Color Negatives,Slides,andMotionPictures The Permanence andCare Traditional andDigitalColorPrints, of ColorPhotographs: Henry Wilhelm with contributingauthor Kennedy Family Carol Brower 74%

Cecil W. Stoughton – August 14, 1963 (Courtesy of the John Fitzgerald Kennedy Library)

This document originated at on June 6, 2003 under file name: available throughthelocaldrugstore. dollars —andthe35¢Ektacolor prints per andmaysellformanyhundreds of with KodakEktacolor“professional” pa- phers —mostofwhoseprintsare made sional portraitandweddingphotogra- tween thecolorprintssoldby profes- are nodifferencesinimagestabilitybe- stored inthedark.Inmostcasesthere are exposedtolightorwhenthey velop overallyellowishstainwhenthey the markettodaygraduallyfadeandde- in darkstorage. home, office,ormuseumandwhenkept displayed undernormalconditionsina last forhundredsofyears,bothwhen to formthecolorimage,willprobably stability pigmentsinsteadoforganicdyes color printprocesses,whichemployhigh- when storedinthedark.Severalnew to lightondisplaybutareverystable than others.Somefadewhenexposed Unfaded printmadewithKodakEktacolor Unfaded printmadewithFujicolor paper availableattheendof1992. paper availableattheendof1992. But mostcolorfilmsandpaperson Some colorphotographslastfarlonger SFA 3 and printenclosures,storage boxes, boards, framing,slidepages, negative cussed areconservationmatting, mount Warner Bros.aredescribed. Also dis- Pictures, TurnerEntertainment, and the ArtInstituteofChicago,Paramount at theJohnF.KennedyLibrary, NASA, of colorphotographsandmotionpictures facilities forthelong-termpreservation tal imagingtechnologiesarediscussed. color electrophotographic,andotherdigi- High-resolution inkjet,dye-sublimation, given forthelongest-lastingproducts. and colorpapers.Recommendationsare transparency films,colornegative ing/yellowing characteristicsofcolor evaluate thelightfadinganddarkfad- research, thisisthefirstmajorbookto than amateurcolorsnapshots. quered, theymaydeteriorateeven portraits havebeenretouchedandlac- Worse still,becausemostprofessional The humidity-controlledcoldstorage The resultofmorethan20years Fujicolor equivalent of50yearsdisplay. equivalent of50yearsdisplay. Kodak Ektacolorprintafterthe SFA 3 colorprintafterthe faster nitrate films,andmanyothertopics process, thepreservationofcellulose pictures, thehistoricTechnicolorprint permanent preservationofcolormotion the careofcolorslidecollections, cracking ofblack-and-whiteRCprints, archive collections,thediscolorationand white andcolorprintsinmuseum densitometric monitoringofblack-and- an accelerateddarkfading/stainingtest. an accelerateddarkfading/stainingtest. Telephone: 641-236-5575(Fax:641-236-7052) Grinnell, Iowa50112-0567U.S.A. 719 StateStreet–P.O.Box567 p Kodak Ektacolorprintafter240daysin Fujicolor reservation ISBN BarCode SFA 3 printafter240daysin

100% p ublishing

c ompany .

Wedding photograph by Max Brown

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

Wilhelm

Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures Motion and Slides, Negatives, Color Prints, Color Digital and Traditional Brower

and The Permanence and Care of Color Photographs: Color of Care and Permanence The

This document originated at on June 6, 2003 under file name: A publication of The Center for the Image.org in association with Wilhelm Imaging Research, Inc.

About the Offset-Printed, PDF, and PDF/A Digital Editions of This Book This publication was originally published as a high-quality offset-printed Smyth sown hardbound book on June 16, 1993. Printed at Arcata Graphics in Kingsport, Tennessee, the press run was 13,000 copies and the book has long been out of print.

