfaceashigh860lux.Thiswasinkeeping ceiling providedbrilliantillumination,withanintensityat nia, rowsofincandescentfloodlampshungfromthe At theFriendsofPhotographyGalleryinCarmel,Califor-

Photography Chasing , curatedbyJohnUptonfortheInterna-

Rainbows Color

As , curatedbyBrianCoe

Form 73

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History

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This document originated at on June 6, 2003 under file name: 613 Speaking about oneofthemanuscripts, drawn anumberofraremanuscripts frompublicview. Conde MuseumnearParis,France haspermanentlywith- acceptance inmuseumsand archives.Forexample,the other valuableartisticandhistoric objectsisgraduallygaining audiences thatwanttoseethem. safe meansfortheseimagestobeviewedbythelarge eling exhibitions,andthatfacsimilecopiesprovidetheonly term display,ortheoftenuncontrolledenvironmentoftrav- of photographsareinherentlytoounstabletosurvivelong- archives. Itwillthenbeclearlyrecognizedthatmanytypes monitoring becomesstandardpracticeinmuseumsand accepted bycuratorsandconservatorsalike—asprint inevitably willbecomemorecommon—andreadily sensitive 19th-centuryprintsaswellmoderncolor poses. Theuseofhigh-qualitycolorfacsimilecopies of copies oftheprintsonEktacolorpaperfordisplaypur- leans, Louisiana,thecuratorialstaffhasmadefacsimile owned bytheHistoricNewOrleansCollectioninOr- albumen prints,andothervaluable19th-centuryphotographs h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs Prints intheHistoricNewOrleansCollection Facsimile CopiesofUnstable19th-Century are actuallybeingviewed. exposure tolightexceptfortheshortperiodswhenthey This space-savingdisplaytechniqueprotectsobjectsfrom visitor isinstructedtogentlyopenonedraweratatime. 8-inch-deep, Plexiglas-covereddrawers.Forviewing,the The useoffacsimilecopies of manuscripts,books,and To avoidlight-induceddamagetosaltedpaperprints, covered withblackclothtoprotectthemfromlightexceptduringtheshortperiodswhentheyareactuallybeingviewed. Salted paperprintsandotherhighlylight-sensitive19th-centuryphotographsdisplayedattheArtInstituteofChicagoare Les

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Riches 74 ary 1987,PaulLewiswrote: Public,” whichappearedin entitled “PreservationTakesRareManuscriptsfromthe and scholarsnolongerhavedirectaccess.”Inanarticle script. Noonewillbeallowedtoseeitagain..Thepublic seum, said,“Myoverridingdutyistopreservethemanu- beginning in1410,FredericVergne,curatorofthemu- produced byhandfourartistsovera75-yearperiod Heures up to$10,000a copy. sive reproductionsoftheoriginal thatcancost the publichigh-qualityand extremely expen- ingly, suchinstitutionsareoffering scholarsand age byhandlingandexposure tolight.Increas- rare manuscriptsinorderto reducethedam- ies everywheretowardcutting downaccessto sion illustratesatrendbymuseumsandlibrar- of theoriginal..TheCondeMuseum’sdeci- see ahigh-qualitymoderncolorreproduction Museum eachyearhaveonlybeenallowedto 250,000 visitorswhomaketheirwaytotheConde existence. two orthreefinestilluminatedmanuscriptsin life. Itisuniversallyrecognizedasoneofthe ligious subjectsandscenesfrom15th-century tals andtinybrightlycoloredminiaturesofre- are exquisitelydecoratedwithilluminatedcapi- Its yellowingvellumpagesofhandwrittentext

du But forthelastcoupleofyearsroughly The bookisaworkofastonishingbeauty.

Duc

Berry , a209-pagebookpainstakingly 75 The

New

York

Times inJanu-

February 1982

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints Notes andReferences .GrantB.Romer,“CanWeAffordtoExhibitOurValuedPhotographs?” 1. .Atpresenttherearenoreliablepublisheddataonthelong-term 2. Restoration of Images on KodakProfessional Restoration of Images 24–33; andarelatedarticle:F.J.DragoW.E.Lee,“Stability pp. 113–118. 4168,” Kodak Company, Kaspars M.Cupriks,citedinNoteNo.24below).Seealso:Eastman by varioustonersandrefertoa1991reportJamesM.Reilly comments inthetextofthischapteronimageprotectionoffered Kodak SepiaToner,arerecommendedforimageprotection(see Rapid SeleniumToner,KodakPoly-Toner,Brownand conditions, canbeextendedbytheuseofKodaktoners.” tion oroxidizinggaseskeptunderadversestoragedisplay base printsthatmaybeexposedtointenseorprolongedillumina- Duplicating Film,”Duplicating “Problems withLong-TermStabilityofKodakProfessionalDirect are adverselyaffectedbyexposuretolight.See:HenryWilhelm, tially knownasKodakProfessionalDirectDuplicatingFilm now-discontinued KodakProfessionalDuplicatingFilm4168(ini- they aredisplayedornot.” on fiber-basepaperscanbeexpectedtolastforgenerations,whether made onfiber-basepapers.Processedandtoned.prints of radiationforlongperiodstimemayshowimagechanges. difference inimagestability.Untonedprintsexposedtohighlevels toned. .Theprintscanbedisplayedorkeptinthedarkwithno longevity ofblack-and-whiteprintimagesthathavebeenproperly says: “Apparentlylightandultravioletradiationhavenoeffectonthe scope, telephone: 202-232-6636.Romer’sarticlewasreprintedin tion, 140016thStreet,N.W.,Suite340,Washington,D.C.20036; tion PhotographicMaterialsGroup,AmericanInstituteforConserva- S. Holden),Vol.1,pp.23–30,1986.AmericanInstituteforConserva- Topics inPhotographicPreservation–1986 servation indeed causechangesinblack-and-whitefiber-baseprints.In Eastman Kodakindicatesthatlightandultravioletradiationmay apparent deterioration.However,recentinformationpublishedby displayed moreorlesscontinuouslyfor50yearswithlittle port tothisnotionarecountlessprintsoftypewhichhavebeen papers areessentiallyunaffectedbyexposuretolight;lendingsup- been believedthatproperlyprocessedsilverimagesonfiber-base base silver-gelatinprintsdisplayedinnormalconditions.Ithaslong effects ofvisiblelightandultravioletradiationontheimagesfiber- KP graphs thatmetthefollowingrequirements: category ofstability,whichincluded black-and-whiteorcolorphoto- concept, thisauthorin1987proposedanadditional,“ultra-stable” cant shortcomingsthatlimiteditsusefulness.Asanalternative cable onlytosilver-gelatinfilms(notprints),hadanumberofsignifi- Papers Color, orPolaroidPermanent-Color; chrome, KodakDyeTransfer,FujiDyecolor, UltraStablePermanent images withdarkfadingstabilityequal toorbetterthanIlfordCiba- with aprotectivetoner(untreated images areexcluded); are excluded); polyester filmorfiber-basepaper(acetate-base filmsandRCpaper Eastman Kodak Company, Kodak PolyfiberPaper, InstructionSheet, Eastman KodakCompany, Technology graphic ImagestoEnhanceImageStability,” Lee, BeverlyWood,andF.J.Drago,“TonerTreatmentsforPhoto- prolonged displayinahumidenvironment.Forexample,see:W.E. the lifeofimage,particularlywhenprintsaresubjectedto with KodakRapidSeleniumToner,orcertainothertoners,toextend processing chemicalsthanbylight.” to becausedbyoxidationorthedecompositionofresidual graphs priorto1926.Anyconsiderablediscolorationismorelikely Paper alsoyellowswithexposure,especiallypapersusedinphoto- light cancausegelatintoturnyellowandtendsmakeitbrittle. and moisturehaveactedupontheimage..Constantexposureto light canreducesilverionstometallicafteroxidizinggases upon thesilverofanimageinordinarycircumstances.However, March 1985,Kodakstates(p.84):“Lighthasnosignificanteffect cation No.F-40, EastmanKodakCompany,Rochester,NewYork, fading stabilityequal toorbetterthanUltraStablePermanent Color 79673,May1983,whichsaysinpart:“Thelifeofuntonedfiber- The now-obsolete The silverimagesofnegativesandtransparenciesmadewiththe “Such radiationseemstohavelittleeffectonthebaseofprints Kodak hassuggestedtreatingmodernfiber-baseandRCprints Journal ofImagingTechnology Vol.32,No.4,Winter1987,pp.136–137. , KodakPublicationNo.

of , Vol.10,No.3,June1984,pp.119–126.Seealso: ,

Photographs (b) Quality black-and-whiteimagesthathave beentreated Picturescope ANSI

Enlarging designation“archival,”whichwasappli- (GeorgeT.Eaton,editor),KodakPubli- G ,Vol. 30,No.1,Spring1982,pp. -1, February1985,p.103,which

with (d) , Vol. 10, No. 3, June 10, No. Vol. 3, 1984, ,

colorimageswithlight Kodak (a) B/W Journal ofImaging supportmaterialof (compiled byMaria

Black-and-White DuplicatingFilm/ (c) Picture- SO color -015) Con- .ForinformationonUltraStable PermanentColorprintsandPolaroid 3. practice isgainingincreasingacceptanceinmuseums. cannot bedisplayedforlongperiodswithoutharm,this realization thatsensitivematerialssuchasalbumenprints the originalprintstobestoredsafelyindark.With men prints).Thefacsimilecopiesaredisplayed,allowing black-and-white papersshowlittleresemblancetoalbu- lights oftheoriginalprints(copiesmadewithmodern paper toretainthewarmimagetoneandyellowedhigh- copied withcolornegativefilmandprintedonEktacolor Louisiana, albumenprintsfromthelate1800’shavebeen At theHistoricNewOrleansCollectioninOrleans, been availableonly toaselectclienteleinFrance(see Chapter1). are producedbyhandinverylimited quantitiesandgenerallyhave Savigny-Orge, France;telephone: 33-1-996-12-60). Fressonprints Paris (AtelierMichelFresson,21rue delaMontagnePavee,91600 are madeinasmall,Old-Worldshop runbytheFressonfamilynear nent ColorprintsorPolaroidPermanent-Color prints.Fressonprints however, Fressonprintswerenot as stableUltraStablePerma- very longperiods.Inthisauthor’s acceleratedlightfadingtests, stable andcanbedisplayedundernormal illuminationconditionsfor (commonly knownintheU.S.asFressonprints)arealsoextremely Pigment colorprintsmadebytheFressonQuadrichromieprocess the comparativestabilitydatagiveninChapter3and5. Permanent-Color materials,refertothediscussioninChapter1and stable black-and-whiteandcolormaterials. 1991 todrophisproposed“ultra-stable”designationforextremely sion withUltraStablePermanentColorprints,thisauthordecidedin of thepromising and relatedterms,seeChapter2.BecauseoftheadoptionbyANSI For furtherdiscussionof“archival,”LifeExpectancy( Polaroid changedthenametoPermanent-Colormaterials.) February 7,1987.(SubsequenttotheNewOrleanspresentation, servation PhotographicMaterialsGroupinNewOrleans,Louisiana, Process,” presentedatameetingoftheAmericanInstituteforCon- ArchivalColor: AProgressReportonaNew,Ultra-StableColorPrint discussed bythisauthorinapresentationentitled,“Polaroid or PolaroidPermanent-Color.Thisdefinitionof“ultra-stable”was LE ratingsconcept,andbecauseofpossibleconfu- LE ) ratings,

February 1987 614

This document originated at on June 6, 2003 under file name: 615 h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs .Kodak’sfirst 4. designate productssuchasEktacolorProfessionalPaper Kodabrome black-and-white RCpapers.Shortlythereafter,Kodakintroduced well asrollsandmarkedtherealbeginningofmodernera widely availablebymid-1973;thispaperwassuppliedinsheetsas was PolycontrastRapidRCPaper,introducedinOctober1972and world’s manufacturershadintroducedblack-and-white introduced AgfaBrovira-Speedin1978,andby1980virtuallyallthe Ilford Multigradefiber-basepapermarketedin1940.Agfa-Gevaert white are usedprimarilyinthegraphicartsindustry. solution ofcelluloseacetate,toanRCbase;KodakResistopapers verted itsKodakResistopapers,previouslycoatedwithasolvent Kodabromide fiber-basepaper.Aroundthemid-1960’s,Kodakcon- Paper wasagradedpaperwithanemulsionsimilartothatof cerns. Thepaperwasnotsoldinthegeneralmarket.Kind1594 a special-purposeproductforU.S.militaryandaerial-mappingcon- 1594 Paper.Firstproducedintheearly1960’s,KindPaperwas Paper isthefiber-base counterparttoKodakPolyprint Paper withanewpaper,itwascalled PolyfiberPaper. Several yearsago,whenKodakreplaced thefiber-basePolycontrast such anabbreviationhadbeenused withaphotographicpaper. for fiber-base,andtothisauthor’s knowledge thiswasthefirsttime tion forpolyethylene.Konicacallssomeofitscolorproducts“ Multigrade, an the paperfromIlfordMultigrade color papers. don thetrademark,thuspermittinganycompanytoadoptterm ylene-coated photographicpaper,Kodakdecidedin1976toaban- RC Paper in1985,thecompanyincluded “ stands forresin-protected.When Ilford introducedMultigrade pers; papers, andby1985Kodakhaddropped RC early versionofLuminos This authorhasnoinformationonthestabilitycharacteristicsofthis paper was,nevertheless,averysuccessfulproductforLuminos. appealed primarilytohome-darkroomhobbyists;thispioneering Rapid DryPaperinitiallywasviewedassomethingofacuriosityand sional, fineart,andadvancedamateurphotographers),Luminos ucts, andLuminospapershavegenerallybeenshunnedbyprofes- Photo Corporationisasmallcompanyspecializinginlow-costprod- obtained whenthesepapersareair-dried. fiber-base paperspreferthetactile,lower-glosssurfacewhichis is nownearlyobsolete;mostphotographersstillworkingwithglossy papers thathastakenplacesincethe1970’s,practiceofferrotyping Kodak’s first saw theintroductionofKodakEktacolor20 in 1969,bothofthepapersweresuppliedonlyrolls.(1968also Unicontrast totally newconcept).Becauseofthegeneralconversionto plated drumdryerinordertoobtainahigh-glosssurfacewas with achrome-platedmetalferrotypeplateoronpolished,chrome- Europe (atthattime,apaperdidnotrequiredryingincontact without theneedforferrotyping,or“glazing,”asitisreferredtoin flat anddriesquick.”Thepaperhada“perfect”high-glosssurface The paperwasadvertisedto“washinonly3060seconds—dries contrast gradesandwaspackagedin8x10-11x14-inchsheets. uses theterm“ papers —signifyingthattheyarepolyethylene-coated.Oriental the as aKodaktrademarkin1972.Apparentlyconcludingthatovertime Turaphot GmbHinGermany,Luminos the marketaboutFebruary1972.ManufacturedforLuminosby Luminos PhotoCorporation,Yonkers,NewYork,thepaperentered first having beenreplacedby Paper andFujiDyecoloraretheonlyremainingexamples), papers havevirtuallydisappearedfromthemarket(KodakDyeTransfer distinguish themfromfiber-basepapers.Becausecolor names ofitspolyethylene-resin-coatedblack-and-whitepapersto contrast PolycontrastRapid U.S. wasLuminos paperthathadbeenintroducedseveral yearsearlier. foritsproducts.Kodakhascontinuedtoinclude In October1968,EastmanKodakannounceditsfirstblack-and- Eastman Kodak’sfirstgeneral-useblack-and-white The firstgeneral-useblack-and-white Agfa-Gevaert callsitspolyethylene-coatedproducts“ The “ In partbecausetheLuminosbrandwasnotwellknown(Luminos RC RC PE RC namewouldevolveintoagenerictermtosignifyanypolyeth- paper,Ilfospeed,andfollowedthatin1978withIlfospeed istheinternationallyacceptedplastics-industryabbrevia- RC papersforthecommercialphotofinishingfield,Velox ” namewasfirstusedbyKodakin1968andregistered RC RC RC RC andVeloxPremierRCPapers;placedonthemarket Paper,agradedpaper,tosupplementthevariable- RP RC colorpaper.) (polyethylene-resin-coated)paperwascalledKind ” inthenameofitsNewSeagull RD paperwithanemulsionbasedontheoriginal RapidDryResinCoatedPaper;distributedby RD RC Paper. papers,Kodaknolongerfeltaneedto RC Paper.In1974Ilfordintroducedits II Paper,adeveloper-incorporated FB RD ” inthenametodistinguish RC RC wassuppliedinseveral paperavailableinthe RC fromthenamesofits Paper,Type1822, RC RC papers; RC RC RC FB papers. product PE Paper; stands inthe ” pa- PC RC RC RC RD RP FB ” 8 EastmanKodakCompany, 18. LarryH.Feldman,seeNoteNo.9,p.9. 17. 6 JeanDieuzaide,“AppealforthePreservationofGenuinePhoto- 16. 1 Klaus B.Hendriks,“ADiscussionofPolyethyleneResinCoated( 11. 1 EastmanKodakCompany, 21. G.Kolf[Agfa-Gevaert 15. 0 EastmanKodakCompany, 10. 0 EastmanKodakCompany, 20. EastmanKodakCompany,seeNoteNo.18, p.40. 19. 4 Ctein,“AgfaMulticontrastHighSpeedPaper,” 14. 2 DavidVestal,“ 12. 3 Thisauthor’sprintsweremadeonKodakPolycontrastRapid 13. .EastmanKodakCompany,“KeepingCharacteristicsof 7. .IrvinH.Crawford,RogerE.Democh,andRobertJ.Baron, 6. JackH.Coote, 5. .T.F.Parsons,G.Gray,andI.H.Crawford[EastmanKodak 8. .LarryH.Feldman[EastmanKodakCompany],“DiscolorationofBlack- 9. T. Eaton,editor),KodakPublication No. 1981 [translatedforthisauthorbyMarciaBrubeck,June1983.] tions duCentreNationaldelaRechercheScientifique,Paris,France, the Photographer’s berg, “ArlesFestivalPondersFutureof de laPhotographie1977,inArles,France.Seealso:AndyGrund- was originallydistributedin1977attheRencontresInternationales tion,” graphic PaperWhichIsFacedbytheThreatofCessationProduc- Vol. 27,No.11,November1979,pp.533–534. Same published byFocalPress,LondonEngland,1982,p.276. Company], “To sented at Affect StabilityinDarkStorageandUnderDisplayConditions,”pre- Graphiques et ments photographiquesmodernes,”chapterin Flieder, “Influencedel’environnementsurlaconservationdesdocu- Profi Foto Photography ( chairman, aconferencesponsoredbytheInternationalCenterof Though StillDisorganized,” October 1977,pp.54ff;MarcoMisani,“ArlesMeeting:Important ing andColorImagery,” Martin VanLeeuwen,“DieHaltbarkeitVon Photography 1977, pp.1–2;GeoffreyCrawley,“Comment,” ber was94801–73242 paper hadanexpirationdateofMarch1976andtheemulsionnum- Vol. 93,No.4,October1978,pp.80ff.Forageneralaccountofthe York, April1978,p.28. B&W terms both papersemploythesameemulsion.Itappearslikelythat 73873f, EastmanKodakCompany,Rochester, NewYork,August1981. originally appearedin Photography (translated intoEnglishbyA.J.Dalladay), Paper purchasedin1974;the100-sheetboxof8x10-inch ICP (information sheetpackagedwithpaper), KodakPublicationNo. tography lemma: StabilityandStorageofColorMaterials,” ginia, August12,1980. pany, Rochester,NewYork,March 1985,p.39. Publication No. staining ofdeveloper-incorporated Also: Ctein,telephonediscussionwiththisauthorregardingbase- staining overtime,asareotherdeveloper-incorporatedpapers.” muddy blacks.Furthermore,Multicontrastmaybepronetobase- the printbychangingamountofdevelopmentwithoutrisking tive tochoiceofdeveloperanddevelopment;youcan’tmanipulate other developer-incorporatedpapers,Multicontrastisprettyinsensi- raphy sheet packagedwithpaper),Kodak PublicationNo. Eastman KodakCompany, Rochester,NewYork,October 1984.See Kodak StudioLight and-White Photographic Prints,” and-White Photographic Prints,” Engineering Stable presented atthe Engineering Photographic ScientistsandEngineers( Papers conferenceproceedings,see:DavidKach,“PhotographicDi- andColorPapers,TheirProperties,FactorsWhichMay , UnitedStatesPatent3,853,592,December10,1974. Camera , Vol.12,No.6,June1990,pp.50–51,64.Cteinwrote:“Like RC