A high-resolution Acrobat PDF of the complete book and each of its twenty chapters was posted on the Wilhelm Imaging Research, Inc. website on June 6, 2003. Available without charge, more than one-half million copies of the PDF edition of the book have been downloaded worldwide since it was posted in 2003. Henry Wilhelm and Carol Brower wrote, edited, and designed the page layout for the entire book using Aldus PageMaker software running on Apple Macintosh computers (Aldus Corporation merged with Adobe Systems, Inc. in 1994). PageMaker allowed for the export of a PostScript version of the page layout and, with all of the photographs rescanned, sized, and placed in the layout, it later became possible to produce a compact, authentic PDF ¿le of the entire book, complete with searchable, vector-mapped type, and with high-resolution color and black-and-white photographs. In order to produce the ¿rst PDF edition ± a complex task that was undertaken fully ten years after the book was originally published in 1993 ± it was necessary to preserve and maintain in operational condition the original Macintosh computers, Mac 2S .1, the original Aldus PageMaker 4.2 software and associated ¿les, all of the original Bitstream and Monotype digital type fonts used for the book (none of which are now commercially available), as well as the original PageMaker 4.2 text and page layout ¿les, monochrome and color PPD and preference ¿les, and sets of kerning and hyphenation tables for each of the twenty chapters, the book’s cover and introduction materials. All of the original color and black-and-white photographs reproduced in the book have also been carefully preserved in humidity-controlled freezer storage at minus 20°C (4 below zero degrees F). Migrating the original PDF ¿les prepared in 2003 to the PDFA-1b format >IS2 1900-1 /evel B Conformance@ was also dif¿cult, and it proved necessary to reconstruct PostScript ¿les for the entire book and to make changes in the color manage- ment scheme in order to comply with the ¿le structure requirements of PDFA-1b while at the same time preserving the original color and density of the color and black-and-white photographs in the book. PDFA is standardized within the International 2rganization for Standardization (IS2), headquartered in Geneva, Switzerland < httpwww.iso.orgisohome.html>. Adobe states ³PDFA stands for PDF for Archiving. It is a set of IS2 Standards (IS2 1900) using a subset of the PDF format that leave out PDF features not suited for long-term preservation.´ PDFA is designed for long-term digital preservation and ac- cess in archives, libraries, museums, universities, colleges, and other collections and and < httpwww.adobe.comenterprisepdfspdfaforAcrobat.pdf>. Posted on on March 1, 2013, the new PDFA edition of the complete book ± and sep- arately, each of the book’s twenty chapters ± replaces the original security-protected 2003 PDF edition and it continues to be available worldwide without charge. Historically, it is of interest to note that Adobe released the ¿rst version of Acrobat software and Acrobat PDF on June 1, 1993, Must one day before this book was originally published on paper on June 16, 1993. 2nly six weeks earlier, on April 30, 1993, the underlying technology of the network that posted the world’s ¿rst Web page was put into the public domain and made free and open to all. Designed by British computer scientist Tim Berners-/ee and a team of physicists and engineers working at C(R1 (the (uropean 2rganization for 1uclear Research) in Geneva, Switzerland, Bern- ers-/ee named the new network the ³World Wide Web´ (www). The ¿rst sentence of the ¿rst web page read ³The World Wide Web >aims@ to give universal access to a large universe of documents.´

Rev. May 18, 2013

ISBN 0-911515-00-3 United States Library of Congress: TR465.W55 1993 770’.28’ 3 84-6921 ©2013 Henry Wilhelm www.wilhelm-research.com www.thecenterfortheimage.org A non-profit organization located in Grinnell, Iowa U.S.A. This document is available under the Creative Commons Attribution-ShareAlike License See http://creativecommons.org for further information. Reviewers Write About the World’s First and Only Book On The Preservation of Color Photographs and Motion Pictures Since its publication in 1993, The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures, by Henry Wilhelm and contributing author Carol Brower, has received critical acclaim in more than 100 reviews and articles in newspapers, photography magazines, and museum publications. In September 1994, the book was awarded a special commendation by the Society of American Archivists for “. . .writing of superior excellence and usefulness, which advances the theory and practice of preservation in archival institutions.” Although this fully-illustrated 744-page hardbound book focuses on color photography, it also gives the most comprehensive set of recommendations ever published on the storage and display of black-and-white photographs, and is the first book published in the world on the stability and preservation of color photographs and motion pictures. A free high-resolution PDF digital edition of the complete book was posted on the Wilhelm Imaging Research, Inc. website in June 2003, and since that time more than one-half million copies of the PDF book have been downloaded. A newly-prepared PDF/A edition of the book was posted on March 18, 2013.

• “The phrases ‘instant classic,’ ‘definitive work’ and ‘standard reference work’ may be somewhat abused these days but if they were ever appropriate it would be to describe the 740 plus pages of The Permanence and Care of Color Photographs . . . .” — Joseph Meehan (Photo District News, July 1994) • “ ‘Finally,’ sighs National Geographic Society’s Robin Siegel, conservator of some 12 million photographs. ‘We’ve been waiting for documentation like this from a reputable source.’ Adds Peter Galassi, director of photography for New York’s Museum of Modern Art: ‘Henry’s work has been enormously valuable to us for protecting our collection.’ ” — Wendy Bounds (The Wall Street Journal, August 9, 1994) •“The Permanence and Care of Color Photographs is the most significant photography book to be published in recent years. The book ties together the history of color photography, as well as the latest developments in digital imaging, providing a fascinating overview of where photography has been – and its projected future. As a resource book it is unsurpassed.” — Scott Teaford (Communication Arts – 1994 Photography Annual, August 1994) • “This book is a must for anyone concerned about archiving color images, and should be required reading for all stock agencies, picture libraries, and corporate archivists . . . .” — George Schaub (Outdoor & Travel Photography, November 1993) • “. . . a front-line report on the fierce battle between the consumers of photographic materials – filmmakers, photographers, archivists, even the public – and the manufacturers, especially Eastman Kodak.” — A. D. Coleman (Photography in New York, January/February 1994) • “This is the most important book on the craft of photography to have been published in ages. I rank the significance of this book up there with Ansel Adams’ books on basic photography.” — Ctein (Photo-Electronic Imaging, September 1993) • “I cannot imagine anyone responsible for a collection of color photographic images who will not be richly rewarded by having a copy of this book, for background information and ready reference. I know of no other such comprehensive survey of this whole field, all its information scrupulously researched, clearly and attractively presented.” — Daniel W. Jones, Jr. (Peabody Museum, Harvard University, September 1993) • “Mr. Wilhelm’s work is a valuable guide for everyone who uses a camera seriously. It is packed with tips on what color film to use, how to find the right processing [labs] and how to mount and store pictures.” — John Durniak (The New York Times, July 18, 1993) • “With 20 years of intensive research behind it . . . The Permanence and Care of Color Photographs reads more like an encyclopedia than a general textbook on the care of color photographs. It is not just about color photography. This book is really the definitive reference book on the preservation of 20th-century photographic materials, and it tells an intriguing story. It does not flinch from identifying the aging characteristics of specific brand names, and in doing so, Wilhelm has helped the photographic community set higher standards for image permanence. This book is also important because it will greatly serve future historians as they examine the transitional years from the dominance of photography based on silver halide chemistry to the emergence and eventual succession of digital electronic imaging.” — Mark H. McCormick-Goodhart (Journal of the American Institute for Conservation, Spring, 1996)

Wilhelm Imaging Research, Inc., P. O. Box 775, Grinnell, Iowa 50112 Website: www.wilhelm-research.com



 
 


 

Henry Wilhelm with Carol Brower, contributing author, 
!

!

  !
 # ! "
!# 

#
  !
!#"
  !
#%"
"

# 
#$!". Grinnell, Iowa: Preservation Publishing Company, 1993. ISBN: 0-911515-00-3. (744 pp) $69.95.

Reviewed by M. Susan Barger

Dr. Barger is at the University of New Mexico's Department of Earth and Planetary Sciences, in Albuquerque, NM 87131. She is perhaps best known for her research on daguerreotypes.

Nineteen years ago, when I was a graduate student in photographic science, a small group of us put in our order for a dozen copies of Henry Wilhelm's upcoming book on the stability of color photographs. At the prepublication price of around $2.00, how could we go wrong?

There is no question that Henry Wilhelm is largely responsible for initiating the rising consciousness of the importance of photographic image stability that we have seen over the last twenty- five years. Many of us still have yellowing copies of his first book, ! $!"
 !
! ""

# !


#
 # ! "
 !
'$
""
! which was first published in 1969. It was printed on newsprint and sold for the grand sum of 50¢. That small book is, as far as I have been able to tell, the first publication for a lay audience that directly addressed photographic processing for maximum permanence. There are older publications on good processing practice, but none of them ties processing to image permanence in such a direct way.