, WilliamE.Lee,chairman,sponsoredbytheSocietyof Resin and , Vol.27,No.8,August1978,pp.28ff. The PermanenceofColor , Nr.2,1982,pp.54–60;andM.Gillet,C.Garnier,F. , Vol.5,No.2,Spring1979,pp.110–117. , Vol.7,No.1,February1981,pp.1–9.Originally , Vol.125,No.6140,March31,1978,pp.265–267; , Vol. April 4,1980,pp.316–319.Thisarticle 127,

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This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints 5 EastmanKodakCompany, 25. 6 EastmanKodakCompany, 26. 7 InpresentationsattheRochesterInstitute ofTechnology,Roches- 27. JamesM.ReillyandKasparsCupriks, 24. 3 James M.Reilly,DouglasW.Nishimura,KasparsCupriks,and 23. SeeNoteNo.2. 22. of ImagingTechnology, and P.Z.Adelstein,“PolysulfideTreatmentforMicrofilm,” 716-475-7230. Seealso:J.M.Reilly,D.W.Nishimura,K.Cupriks, Rochester, NewYork14623-0887;telephone:716-475-5199;Fax: Technology, FrankE.GannettMemorialBuilding,P.O.Box9887, report, contact:ImagePermanenceInstitute,RochesterInstituteof manence Institute,March28,1991,p.2.Toobtainacopyofthe pany, Rochester,NewYork,October 1972. ing also: EastmanKodakCompany,Polycontrast October 29,1978, GlenG.GrayofthePaperService Divisionof Peabody Museum,HarvardUniversity, Cambridge,Massachusetts, ter, NewYork,September26,1978, andataconferencethe ter, NewYork,July1976. Endowment fortheHumanities(Grant# Silver Images, increased imageprotectionofasulfidingtoner. Kodak RapidSeleniumToner,whileatthesametimeproviding afforded tomostcurrentfiber-baseandRCpapersbytreatmentwith that wouldprovidetheaestheticallydesirable image intensification tinuing thisworkandcouldnotyetrecommendatonerformulation providing thebulkofprotectionagainstoxidants.” not substitutionwithgoldorconversiontosilverselenide,thatwas toner andtheseleniumtoner,itseemedtobesulfidingagents, formula in preventingperoxideattack.However,experimentswiththesame Permanence Institute],thisformulawasindeedcompletelyeffective thiourea, aknownsulfidingagent.Inexperiments[attheImage (information sheetpackagedwithpaper),KodakPublication not agents, evenveryhighdegreesofgoldorseleniumsubstitutiondo is substitutedfortheoriginalsilverimage.Inabsenceofsulfiding ide attackonlyinproportiontothedegreewhichheavymetal had developedduring1987–88: and subjectedtoanimprovedacceleratedperoxidefumingtestthey had obtainedwithmicrofilmsamplestreatedanumberoftoners sions abouttherelativeeffectivenessoftonersonresultsthatthey Image PermanenceInstitute,andhisco-workersbasedtheirconclu- the NationalArchivesofCanada,May1988.Reilly,director on apresentationatthe Provo, Utah84601;telephone:801-373-1598).Thearticleisbased 12, No.5,July1988,pp.83–88(AbbeyPublications,320E.Center, ages, withSpecialReferencetoMicrofilm,” Peter Z.Adelstein,“StabilityofBlack-and-WhitePhotographicIm- Eastman KodakCompany,Rochester,NewYork,March1988. regarded asabsoluteprotection.Oneoftheingredients the highcostithasseldombeenusedinpractice,butwasalways for thetreatmentofmicrofilmtopreventredspotattack.Because Professional Kodak hasrecommendedaformulaknownas protect againstperoxidecamefromexperimentswithgoldtoners. now clearlyestablished. dates (inparticularpolysulfides),andthedirectiontobepursuedis are unknownatthispoint,butthereseveralpromisingcandi- of applicationandpossibleilleffectsonphysicalproperties,etc., of thesilverimage.Thebestcompoundstouse,aswellmethods treating microfilmwithsolutionswhichleadtothepartial nence Institutetests,evenwhenusedatlowconcentrations: the otherhand,werefoundtobeveryeffectiveinImagePerma- ing areawereresponsible,butnotclearonexactlywhy.” [Kodak RapidSeleniumToner]formulationmadebythemanufactur- recently asoneyearago.Theysuspectedthatsmallchangesin venting oxidantattack,whichithaddoneintestsperformedas microfilm, theseleniumtonerwasdepositingselenium,butnotpre- and Kodak“confirmedthatintheirownrecentperoxidetestingwith stituents ofthetonerformulas.” tiveness isalmostentirelyduetothesulfidingactionofothercon- for microfilmdoverylittletoprotectagainstoxidation;theireffec- recommended, themetalcomponentsofgoldandseleniumtoners providecompleteprotection.Inactualpractice,whenusedas , KodakPublicationNo. At thetimeofthiswriting,Reillyandhisco-workerswerecon- “Gold andseleniumtreatmentsprovideprotectionagainstperox- “.. .One ofthestrongestcluestopowersulfidingagents “Excellent protectionagainstperoxideattackcanbegainedby Sulfiding toners(e.g.,KodakBrownTonerandPoly-Toner),on Reilly andhisco-workersdiscussedtheirfindingswithKodak without , KodakPublicationNo. FinalReporttotheOfficeofPreservation,National thegoldwerecompletelyeffective.Inboth Conservation inArchivesSymposium Vol.17,No.3,June–July,1991. Faster andBetter G Kodak -6, EastmanKodakCompany,Roches-

Photographic Papers P 4-73, EastmanKodakCom- PS Sulfiding Protectionfor Abbey Newsletter -20152-87), ImagePer- GP

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Journal for the GP 88196, Paper , Vol. -2 is at 0 Forexample,inapresentationbyKlausB.Hendriks,DebbieHess 30. 9 Asanexample,see:AlfredA.Blaker,“TheCasefor 29. Rodney R.Parsons,technicalservicesmanager,IlfordPhotoCorpo- 28. 2 RobertH.MacClaren[NationalArchivesandRecordsService],“Ac- 32. 1 Theprincipalmanufacturersof 31. of Kodak erated testsoflight-inducedimagediscolorationframed oxidizing vapors,andmentionedthatKodakwasconductingaccel- nisms involvedinthediscolorationofblack-and-whiteimagesby cracking ofRCpapers,alsobrieflydescribedsomethemecha- induced chemicalprocessescausingembrittlementandeventual Eastman KodakCompany,inthecourseofdiscussinglight- the productinU.S.1983(3 said tosupply are EastmanKodakCompany( May 1,1978(theirtalkwaspublishedby Society ofPhotographicScientistsandEngineers,Washington,D.C., G. Gray,andIrvinH.Crawford)attheannualconferenceof for yearsobtainedmostofits Co., Ltd.untilOctober1987)amongitsinitialcustomers.Konicahad 1986, withtheKonicaCorporation(knownasKonishirokuPhotoInd. Oji PaperCompanybeganmanufacturingRCbasepaperinJapan photographic manufacturers;however,bothFujiandMitsubishido. cracking of Illinois, May22,1986,Reillysaid:“Apparently,thisproblem[support Institute forConservationofHistoricandArtisticWorks,Chicago, State oftheArt,”presentedatannualmeetingAmerican Norris, andJamesM.Reillyentitled,“PhotographConservation:The superior material.”(p.46). I believeRCpaperswilleventuallycometobeacceptedasthe invariably itfavorsRC.AndthoughIamwithholdingfinaljudgment, equals. Infact,ifadifferencedoesexist,I’vefoundthatalmost two typesofpapers—conventionalandresin-coatedasfull facturers. Blakerconcludedthearticlebysaying:“Iwillregard in thefallof1978(whichwerenotpublished),neitheroriginal 3 & Co. pan); MitsubishiPaperMills,Ltd.(Japan);FelixSchoeller,Jr.,GmbH SPSE ference proceedings, see:HenryWilhelm,“The1980 Conferenceon deterioration the“picture-frameeffect.” Foranaccountofthecon- edge-penetration ofprocessingchemicals andtermedthistypeof with theemulsionofadjacentprint. MacClarenattributedthisto occurred inalinewheretheedge of theprinthadbeenincontact placed againsttheimageareaof another.Imagediscoloration of FelixSchoellersupplied paper toAgfa-Gevaert,amongothers.ThePulaski,NewYorkplant differences couldexistamong In thearticle,therewasnodiscussionofpossibilitythatstability and-white papersareinferiortoconventionalorfiber-basedpapers.” saying: “ThereisnoreasontobelieveorsuspectthatRCblack- only Kodaksourcesandquotedanunnamedscientistas Photography black-and-white of imagediscolorationblack-and-white No. 8).UnlikeGray’spresentationsat black-and-white accelerated agingtestsattheNational Archiveswithprocessed Hot Springs,Virginia,August11, 1980. MacClarenreportedon Ilford with manufactured products in Europe. alsosupplies Wiggins Teape to Kodak’sspecifications,fromWigginsTeapeforusewithKodak gland). Kodakdoesnotselluncoated York); OjiPaperCompany(Japan);andWigginsTeapeLtd.(En- ration, lettertothisauthor,June13,1988. earlier (entitled,“To until about1988at3MItaliaS.p.A.,a3 Permanence,” apresentationatthe celerated TestMethodsandFactorsAffectingPhotographicPaper Italy). ference presentation differedinsomerespectsfromtheversioncon- given toaparticularbrandormanufacturerof poration ofstabilizersintocurrentRCpapers.”Noreferencewas among others. Kodak buyssome among others. reportedly sion ofKodak to discolorationwasnotedinthe“stabilizerpapercore”ver- illuminated withfluorescentlamps.Improvementintheresistance sored bytheSocietyofPhotographicScientistsandEngineers( ence M HighSpeedColorPaperuntil3 Gray’s twopresentationswerebasedlargelyonatalkgiven

presentationnorthepublishedarticleincludedanydiscussion on PhotographicPapers KG Preprints (Germany,withamanufacturingdivisioninPulaski,New RC RC RC paper;behavioroftheinitialformulationKodak , Vol.8,No.5,September1986,pp.22ff.Blakercited basepaper,andFelixSchoellersupplies RC papersfromthe1970’s]isnowsolvedbyincor- RC RC RC paperversustheearlier“improved-pigment”type basepapertoOrientalPhotoIndustrialCo.,Ltd., publishedbythe paperwasnotdiscussed. papersinwhichtheedgeofone RC printwas RC orNotto RC RC basepapertothe3 RC RC USA M basepaperfromMitsubishi.Fujiis , WilliamE.Lee,chairman,spon- RC continuedtoproducecolorpaper papersmadebydifferentmanu- basepaperinWesterncountries ); FujiPhotoFilmCo.Ltd.(Ja- AIC M ,” byTimothyP.Parsons,Glen RIT 1980 International discontinuedmanufacturing beforethemeeting. andthePeabodyMuseum M RC SPSE RC subsidiaryinFerrania, papers. basepapertoother RC RC in1979–seeNote basepaper,made paper.Theactual M Companyforits RC ,” Darkroom