Anyone who has been paying attention to photography during the last twenty-five years knows that, in many ways, Henry Wilhelm has been the David to the photo industry's Goliath. Tweaks from Wilhelm's direction have pushed the photo industry to address the problem of image stability, particularly color image stability, in a much more public and active way than they had done previously.

Indeed, the Image Permanence Institute at Rochester Institute of Technology was established by the Society of Photographic Scientists and Engineers and members of the photo industry partly because of concerns raised by Wilhelm about industrial bias and secrecy. Thus, the Institute, as a nonindustrial center, would address issues of photographic image stability. Further, because Wilhelm was working away in Grinnell, Iowa on color stability, those working in other areas of photographic conservation were able to say with some authority that although color was an almost insurmountable problem, the information that curators, collectors, and archivists needed in order to care for these ephemeral objects would finally be available when Wilhelm's book was published. The book was coming any minute.

Long ago, we gave up waiting for the book, but I was very pleased to see that this past fall Wilhelm's great work was finally published. The question that needs to be asked here is, "Was it worth the wait?"


!

!

  !
 # ! " is full of information, much of which has never been available or has never been gathered together in one place. The research described in the book is ongoing and the results are current to the end of 1992, the time the book went to press. For those that find the book overwhelming, it is possible to get the "take-home message" by reading just the Recommendations found in most of the chapters. The items that have grabbed the most press attention in the wake of the book's appearance are from the list in Chapter 1 of recommended products for obtaining the most stable photographic images. Wilhelm names names and spares no company in his critical evaluations of the stability of various color photographic products. While he may seem heavy-handed towards Kodak, this probably has more to do with the dominant market position that Kodak has enjoyed, especially in the United States. There is also a measure of glee that we take when the veil of industrial secrecy is pierced and we see that an industrial giant did not always operate in the most honest way. For instance, in his history of modern color imaging materials (i.e., Kodachrome® and subsequent products), Wilhelm points out that Kodak has issued products knowing that they were not stable and has deliberately replaced more stable products with less stable products. The situation was amplified by advertising rhetoric that calls us to preserve our precious moments on film. Several chapters, especially the one on wedding and portrait photographers, point out the often poignant and tragic loss that occurs when photographic images have faded away. This loss is emphasized in many of the illustrations throughout the book.

If the reader is interested in how Wilhelm arrived at his product recommendations, the first third of the book provides detailed descriptions of his tests and testing procedures. I found the delineation of his approach to testing imaging stability absorbing and quite pertinent to both the common use of photographs and to how we see. The section on accelerated aging procedures for color materials is very detailed and brings up issues that should be considered by anyone who uses accelerated aging testing for any type of materials. Wilhelm provides a good history of image stability testing and carefully describes the contributions made by the entire photo industry, especially Kodak, in this area.

There are two chapters devoted to the color films used in the motion picture industry. This includes recommendations for preserving what is now in archives and describes the best available current products for the production of new films. One entire chapter is devoted to Technicolor®, its history and properties.

Finally, the last ten chapters of the book are devoted to the care, storage, and display not only of color photographic materials of all types, but also of black and white materials. There are lengthy discussions of adhesives and mounting, marking methods, conservation matting, mat boards, storage envelopes, sleeves, boxes, and the like. This portion of the book brings together much of the work on the care and conservation of photographic materials which has evolved over the last twenty-five years and puts it in one place for the reader.

This book, in spite of its mostly positive qualities, should have been edited for continuity. The book was obviously written at different times, because much of the same information is repeated over and over again in the various sections. As persistent readers approach the back of the book, they may become confused and think they are reading some previous section. A good editor could have made the book more compact and easier to read and would have enhanced access to the valuable information and message that this book carries. I was also struck by a comment made by a photo curator when I said I was writing a review of this book. He said that the book looked so much like a chemistry text that although it is a "must-have" addition to any photo library, it was probably too difficult for him to attempt to read. This is not a chemistry book, for there is little or no information that could be called chemistry. Despite its appearance and technical content, this book can be profitably read by anyone with an interest in photographic preservation.