RC RC Confer- SPSE prints base ), 616

This document originated at on June 6, 2003 under file name: 617 7 Among fineartphotographersandotherdiscriminatingusersof 37. Bob Schwalberg,discussionwiththisauthor,February23,1987. 36. Barry Sinclair,nationalmarketingmanagerformonochromeprod- 35. Peter Krause,telephonediscussionwiththisauthor,March10,1987. 34. Ilford PhotoCorporation,West70CenturyRoad,Paramus,New 33. 8 DavidVestal,“AreConventional 38. h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs Photography Save theOld-Time‘Fibre-Base’Papers fromExtinction,” 46ff; ArthurGoldsmith,“Editorial– AVoicefromtheMinority:Let’s rial,” phers SpeakOutonOldandNewBlack-and-WhiteEnlargingMate- 1977, pp.91,198;DavidVestal,“ThePaperWar:FamousPhotogra- Production Values,” Crunch –APleaforOld-FashionedQualityinanAgeofMass- out oftheprints.Seealso:DavidVestal,“TheGreatPrinting-Paper permanence exceptthoserelatedtowashingprocessingchemicals Galerie duced inJapan1986(thisproductisrumoredtoactuallybeIlford had anopportunitytoevaluateFujiMuseumPaper,whichwasintro- VC FB G are IlfordGalerie tographers loveandothershate).Thisauthor’spersonalfavorites cialized paperwithadistinctivewarmimagetonewhichsomepho- Brilliant Paper,AgfaInsigniaandPortriga-Rapid(aspe- FB popular papersatthetimeofthiswritingin1992wereIlfordGalerie sizes mayalsobeimportantconsiderations. Price andavailabilityofawiderangecontrastgradespaper even verbalize—butwhichneverthelesscanbeverysignificant. and othervisualpropertieswhichmaybedifficulttoquantify—or (and betweenemulsionbatches);image“dry-down”characteristics; to KodakRapidSeleniumToneramongavailablecontrastgrades mounting; consistencyofimagetone,surfacegloss,andresponse storage inconditionsofcyclingrelativehumidity;edge-liftafterdry during drying;thedegreeofcurlwhichoccursasaconsequence room temperature;thedegreeofcurlandcocklewhichdevelops surface glosscharacteristicswhenthepaperisair-driednaturallyat otherwise becomephysicallydamagedduringprocessingandwashing; datory partofprocessing);thetendencyforemulsionto“frill”or Selenium Toner(thisauthorconsiderstonertreatmenttobeaman- of imageintensificationwhenthepaperistreatedwithKodakRapid highlight, midtone,andshadowregions);tonalchangedegree ing: imagetone;curveshape(tonereproductioncharacteristicsin preference inevitablyisbasedonahostofsubjectivefactors,includ- double-weight, glossypaperstock.Amongthesepapers,anindividual’s contain fluorescentbrighteners),andmostaresuppliedonlyon (deep blacks)andclean,brightwhites(allcurrentpremiumpapers fiber-base papersarecharacterizedbyaveryhighmaximumdensity general agreementastowhicharethe“best”products.Premium premium, “silver-rich”fiber-basephotographicpapers,thereisno with thisauthor,April21andSeptember15,1987. ucts andsystems,IlfordPhotoCorporation,telephonediscussions sey: 800-631-2522. Jersey 07653;telephone:201-265-6000;toll-freeoutsideNewJer- pp. 25–27. Photographic Papers,” stating thatuptoApril1975,Ilfordhadmadenotestsfor ing long-termdisplay,Vestalcitedaletter,senttohimbyIlford, concern aboutpotentiallyadverseeffectsoflightonRCprintsdur- phy This OpenLetterSays‘ProceedwithCaution’,” cies? –WillWaterproofPrintingPapersReplaceOtherTypesSoon? 48–51). ond Heat,” Moore andRosalieWinard,“Modern’sGreatPaperChase.Sec- lent reviewsinthephotographicpress—see,forexample:Peter able intheU.S.aroundendof1986(Gekkohasreceivedexcel- “Popular Photography Printing-PaperPoll,” tography – HowYouCanHelpSaveQuality Printing Papers,” tography ing forPermanence,”Photography How-ToGuide,a or Zone air-dried isnotasappealingthesurfacesofGalerie,NewSeagull, nice), but,inthisauthor’sopinion,thesurfaceofElitewhennaturally which isthickerthannormaldouble-weightpaper,particularly lent productinmostrespects(the“premium-weight”paperbase, than KodakPolyfiberPaper.EliteFine-ArtPaperisanexcel- Seagull Select . BothIlfordMultigrade , IlfordMultigrade Among manydiscriminatingphotographersandprinters,themost , Vol.78,No.1,January1976,pp.85,132.Invoicinghis Popular Photography Paperare,inthisauthor’sopinion,distinctlybetterproducts FB VI , Vol.82,No.6,June1978,p.102; andDavidVestal, publication,Fall1977,pp.6ff;Arthur Goldsmith,“Editorial Brilliant.Atthetimeofthiswriting,authorhadnotyet Paper),orMitsubishiGekkoPaper,whichbecameavail- Modern Photography , Vol.80,No.4,1977,p.10;DavidVestal, “ VC FB FB , IlfordMultigrade FB Popular Photography Paper,KodakEliteFine-ArtZone , OrientalNewSeagull Picturescope FB PaperandOrientalNewSeagullSelect , Vol.81,No.6,December1977, pp. B/W , Vol.51,No.3,March1987,pp. PapersanEndangeredSpe- , Vol.29,No.1,Spring1981, FB , andOrientalNewSeagull Popular Photography , Vol.80,No.4,April G Paper,OrientalNew Popular Photogra- Popular Pho- Popular Pho- B&W Popular RC Print- print VI , 7 Zone 47. AnselAdams,seeNoteNo.45,p.50. 46. AnselAdams, 45. 0 GarryThomson, 50. 3 EastmanKodakCompany, 53. BrianCoe,telephoneconversationwiththisauthor,July27,1983. 52. EastmanKodakCompany, 48. 1 JamesM.Reilly, 51. 4 WilliamMesser,“IlfordatArles,” 44. DavidVestal,“TheGreatPrinting-PaperCrunch–APleaforOld- 43. EastmanKodakCompany,seeNoteNo.18,p.40. 42. 4 OnerecommendedluxmeteristheMinoltaIlluminanceMeter,Model 54. EastmanKodakCompany, 49. 1 EastmanKodakCompany, 41. EastmanKodakCompany,seeNoteNo.10,p.28. 40. 9 Eastman KodakCompany,seeNoteNo.7.Thisarticlealsostated: 39. graphic Prints Boston, Massachusetts,1983,pp.49–50. ries, Book3,NewYorkGraphicSociety,LittleBrownandCompany, Vol. 84,No.1,January1979,pp.88ff. candle scales),about$350(manufacturedbyGossenGmbH, is: PanluxElectronicLuxmeter(availablewitheitherluxorfoot- easy toreadastheMinoltaIlluminanceMeter,alsorecommended Machi, Higashi-ku,Osaka541,Japan.Whilenotasprecisenor factured byMinoltaCameraCompany,Ltd.,30,2–Chome,Azuchi- Drive, Ramsey,NewJersey07446;telephone:201-825-4000;manu- about $500andisavailablefromMinoltaCorporation,101Williams pp. 22–34.Seealso:IlluminatingEngineeringSocietyofLondon, tional InstituteforConservationofHistoricandArtisticWorks,1986, Butterworth &Co.,London,England,inassociationwithTheInterna- November 1984,p.11. dard modelsellsfor about$620;aspecial,high-sensitivity versionof 916-928-1000; toll-freeoutsideCalifornia: 800-824-5873.Thestan- Inc., 1165NationalDrive,Sacramento, California95834;telephone: the Crawford in ambientillumination,orilluminationfromaspecificlightsource, ment respondstototal Ramsey, NewJersey07446-0506;telephone:201-818-9500. Photo Corporation,GossenDivision,565EastCrescentAvenue, 8520 Erlangen,Postfach1780,WestGermany),availablefromBogen Professionals pany, Rochester,NewYork,1986,p.105. Publication No. 802-257-5161. T IES and-White PaperWe’veBeenWaitingFor?” Galerie EnlargingPaper–IsThisthePremiumFiber-BaseBlack- August 111978,pp.690–691.Inadditionsee:DavidVestal,“Ilford Photography Fashioned QualityinanAgeofMass-ProductionValues,” York, August1979,p.5. 0 Engineering Company,RailwayLane, Littlemore,Oxford,England Crawford U.V.Monitorismanufactured bytheLittlemoreScientific and cannotindicatethepercentage atanygivenwavelength.The pany, Rochester,NewYork,March1986,p.49. lication No. Publication No. and forlong-termstorage.” non-resin-coated papersarerecommendedforlong-termdisplay to havealongerusefullifethanresin-coatedpapers.Therefore, environmental conditions,non-resin-coatedpaperscanbeexpected years) ordisplayedindirectsunlightstoredunderuncontrolled also indicatethatwhenprintsaredisplayedforlongperiods(several as longprintsonnon-resin-coatedbase.However,thesetests infrequent exposuretolight),printsonresin-coatedbaseshouldlast carefully controlled(approximatelyconstant21 “Accelerated agingtestsindicatethatwhenstorageconditionsare age ofthoserespondingtothepoll. papers werethefavoriteproductsamongonlyaverysmallpercent- Rapid, KodakMedalist,andDuPontVarigam,inthatorder.RC paper, followedbyIlfordIlfobrom,KodakPolycontrast,AgfaPortriga- 85ff. Amongtherespondents,AgfaBrovirawasmostpopular Paper,” Here’s WhatYouToldUsAboutYourNeedforQualityPrinting the pollweresummarizedin:DavidVestal,“PaperPollAnswers: lated responsesofthemorethan4,000readerswhorespondedto Poll” wereconveyedtoKodakandothermanufacturers).Thetabu- Vol. 82,No.6,June1978,p.103(theresultsofthe“Printing-Paper X -1 (theunitreadsinbothluxandfootcandleunits),whichcosts 4 TechnicalReportNo.14 For determinationoftheproportiontotal PZ VI StudiosInc.,Newfane,Vermont05345-0219;telephone: . IntheU.S.instrumentisavailable fromQualimetrics, Popular Photography G -18, EastmanKodakCompany,Rochester,NewYork, U.V , Vol.80,No.4,April1977,pp.91,198. The Print , KodakPublicationNo. , KodakPublicationNo. P F Care andIdentification . Monitor,Type760isrecommended. Theinstru- 10-85 –30, EastmanKodakCompany,Rochester,New The MuseumEnvironment G UV , EastmanKodakCompany,1984. , TheNewAnselAdamsPhotographySe- radiationinthe300–400nanometer band New Kodak Kodak Elite Preservation ofPhotographs Kodak ColorFilms , London,England,1970,pp.1–7. , Vol.84,No.1,January1979,pp. British Journal