This book will not be widely available through your local bookstore, so those interested in purchasing it should contact the publisher directly. The address is: Preservation Publishing Co., 719 State St., Grinnell, Iowa 50112-0567. The cost is $69.95 per copy plus $4.95 shipping. Color Negatives,Slides,andMotionPictures Traditional andDigitalColorPrints, The Permanence andCare of ColorPhotographs:

This document originated at on June 6, 2003 under file name: April 1988 (2) Cecil W. Stoughton – August 14, 1963 (Courtesy of the John F. Kennedy Library) home onSquawIsland,nearHyannisPort,Massachusetts. President JohnF.Kennedyandhisfamilyattheirsummer soon asanimproved image-referencesystemisimplemented. move thenegativesto0 stored at55 other 18,000colornegativesin thecollectionhavebeen photograph. Since1980,this negativeandmanyofthe ing theoriginalcolornegative fromtheKennedyfamily Library, inoneoftheLibrary’s cold storagevaultsexamin- Allan B.Goodrich,audiovisual archivistattheKennedy ° F (12.8° C) and30%RH.TheLibraryplans to ° F (–18 ° C), 30%RHvaultas serves thesecolorphotographsin0 photographed primarilyincolor.TheKennedyLibrarypre- who wasinauguratedin1961,thefirstpresidenttobe and-white tocolorphotographybeganinearnest.Kennedy, Texas whilecampaigningforre-election. was taken—PresidentKennedyassassinatedinDallas, name wasClipper;theIrishWolfhoundcalledWolf.” Jr. hashisarmdrapedaroundShannon.Theshepherd’s of theSovietUniongavetoPresidentKennedyin1961.John Pushinka, whichwasthedogthatChairmanNikitaKhrushchev pups weretheoffspringofCharlie(thedogwithCaroline)and longed totheKennedyfamily—JFKalwayslikeddogs.The be- Caroline wouldturn6yearsoldinNovember.Thedogsall the picture:“JohnJr.wasapproaching3yearsofagein1963; gerald KennedyLibraryinBoston,relatedthefollowingabout film inaHasselbladcamera. rapher. ThephotographwasmadewithEktacolorcolornegative U.S. ArmySignalCorpsandservedasaWhiteHousephotog- The photographer,CecilW.Stoughton,wasanofficerinthe home onSquawIsland,nearHyannisPort,Massachusetts. book wastakenonAugust14,1963attheKennedys’summer B. KennedyandJohnF.Jr.,onthecoverofthis his wifeJacquelineBouvierKennedy,andtheirchildrenCaroline About theCover contrast inthe original negative. ments weremadetocorrectfor curveimbalancesandlossof tive). Inthecourseofmaking theDyeTransferprint,adjust- nal colornegative(usinganEktacolor PrintFilminterposi- dak DyeTransferprintthatwas madein1975fromtheorigi- 1979 andthenegativeswereplaced incoldstorage. ated conditionsuntiltheLibrarybuildingwascompleted in tives werestoredformorethan15yearsundernon-refriger- After PresidentKennedy’sdeath,theWhiteHousecolornega- at normalroomtemperature(see of theleaststableimagedyeinlessthan6yearswhenstored data, thesefilmsareexpectedtosuffera10%lossofdensity very poorimagestability.AccordingtounpublishedKodak in theWhiteHousecollectionatKennedyLibraryhave facility (seeChapter20). the firstcollectinginstitutioninworldtoprovidesuch a humidity. WhentheKennedyLibraryopenedin1979,itwas cold storagevaultsthataremaintainedat30%relative setts. TheLibraryisadministeredbytheNationalArchives. The JohnFitzgeraldKennedyLibraryinBoston,Massachu- It wasduringthe1960’sthathistoricshiftfromblack- On November22,1963—exactly100daysafterthispicture Allan B.Goodrich,audiovisualarchivistattheJohnFitz- The photographofPresidentJohnFitzgeraldKennedy, The photographonthecover wasreproducedfromaKo- The KodakEktacolorandKodacolor-Xcolornegativefilms ° F (–18 Table 5.14 ° C) and55 onpage204). ° F (12.8 ° C)

This document originated at on June 6, 2003 under file name: Color Negatives,Slides,andMotionPictures Traditional andDigitalColorPrints, The Permanence andCare of ColorPhotographs: taken byHenryWilhelm,exceptwherenoted. All ofthephotographsinthisbookwere p reservation Henry WilhelmHenry with contributingauthor Carol Brower grinnell, iowa p ublishing u.s.a by c ompany