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This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints 8 RohmandHaasCompany, 68. RoyS.BernsandFrancGrum,MunsellColorScienceLaboratory, 61. 7 EastmanKodakCompany, 67. AmericanNationalStandardsInstitute,Inc., 59. 8 AmericanNationalStandardsInstitute,Inc., 58. 7 EastmanKodakCompany, 57. AnselAdams,seeNoteNo.45,p.164. 56. 5 R.H.Lafontaine, 55. 65. 0 EastmanKodakCompany, 60. 6 AnumberoffluorescentlampsareavailablewithlowUVemission 66. 2 RichardJ.Henry, 62. 4 R.E.BirrandC.N.Clark,“RadiationSources,”Section1in 64. EastmanKodakCompany,seeNoteNo.60,p.16. 63. rication Data, Formulations ofPlexiglasAcrylicPlastic September 1970,p.41. tion Rochester InstituteofTechnology, pany, Rochester,NewYork,February1985,p.121. York, January1992,p.4.Seealso: cation No. California 94590;telephone:707-554-6850;Fax:707-554-8370. somewhat more lier Standardsarenowobsolete. ing SmallTransparencieswithReproductions. to lose are madefromRohmandHaas telephone: 703-321-7730.ThetubessoldbyConservationResources ing isconsideredadequate.” between 54and160lux(5to15footcandles)ofincandescentlight- intense thanisnecessarytoprovideadequateviewing.Anintensity ferred butwhateverlightsourceisused,itshouldbenomore 109) stated,“Fordisplaypurposes,tungstenilluminationispre- 40, EastmanKodakCompany,Rochester,NewYork,March1985(p. Photographs recommended lowerlevelsofdisplayillumination: 64 (“KodakEktacolorProfessionalPaper”).OnoccasionKodakhas ANSI PH Color Prints, can NationalStandardViewingConditionsforPhotographic can National K seums Archives the instrumentisavailableforabout$950. Plexiglas (whichabsorbsomewhat more has aboutthesameultravioletcutoff pointasthestandardgradesof UV & Sons,NewYork,1973,pp.1–141. Handbook ofPhotographicScienceandEngineering ( ( as Plexiglas tolerances, andismoreexpensive, thanthestandardgradessuch glass). ThePlexiglasIIseriesis made tomuchcloserthickness and-White Papers Verilux and improvedcolorrenderingcharacteristics.Onesuchlampisthe York 11368;telephone:212-592-8223. from theSolarScreenCompany,53–11105thStreet,Corona,New outside NewYork:800-828-6216.Lower-costsleevesareavailable Rochester, NewYork14607-3717;telephone:716-271-8960;toll-free available fromLightImpressionsCorporation,439MonroeAvenue, Plexiglas phone: 215-592-3000.Plexiglas Independence MallWest,Philadelphia, Pennsylvania19105;tele- International, Inc.,8000- tained fromanumberofsuppliers,includingConservationResources ing of for Publication No. ANSI chusetts andLondon,England,1986,pp.105–112. ond edition,FocalPress(Butterworth&Co.,Ltd.),Boston,Massa- Conservation Institute,NationalMuseumsofCanada,Ottawa,Ontario tomechanical ing Conditions solidation andrevisionof phone: 212-642-4900(Fax:212-302-1286).ThisStandardisacon- tute, Inc.,11West42ndStreet,NewYork,York10036;tele- and R R 1 1982), 1982), A -absorbing tubesandsleevesforfluorescentlampscanbeob-

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, Vol.12,No.2,April1987,pp.63–72. Color Uniformity M PH

Photographic Color VLX/M 8, July1978. UV 2.30-1985

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– -612d, 1979,pp.2,3,5.RohmandHaasCompany, E Recommended Environmental

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UVA Mu- DS F - - - 72. 4 Anon.,“DrawersUsedtoExhibitLight-Sensitive Books,” 74. BrianCoe,seeNoteNo.52. 73. 1 Suitablelightingequipmentforilluminatingphotographicdisplay 71. DouglasG.Severson,“TheEffectsofExhibitiononPhotographs,” 70. 69. SergioBurgi,“FadingofDyesUsedforTintingUnsensitizedAlbumen 5 PaulLewis,“Preservation TakesRareManuscriptsfromthe Public,” 75. Materials Group( S. Holden),Vol.1,AmericanInstituteforConservationPhotographic 8223; toll-free:800-34- 53–11 105thStreet,Corona,NewYork11368;telephone:212-592- from anumberofsuppliers,includingtheSolarScreenCompany, adhesive forapplicationtowindowsanddisplaycasesareavailable York, NewYork10014;telephone:212-243-4500. 5212; andWiedenbach-BrownCo.,Inc.,435HudsonStreet,New East 60thStreet,NewYork,York10022;telephone:212-838- phone: 914-942-2800(Fax:914-942-2177);EdisonPrice,Inc.,409 Resources International,Inc.,8000- 271-8960 (toll-freeoutsideNewYork:800-828-6216);Conservation Monroe Avenue,Rochester,NewYork14607-3717;telephone:716- number ofsuppliers,includingLightImpressionsCorporation,439 Perspex DuPont Lucite ogy Corporation,70CarlislePlace,Stamford,Connecticut06902. are availablefromthe3MCompany, 3 UV Newsletter 328-1300. 55144; telephone:617-733-1110;toll-free outsideMinnesota:800- 07856; telephone:201-770-3000.SimilarmaterialsinEuropeare Inc., 100ValleyRoad,P.O.Box950,Mt.Arlington,NewJersey nies. AcryliteOP-2andOP-3aredistributedbyCYROIndustries, Inc., IndustrialPark,Route9 areas isavailablefrommanysources,including:LightingServices, Grant B.Romer,NoteNo.1. related discussionofthehazardsdisplayingphotographs,see: of theprintmonitoringprogramatArtInstituteChicago.Fora Winter 1987,pp.133–135.AlsorefertothediscussioninChapter7 fects ofExhibitiononPhotographs,” revised versionofthearticle,see:DouglasG.Severson,“TheEf- 340, Washington,D.C.20036;telephone:202-232-6636.Forasomewhat American InstituteforConservation,140016thStreet,N.W.,Suite Topics InPhotographicPreservation–1986 Canada, August10,1982. (renamed theNationalArchivesofCanadain1987),Ottawa,Ontario, chipping willresult. been “set”shouldnotbeusedbecausearoughcutandedge 5236. Coarse-toothedsawbladesorwithteethwhichhave 461 RiverRoad,Clifton,NewJersey07014;telephone:201-473- nies, includingForrestManufacturingCompany,Inc.,P.O.Box1108, may costmorethan$200each,areavailablefromseveralcompa- especially designedforcuttingacrylicsheet.Theseblades,which Plexiglas shoulduseoneofthefine-toothed,carbide-tippedblades Rockwell, andothers.Productionshopscuttinglargequantitiesof hollow-ground plywoodbladesuchasthosesoldbySearsRoebuck, dling. Plexiglasmaybecutwithatablesawequippedfine sheets onbothsidestopreventscratchesduringcuttingandhan- 08003; telephone:609-424-1012. Denton Vacuum,Inc.,8SpringdaleRoad,CherryHill,NewJersey glass” versionofanti-reflectioncoatedDenglasisavailablefrom phone: 312-943-4200;toll-free:800-621-8339.AUV-absorbing“safety- Inc., 1315N.NorthBranchStreet,Chicago,Illinois60622;tele- plied undertheTruVueMuseumGlassnamebyViratecVue, and Haas the future.)LicensingandpurchasingagreementsallowRohm known ifICIwillcontinuetousetheLucitetrademarkinU.S. firm ImperialChemicalIndustriesP.L.C.,alsoknownasICI.Itisnot (In April1992,DuPontsolditsacrylicsheetbusinesstotheBritish partment, LuciteSheetProductsGroup,Wilmington,Delaware19898. are manufacturedbytheDuPontCompany,PolymerProductsDe- tists andEngineers( driks, chairman,sponsoredbytheSocietyofPhotographicScien- bility andPreservationofPhotographicImages Paper,” apresentationatthe offers bothpre-cutstandardsizesforframesandcustom-cutsizes. telephone: 303-744-3700;toll-free:800-800-7567.LightImpressions Plasticrafts, Inc.,600WestBayardAvenue,Denver,Colorado80223; ginia 22151;telephone:703-321-7730(toll-free:800-634-6932); The NewYorkTimes -filter andneutral-density-filterthinpolyesterplasticfilmswithan UV Pre-cut Plexiglas Plexiglas issuppliedwithprotectivepaperorpolyethylenecover -absorbing glasswithanopticalanti-reflectioncoatingissup- VE UF (similarto , Vol.11,No.2,March1987,p.33. -3 and SAR AIC/PMG (SuperAbrasionResistant)andLucite UF SPSE UF , January25,1987, p. -4 trademarkstobeusedbyallthreecompa- SOLAR UF -3 sheets( -3) andPerspex ) andheldatthePublicArchivesofCanada ), pp.38–42,1986.Availablefromthe W . Also,ScotchtintSolarControlFilms International Symposium: , StonyPoint,NewYork10980;tele- 1 ⁄ 8 H inchthick)areavailablefroma ForbesPlace,Springfield,Vir- Picturescope M Center,St.Paul,Minnesota VA (similarto H 1. (compiledbyMaria , Vol.32,No.4, , KlausB.Hen- UF The Abbey

SAR UF The Sta- -4). ICI -3 618

This document originated at on June 6, 2003 under file name: 619 Raymond H.LafontaineandPatriciaA.Wood, Raymond H.LafontaineandK.J.Macleod,“AStatisticalSurveyof Robert Feller,“ControlofDeteriorationEffectsLightonMuseumOb- Warren E.Leary,“NewStudyOffersMoreEvidenceLinkingCancer to J. Lodewijks,“TheInfluenceofLightonMuseumObjects,” Klaus B.Hendriks,togetherwithBrianThurgood,JoeIraci,Lesser, Laurence Harrison,“EvaluationofSpectralRadiationHazardsinWin- Laurence Harrison, Robert Feller,“ControlofDeterioratingEffectsLightonMuseum Chapter17 Robert Feller,“TheDeterioratingEffectofLightonMuseumObjects: Thomas B.Brill, Stanton I.AndersonandRichardJ.[EastmanKodakCom- Stanton I.AndersonandGeorgeW.Larson[EastmanKodakCompany], Junetsu Akiyama,TakashiIchijo,andReoMori,“TheRelationshipBe- Additional References The PermanenceandCareofColorPhotographs Bob Schwalberg,withHenryWilhelmandCarolBrower,“Going!Going!! Susan E.Schur,“MuseumProfile:YaleCenterforBritishArt,” Lincoln Ross,“ExperimentsontheImageStabilityofResin-CoatedBlack K. J.Macleod, Garry Thomson,“AnnualExposure toLightWithinMuseums,” Garry Thomson,“Conservationand MuseumLighting,” tute, NationalMuseumsofCanada,Ottawa,OntarioK1A0M8,1976. dian ConservationInstitute Museums, ArchivesandGalleries,”CCI, Lighting ConditionsandtheUseofUltravioletFiltersinCanadian London, England,1963,pp.7–8. ference, 1961 Advances inConservation jects,” num Press,NewYork,1980. Halogen Lamps, Museums ofCanada,Ottawa,OntarioK1A0M8,January1980. Technical BulletinNo.7,CanadianConservationInstitute,National Canada M4S2P5;telephone:416-322-5113;Fax:416-484-9512. from LugusProductionsLtd.,48FalconStreet,Toronto,Ontario, Canada andtheCommunicationGroup,1991.Available Lugus PublicationsincooperationwiththeNationalArchivesof tals ofPhotographicConservation:AStudyGuide and GregHilloftheNationalArchivesCanadastaff, Editor, Butterworth&Co.,Ltd.,London,England,1963,pp.1–6. tributions tothe dow-Lighted Galleries,” 1953. Light Sources Museums, Washington,D.C.,May1968. Museum News Objects: HeatingEffectsofIlluminationbyIncandescentLamps,” D.C., June1964. 3, Vol.42,No.10,AmericanAssociationofMuseums,Washington, Vehicles andonPaper,” Principles ofPhotochemistry,TheEffectonVarnishesandPaint July 1991,pp.127–132. in Homes,” pany], “AStudyofLightingConditionsAssociatedwithPrintDisplay 22151; telephone:703-642-9090. Science andTechnology,7003KilworthLane,Springfield,Virginia 1985, pp.251–282.AvailablefromSPSE,theSocietyforImaging (Printing ofTranscriptSummaries),Ottawa,Ontario,August25–28, sium: TheStabilityandPreservationofPhotographicImages Keeping ofPhotographicPrints,” “A StudyofEnvironmentalConditionsAssociatedwithCustomer Japan. ence onColorTechnology Distribution,” abstractfrom tween DyeFadingofPhotographicColorPaperandSpectralEnergy Ones YouUseStackUp?”, Gone!!! –WhichColorFilmsandPapers LastLongest?HowDothe in Conservatio ogy andConservation 340, Washington,D.C.20036;telephone:202-232-6636. American InstituteforConservation,140016thStreet,N.W.,Suite American InstituteforConservationPhotographicMaterialsGroup, tion –1986 & WhitePhotographicPapers,” io K1A0M8,April1975(reprintedMay1978). Conservation Institute,NationalMuseumsofCanada,Ottawa,Ontar- lotte Street,LondonW1P2BX,England, May1970. sociation InformationSheet June 1990,pp.37–49,60. Museum Museum Lighting , (compiledbyMariaS.Holden),Vol.1,pp.31–37,1986. Journal ofImagingTechnology, Light, ItsInteractionwithArtandAntiquities, , GarryThomson,Editor,Butterworth&Co.,Ltd., , MetropolitanMuseumofArt,NewYork, n, Vol.12,No.1,February1967,pp. 26–36. Report ontheDeterioratingEffectsofModern , Vol.XVIII,No.2,Paris,France,1964,pp.57–98. , TechnicalSupplement,AmericanAssociationof The NewYorkTimes IIC RomeConference,1961 , Vol.4,No.1,Spring1979. Recent AdvancesinConservation Museum News Proceedings ofthe1stJointConfer- Popular Photography , Contributionstothe , November20and21,1984,Tokyo, , Vol.1,CanadianConservationInsti- , TheMuseumsAssociation,87Char- , TechnicalBulletinNo.2,Canadian Topics inPhotographicPreserva- Second InternationalSympo- , April16,1992,p.A12. , TechnicalSupplementNo. The JournaloftheCana- Fluorescent Lamps Vol.17,No.3,June– , GarryThomson, IIC RomeCon- , Vol.97,No.6, Museums As- , publishedby Fundamen- Technol- Studies Recent , Con- Ple- , , cally lastaboutamonth. seum exhibitionareas.ExhibitionsatPace/MacGilltypi- averaging about650lux—thanthatfoundinmostmu- advantage, thegalleryhasmuchbrighterillumination— in NewYorkCity.Toshowphotographstotheirbest Gallery, oneoftheleadingfineartphotographygalleries incandescent tungstentracklightsinthePace/MacGill High ceilingspermittedthisunobtrusiveinstallationof

June 1985

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints is amuchmoresignificantfactorinimagefadingthanthespectralenergydistributionoflightsource. of colorprintdependstoalargeextentonwhereitisdisplayed;withmostmodernprints,theintensityillumination “lifetime” (definedasthelengthoftimeforaspecifiedamountfadingand/orstainingtotakeplace)particular type display areascausedtheaverageintensitylevelstobesubstantiallyabovemedianlevels. does anaveragelevel;inthreeofthefourgroups,arelativelysmallnumbermeasurementstakenextremely bright the measurementsinagroup.Themedianintensitygenerallygivesbetterindicationof“typical”illuminationlevels than calculated asthearithmeticmeanoftwomiddlevalues).Theaverageintensityissimplynumerical ofall numerical order(ifthereisnomiddlevalue,whichoccurswhenanevennumberofmeasurements,themedian is listed below.Themedianintensitylevelisthemiddlereadingofallmeasurementswhentheyarearranged in of artonpaper. (28 fc);someauthoritieshavespecifiedmuchlowerlightlevelsofabout50lux(4.7fc)forphotographsandother works that, inmuseums,archives,andgalleries,photographsbeilluminatedwithtungstenlightatanintensityofabout 300lux was higher,withamedianintensityof430lux(40fc). were thesolesourceofilluminationwas160lux(15fc);incommercialgalleriesleveltungstengenerally 130–300 lux(12–28fc).Themedianintensityofalldisplaylocationsinmuseumsandarchiveswhichtungsten lamps House; tungstenilluminationlevelsinphotographydisplayareasmuseumsandgalleriestypicallyweretherange of Photography inNewYorkCity,toalowof8.5lux(0.8fc)attheInternationalMuseumGeorgeEastman Eastman HouseinRochester,NewYork;alsohaddisplayilluminationlevelsashigh5,170lux (480 fc). 8.5 lux(0.8fc)onan1872JuliaMargaretCameronalbumenprintattheInternationalMuseumofPhotography George footcandles) onaKodakEktacolorRCprintdisplayattheNationalArchivesofCanadainOttawa,Ontario,tolow in thistable;allmeasurementsarepresentedluxunits,regardlessofhowhighaparticularreadingmightbe. example, 21,500luxisusuallygivenas21.5klux.Foreaseinmakingcomparisons,however,kiloluxunitsarenot As amatterofconvenience,illuminationlevelsabove1,000luxarefrequentlyexpressedinkilolux(klux)units;for in luxunits(1isequalto0.0929footcandle;onefootcandle10.76lux).Luxsometimesabbreviatedaslx. Canada, andEngland;however,toconformwithcurrentinternationalpractice,themeasurementsreportedherearegiven illumination levels. range (e.g.,5000–8000lux);inothercases,anumberofindividualreadingsrepresenthigh,low,andintermediate the surfaceofobject.Insomeinstances,lightingconditionsfoundinaparticularroomorbuildingaregivenas art, themeterprobewasplacedovermostbrightlyilluminatedportionofimage,nexttoandonsameplaneas illumination meterequippedwithaflatdiffuserdiscwasusedforthemeasurements.Onphotographsandotherworksof a l 71SurveyofLightingConditionsinDisplayAreas Table 17.1 Because thefadingrateofacolorprintisdirectlyrelatedtointensitydisplayillumination,useful The tableisdividedintofourcategories,withthemedianandaverageilluminationintensitiesindisplayareas When reviewingthemeasurementsreportedinthistable,itshouldbekeptmindthatauthorhasrecommended Tungsten illuminationlevelsinmuseumsandgalleriesrangedfromahighof2,100lux(195fc)attheLifeGallery of Light intensitiesonphotographswererecordedoveraverywiderange—fromhighof32,000lux(about3,000 In thepast,footcandle(fcorfcd)wasmostcommonunitformeasuringlightintensityinUnitedStates, These measurementsoflightintensityweremadebytheauthorbetween1977and1987;aGossenPanluxelectronic oainMda ee AverageLevel MedianLevel A, B,C, D. C. B. A. Location oe 3 u 5 c 3,213lux(299fc) 635lux(59fc) 3,686lux(342fc) 549lux(51fc) 1,325lux(123 fc) 1,057lux(98fc) 430lux (40fc) Homes 215lux (20fc) Public Buildings Commercial Galleries Museums andArchives and hospitals, andairports) (e.g., offices,libraries, D gopdtgte:35lx(5f)1,808lux(168fc) 375lux(35fc) groupedtogether: Illumination Intensity (continued next page) 620

This document originated at on June 6, 2003 under file name: 621 h emnneadCr fClrPoorpsChapter17 The ArtInstituteofChicago, A. MuseumsandArchives The PermanenceandCareofColorPhotographs International MuseumofPhotographyatGeorge Museum ofModernArt, Museum ofModernArt, ugtn Clrpoorps ai oids lo otr”170lux 240lux Tungsten; “Colorphotographs:MarieCosindas,EliotPorter.” (Room 106). Fluorescent throughplasticdiffuser;photographyroom 540–860lux 375lux reflected fromdomedceiling,paintedwhite. Photographic PrintStudyRoom;indirectfluorescent 55–75lux Tungsten; 1543Chinesehandscroll,colorsonpaper. Light” exhibitioninnewgalleries,1982;calotypeprints. Dimmed tungstenthroughglassdiffusers;“Paper& tungsten illuminationcontrolledwithdimmers. New photographydepartmentgalleries(1982); rgas 650lux 1,560 lux 160–1,720lux 1,600lux 1,300 lux “Fashion Show”(photographs),October 8,1977. photograph. 1,300lux 50% daylight,tungsten;1939Nickolas Muray appears tohavelostasignificantamount ofyellowdye. tungsten oncolorprint(dyeimbibition); Upstairs; diffusedaylightthroughglasswithsome Upstairs southeastcorner. 1,940lux 860lux 3,450lux or glass. tungsten lamps;photographsframedwithPlexiglasUF–3 glass withasmallpercentageofilluminationfrom Upstairs, southwestcorner;diffusedaylightthrough 5,170lux tungsten. Upstairs, northwestcorner;diffusedaylightwithsome Diffuse daylightonablack-and-whitephotograph. rnfr ivrgltn n lue rns 85lux Eastman House, 130lux Transfer, silver-gelatin,andalbumenprints. 240lux daylight throughglass;Ektacolor37RC,KodakDye (old galleries—1980)Tungstenlamps,withsomediffuse prints. 75lux 175–380lux fessional, Cibachrome,DyeTransfer,andsilver-gelatin 55–65 lux lamps; Ektacolor74RC,Plus,Pro- 75- and150-wattPARincandescentreflectorflood 85lux prints. flood lamps;albumen,platinum,andother19th-century (new galleries—1986)30-wattincandescentreflector 65–130lux Fabric displaydurations:3months. The HelenRegensteinGallery. Prints anddrawings(Room109). 130–240lux Watercolors anddrawings(Room108). Tungsten; selectionsfromthepermanentcollection. Rochester, NewYork— e okCt 325lux New YorkCity— 65–160lux New YorkCity— hcg,Ilni 130–160lux Chicago, Illinois— 45–55 lux 1,400 lux 1,450 lux 1,300 lux 5,170 lux 125 lux 150 lux 160 lux 590 lux 60 lux 95 lux The HistoricNewOrleansCollection, Metropolitan MuseumofArt, Museum ofFineArts, Corcoran GalleryofArt, luiaino aoyepit 55lux 45lux 95lux 45–160lux Tungsten; illuminationonEgyptianscrolls. Illumination oncalotypeprint. 32–54lux Illumination on1979Polacolor2print. photography exhibit,1982.Overallillumination. over colorphotographs.Tungsten;“Counterparts,” than 3–4monthsevery5–10years;UF–3notused on photographs,displayingcolorphotographsnomore Stated museumpolicyistonotexceed140–215lux 54–75lux 8.5–32lux 60-watt frostedlamps. 32–65lux Permanent ExhibitionGalleries(2ndfloor);tungsten, tungsten. Permanent ExhibitionGalleries(2ndfloor)atnight; Small room;tungsten. 95lux “Steichen –ACentennialTribute.” Brackett-Clark Gallery;exhibition, lux 160–215 130–160lux approximately 6feetfromprints. albumen portraitprints;75-wattreflectorfloodlamps Brackett-Clark Gallery;PierrePetitsaltedpaperand 270lux 160–215lux 240lux Hand” ;DyeTransferandothercolorprints. Tungsten; temporaryexhibition,“ThePhotographers’ 380lux and Ektacolorprints. Tungsten illuminationonDyeTransfer,Cibachrome, 1,350lux graphs. 270–325lux reflector floodlampsapproximately8feetfromphoto- Brackett-Clark Gallery;MarkGoodmanshow;150-watt Average illumination. Lower printonwall. Lower sectionofhigherprint. Upper sectionofhigherprintonwall. Hosoe exhibit,1982. reflector floodlampsabout6–8feetfromprints;Eikoh Brackett-Clark Gallery;tungsten,nodaylight;75-watt 1,400lux tungsten lamps. Brackett-Clark Gallery;photographdisplayarea; algttruhgasmxdwt loecn.700lux 460lux painting. Tungsten withsomedaylight;1824Gilbert Stuartoil 2,700lux Daylight throughglassmixedwithfluorescent. 3,000 lux Daylight throughwhiteshade;John Marin oilpainting. Tungsten anddaylightthroughglassinceramicsroom. Daylight throughglass;1960MorrisLouispainting. Photography,” exhibit,1982. Tungsten; “ColorasForm—AHistoryofColor manuscripts; lithographs. photographs; black-and-white Smith; Ektacolorfacsimilecopiesof19th-century photographs ofmodernNewOrleansbyMichael Orleans Now,”a1987exhibitofblack-and-white tungsten halogenlampswithglassfilters.“New Louisiana —Tungstenreflectorfloodlampsand otn ascuet 3,900–4,500 lux Boston, Massachusetts— ahntn ..—32–215lux Washington, D.C.— New YorkCity— e ren,130–320lux New Orleans, (continued next page) 370 lux 430 lux 590 lux 650 lux 850 lux

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints Yale UniversityArtGallery, Cleveland MuseumofArt, Elvehjem MuseumofArt, Science, National MuseumofAmericanHistory, Hirshhorn MuseumandSculptureGarden, National GalleryofArt, ugtn 130lux 1,130 lux 340lux open; earlyAmericanminiaturepaintings. 160–750lux Display case;tungstenilluminationwhen caselidis watercolor paintings. Tungsten exclusively;FosburghCollection; oiland 3,450 lux Tungsten exclusively;oilpaintings. 200lux Mostly tungstenwithsomediffusedaylight. 240–540lux Tungsten. 195lux 110–150lux Tungsten lamp;black-and-whitephotographs. 4,100–4,800lux Indirect daylightthroughwindows. on Murillooilpainting(ca.1660). 215–325lux Diffuse daylightfromfull-roofglassskylight very largefabrictapestrywhichisseverelyfaded. Diffuse daylightfromfull-roofglassskylighton Tungsten; skylightcovered. Tungsten anddaylight(overcastday). Tungsten only. for nightuse.) Madison, Wisconsin—(Fluorescenttubesinskylights 300lux tungsten. Washington, D.C.—Photographygallery,thirdfloor; Technology andCulture 195–325lux away fromprints;“GrantMudford:Photographs.” Second floor;tungstenspotlampsabout8–15feet 110–130lux 645–750lux on sculptures;nopaintingsorprintsinthisarea. Washington, D.C.—Daylightthroughtintedglass Tungsten only;15th–16th-centurypaintings. Diffuse daylight;ClaudeMonetpainting. anig.860lux 775lux 1,200lux 13th-century paintings;5:00 195–345lux through ceilingdiffuseglass(skylights).Paintingroom; Old building;mostlytungstenilluminationanddaylight 110lux 270–375lux East building;tungstenlamps;Picassopainting. tungsten. East building;galleryrooms;diffusedaylightwith 52–130lux 130lux 1,900lux paintings. building; daylightthroughtintedwindowglass;tapestry, Tungsten; PolaroidSX–70print. 130lux Tungsten; LewisHinephotographs. photograph, 1931. 50% fluorescentmixedwithtungsten;LewisHine 240lux Tungsten; 1757oilpainting. painting. absorbing covertubes;metalgrid;GilbertStuartoil Fluorescent; GeneralElectricWarmWhitewithUV- ahntn ..—Nwes 17,200lux Washington, D.C.—Neweast University ofWisconsin, mtsna nttto,345lux , SmithsonianInstitution, lvln,Oi est. 5,400–8,600lux Cleveland, Ohio— e ae,Cnetct—1,240 lux New Haven,Connecticut— PM 650lux . 2,700–21,500 lux 160 lux 450 lux 375 lux 590 lux 220 lux Humanities ResearchCenter, Lyndon B.JohnsonLibrary, Museum ofArt, Friends ofPhotographyGallery, National Archives, National ArchivesofCanada, National GalleryofArt, B vlOfc xii;fursetaddfue160lux 195lux daylight throughwindows;familyphotographondisplay. LBJ OvalOfficeexhibit;fluorescentanddiffuse are intendedtobereplacedperiodically.) film side.(Theseback-lighteddisplaytransparencies edge-fading effects;illuminationmeasuredond-min yellow dyelosssevere,alsomagentaloss, Display transparenciesmountedonlightboxes; 215lux 1972 DyeTransferprint;tungsten. and paintings. Tungsten anddaylight;17th-centuryChinesedrawings uebr il;cs oioe.325lux 160–215lux Gutenberg Bible;casemonitored. Michener Gallery;tungstenspotlamps. Austin —Vaultarea. Oil painting. 170–260 lux 170–260 240lux 170lux 240lux 160lux Tungsten, somedaylight;photographsexhibited. 300lux Oil painting. Tungsten, about20%daylight. prints andothers. Tungsten; photographyexhibit;Ektacolor74RC Print room. 6 feetfromphotographs. Tungsten; 150-wattreflectorfloodlamps,about rn ipa ra loecn ih hog lsi 540lux 32lux diffuser. Print displayarea;fluorescentlightthroughplastic 8lux print framedbehindglass. Direct sunlighteachmorningonEktacolorRC Tungsten, UVfilter;DeclarationofIndependence. Tungsten, UVfilter;BillofRights. exhibition area;exhibit,“AMatterofIdentity.” ugtnlm;ilmnto nolpitns aeclr.300lux Tungsten lamp;illuminationonoilpaintings, watercolors. 55–85lux black-and-white prints. Cibachrome prints,DyeTransferand Photograph area;Ektacolor37RCand74prints, drawings, andphotographs. Gallery policyistonotexceed50lux(4.7fc)onprints, nvriyo oa oaCt,Iw 350lux University ofIowa,IowaCity,— ahntn ..—Tnse;100–160lux Washington, D.C.—Tungsten; Ottawa, Ontario— utn ea 1,080–1,600 lux Austin, Texas— taa nai 32,000 lux Ottawa, Ontario— nvriyo ea,160–215lux University ofTexas, aml aiona—540–860lux Carmel, California— (continued next page) 50–65 lux 65–75 lux 120 lux 170 lux 160 lux 130 lux 150 lux 160 lux 85 lux 32 lux 55 lux 85 lux 622

This document originated at on June 6, 2003 under file name: 623 Life GalleryofPhotography, B. CommercialGalleries Museo deBellasArtes, Galeria deArteNacional, Light Gallery, Laurence MillerGallery, Pace/MacGill Gallery, Witkin Gallery, Photofind Gallery, Castelli Graphics, The WestonGallery, A GalleryforFinePhotography, Marcuse PfeifferGallery, h emnneadCr fClrPoorpsChapter17 The PermanenceandCareofColorPhotographs algtol.110 lux 215–325 lux 50% tungsten,daylight. 3,300lux Tungsten. 150–200lux Daylight only. One darkroom;mostlydaylightwithsometungsten. Diffuse daylight;variousrooms. the centerofsomeprintsreached4,800lux.) prints. (Illuminationintensityinsmallareasnear Dye Transfer,Cibachrome,andblack-and-white from theFirstFiftyYears:1936–1986”;Ektacolor, graphs; November1986exhibit,“LifePhotographs tungsten halogenlamps4to6feetfromthephoto- Time &LifeBuilding,Room28-58.Glass-filtered black-and-white photographs. Cibachrome, KodakDyeTransfer,and Tungsten; June1985exhibitofEktacolor, Tungsten; May1982exhibitofphotographs. ugtnrfetrfodlms oebr18 215–270lux Japan,” byLeeFriedlander;gravureprints. photography exhibit,“CherryBlossomTimein Tungsten reflectorfloodlamps;November1986 by LenJenshel;EktacolorPlusprints. exhibit, “RealPicturesfrom‘TrueStories’,” Tungsten reflectorfloodlamps;November1986 htgah.480lux and black-and-whitephotographs. Tungsten reflector-floodlamps;graphics,color 540lux photographs. Tungsten illuminationoncolorandblack-and-white Tungsten, overall. 130–430 lux 130–430 Tungsten, overall. Tungsten, brightestarea. and 19th-centuryprints. Ektacolor, contemporaryblack-and-white photographs, February 1987exhibitofDyeTransfer, Cibachrome, Louisiana —Tungstenreflectorfloodlamps; Wolff Purcell;CibachromeRCprints. exhibit, “Illuminations:ABestiary,”byRosamond Tungsten reflectorfloodlamps;November1986 exhibit ofImogenCunninghamblack-and-whiteprints. Tungsten reflectorfloodlamps;November1986 e okCt 860–1,900lux New YorkCity— e okCt 650lux New YorkCity— e okCt 325–430lux New YorkCity— e okCt 430–540lux New YorkCity— aml aiona—800lux Carmel, California— e okCt 460–940lux New YorkCity— aaa,Vnzea—160–430lux Caracas, Venezuela— e okCt 325–430lux New YorkCity— e okCt 110–215lux New YorkCity— aaa,Vnzea—6,200 lux Caracas, Venezuela— e okCt 800–2,100lux New YorkCity— e ren,120–300 lux New Orleans, 1,700 lux 2,600 lux 2,800 lux Hopkins InternationalAirport, C. PublicBuildings Motel room, Law Office, Houston IntercontinentalAirport, Lambert InternationalAirport, National ResearchCouncilLibrary, Law Office, Oberlin ArtConservationLaboratory, New WestGallery, ulgttruhwno,a ie ietyo rmd56,000lux lithograph onwall. Sunlight throughwindow,attimesdirectly onframed omrilEtclrpit ndsly 4,950lux 5,600lux commercial Ektacolorprintsondisplay. 1,200 lux Main terminal;diffusedaylightthroughglass; Main terminal;daylightthroughtintedacrylic. 1,500 lux fluorescent lampswithplasticdiffusers. Diffuse daylightthroughglass,mixedwith 21,500lux window. Reading room;diffusedaylightthroughfull-length 5,160 lux 9,680lux window. Stack area;indirectdiffusedaylightthroughfull-length Large wall;sunlightthroughtintedfull-lengthwindow. winter day. Indirect daylightthroughverylargetinted-glasswindow; 19,400lux 4,100 lux Diffuse daylightthroughskylightsindarkerareasoflobby. On fabricmuralonwallformanyhourseachday. Bright areasoflobby. Ohio —(Semi-diffusesunlightthroughacrylicskylights.) under glass(1987). indirect daylightthroughtintedglass;printsframed Houston.” Illuminatedbymetal-halidelampsand prints byGittingsStudioentitled“ThePeopleof Exhibit inmainterminalofEktacolorProfessional rn.345lux 1,180lux print. Laboratory; tungstenlampilluminationonEktacolor Some daylight. Direct fluorescentlampsthroughmetalgrid. very fadedafterabout2years. wall areaawayfromwindow;lithographon Diffuse daylightthroughtintedwindowglass; years severelyfaded;estimated20%daylight. Polacolor 1printkeptondeskforseveral fluorescent (GeneralElectricCoolWhite); Office area:diffusedaylightthroughglassanddirect Daylight throughwindowglassandfluorescentlight. e ons oa—3,800–5,160 lux Des Moines,Iowa— e ons oa—4,300 lux Des Moines,Iowa— Oberlin, Ohio— aml aiona—Tnse.160–325lux Carmel, California—Tungsten. Central Lobby,Cleveland, t oi,Msor 6,250 lux St. Louis,Missouri— oso,Txs—110–160lux Houston, Texas— taa nai 10,330lux Ottawa, Ontario— cosfo idw 3,450lux Across fromwindow. Oberlin, Ohio— alna idw 1,130lux Wall nearwindow. nwr ek 2,360lux On workdesk. nlwrwl.540lux On lowerwall. (continued next page) 1,180 lux 2,580 lux 3,450 lux 160 lux

This document originated at on June 6, 2003 under file name: ipa n luiaino oo n lc-n-ht rnsChapter17 Display andIlluminationofColorBlack-and-WhitePrints National ArchivesofCanada, House, D. Homes National Archives, University ofIowaHospitals, Modern Photographyeditorialoffice, Television office, Iowa StateUniversityLibrary, Park PlazaHotel, Nassau BayResortMotel, Time Inc., n lo om nwo rud nietdyih.2,800 lux 2nd floorroom;snowonground,indirect daylight. Direct suninroom(notonaphotograph). ifs algtadfursettruhpatcdfue;1,180lux approximately 50%daylightandfluorescentlight. 1,400lux Diffuse daylightandfluorescentthroughplasticdiffuser; some daylight. Fluorescent lampthroughplasticdiffuser;worktable; shelf andwallarea. Office; diffusedaylightthroughlargewindowonto ifs algttruhgas 3,500lux Diffuse daylightthroughglass. nwl oecs a) 325lux 215lux 590lux Office wall;colorprintondisplay. 1,180lux On wall(overcastday). On desk(somedaylight). (ceiling). 540–1,200lux Direct CoolWhitefluorescentlightthroughmetalgrid Ektacolor printsshowsignificantmagentadyeloss. 1,290lux prints ondisplay,coveredwithglass;older indirect daylightthroughwindowglass;Ektacolor Fluorescent lightthroughplasticdiffuser;some Westinghouse CoolWhite. Direct fluorescentlamps;nocoverorgrid; 1,180lux General illumination. spaced metalgrid,withsomedaylightthroughglass. Reading room;directfluorescentlampthroughwide- 860–1,300lux not coveredwithglass. Display case;directfluorescentlamps;photographs fluorescent directlythroughmetalgrid;oilpaintingonwall. Library readingroom;daylightthroughglass,withsome light throughplasticdiffuserabovedeskinalcove. rd kaoo rn ndslywtotgas oe540lux 1,300 lux daylight throughwindow. grid; Ektacolorprintondisplaywithoutglass;some Exam room;directfluorescentlampsthroughmetal algttruhgas 320–860lux film. Indirect daylightonwallthroughglassandsolarcontrol Office, Room24-18;fluorescentillumination. Daylight throughglass. rnel oa—86,000 lux Grinnell, Iowa— ie&Lf ulig e okCt 650lux Time &LifeBuilding,NewYorkCity— otn ascuet 195–1,450lux Boston, Massachusetts— wnsMl,Mrln 1,830 lux Owings Mill,Maryland— ahntn .C fie loecn 2,370lux Washington, D.C.—Office;fluorescent oso,Txs—430–650 lux Houston, Texas— oaCt,Iw 1,500 lux Iowa City,— taa nai 3,440 lux Ottawa, Ontario— ms oa—2,260 lux Ames, Iowa— e okCt 1,350 lux New YorkCity— 1,560 lux 1,800 lux 970 lux Older house, Apartment, Old house House, House, Modern house, Modern house, House, House, Indirect daylightthroughwindowglass. 485–1,670lux are displayedonawall;indirectdaylight. 480–650lux Room wherephotographsofsevengenerations Living room;largewindows;indirectdaylight. Indirect daylightthroughwindowontowall. Diffuse daylightthroughglassinsummer. ero;idrc algttruhwno ls;2,260lux large windowfacingsouth;whitewalls;11:30 Bedroom; indirectdaylightthroughwindowglass; ice;dyih hog idwgasmxd215–485 lux with tungsten. Kitchen; daylightthroughwindowglassmixed glass. Living roomwalls;indirectdaylightthroughwindow algttruhwno ls.1,290lux 430 lux 1,350–1,700lux 75lux Daylight throughwindowglass. Kitchen atnight,fluorescentlight. Kitchen; daylight,snowonground. 2nd floorroom;nighttime,tungstenlight. iigro;idrc algttruhwno ls 3,660 lux (and throughscreensinJune);11:30 Living room;indirectdaylightthroughwindowglass algttruhwno ls.1,180lux 1,500–1,720lux 3,900lux 1,720lux 23,670lux Daylight throughwindowglass. Diffuse daylightthroughglass. Bright, relativelysmallareaonwall. Kitchen; indirectdaylightthroughglass. Kitchen; directdaylightthroughglass. Tungsten lightatnight; 485lux Daylight throughwindowglass. Diffuse daylightthroughglass. ifs algtmxdwt ugtn 11 lux diffuse daylightmixedwithtungsten. otel ubc—Poorp ipa ra 32lux Montreal, Quebec—Photographdisplay area; Ottawa, Ontario— e ae,Cnetct—860lux New Haven,Connecticut— ubcCt,Qee 375–970lux Quebec City, (1896), Madison,Wisconsin— hcg,Ilni 4,850lux Chicago, Illinois— oaCt,Iw 325–1,185lux Iowa City,— ent qae enyvna—3,300lux Kennett Square,Pennsylvania— atnvle ayad—700–2,370lux Laytonsville, Maryland— ice.32–65lux 16–45lux 45lux 48–75lux 375lux Living room. 235lux Kitchen. Dining room. 590lux Hall. Living room. Bedroom —nearfloor. Bedroom —nearceiling. AM 1,940 lux . AM 1,940 lux . 540 lux 860 lux 215 lux 325 lux 620 lux 624

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