This document originated at on June 6, 2003 under file name: Printed intheUnited StatesofAmerica This bookwasmanufacturedwithalkaline-buffered papersandbindersboard. Fax: 515-236-7052 Telephone: 515-236-5575 U.S.A. Grinnell, Iowa50112-0567 P.O. Box567 719 StateStreet 6921 84- II.Title. p 3 '.28' 770 . ISBN 0-911515-01-1(paperback) ISBN 0-911515-00-3(hardbound) 1993 TR465.W55 I. Brower,Carol,1951– Preservationandstorage. Moving-picturefilm— 2. Wilhelm, HenryGilmer,1943– Library ofCongressCataloging-in-PublicationData: First Edition quote briefpassagesinareview. wise, withoutpriorwrittenpermissionofthepublisher,exceptbyareviewerwhomay any formorbymeans,electronic,mechanical,photocopying,recording,other- No partofthisbookmaybereproduced,storedinaretrievalsystem,ortransmitted Copyright reservation .Poorps Conservation. 1. Photographs— Includes index. slides, andmotionpictures. traditional anddigitalcolorprints,negatives, The permanenceandcareofcolorphotographs:

93 1993,

p ublishing p reservation

c ompany p ublishing 7 1 ⁄ 2 Sarah yearsold Sarah, David,andCharlesWilhelm, c and allthechildrenofworld, ompany past, present,andfuture. This bookisdedicatedto Henry Wilhelm – July 1986 5 yearsold 5 David 35%

Henry Wilhelm – July 1986 Services inDubuque, Iowa. The indexwaspreparedbyRusCaughron forCarlislePublishers Fine PrintandNorth-Lightcustomlabs inMinneapolis,Minnesota. Black-and-white labworkwasdone bytheauthorsandThe provided byArcataGraphicsCompany inKingsport,Tennessee. separations, black-and-whitehalftones, printing,andbindingwere Waddell’s ComputerGraphicCenter inDesMoines,Iowa.Color nuances ofPageMaker.Imagesetter outputwasproducedby art directoratGrinnellCollege,educated theauthorsabout ware onAppleMacintoshcomputers.JimPowers,publications This bookwaswrittenanddesignedwithAldusPageMakersoft- 9 1 ⁄ 2 Charles monthsold

Carol Brower Wilhelm – April 1993

This document originated at on June 6, 2003 under file name: during oneofAdams’s photographyworkshops inYosemite lege finallypublishedthiscontroversial yearbook. printer. Twentyyearslater,under anewpresident,thecol- and bannedbythecollegeafter ithadbeendeliveredtothe designed, andwrote emerging protestsagainsttheVietnamwar. other citiestophotographthecivilrightsstruggleand traveled toSelma,Alabama;Chicago;Washington,D.C.;and events forthecollegenewspaperandotherpublications.They Grinnell Collegespentmuchoftheirtimephotographingnews documentary photography,heandseveralofhisfriends at and humidjunglesofBoliviaasamemberthePeaceCorps. preservation ofphotographsin1963whileworkingthehot suring colorandwhiteness.Wilhelmbecameinterestedinthe Laboratory, Inc.assemblingelectronicinstrumentsformea- Virginia, hewasapart-timephotographerforthe hood. In1961–62,whileattendinghighschoolinArlington, ervation PublishingCompany,whichpublishedthisbook. entrepreneur SharpLannom display conditions.In1982,Grinnell,Iowabusinessmanand under low-leveltungstenilluminationthatsimulatesmuseum City foralong-termstudyofcolorprintfadingandstaining John SimonGuggenheimMemorialFoundationofNewYork increase thestabilityoftheircolormotionpicturefilms. persuade EastmanKodakandFujiPhotoFilmCo.Ltd.to Innocence director of film directorMartinScorseseandhisstaff(Scorseseisthe Materials GroupoftheAmericanInstituteforConservation. and prints,isafoundingmemberofthePhotographic methods forevaluatingthestabilityofblack-and-whitefilms Wilhelm isalsoamemberoftheANSIsubcommitteesontest For thepast6yearshehasservedassecretaryofthatgroup. test methodsformeasuringthestabilityofcolorphotographs. 1978 towritethenow-completedANSIIT9.9-1990Standardon can NationalStandardsInstitutesubcommitteeestablishedin About theAuthors Daily The PermanenceandCareofColorPhotographs of theNationalArchivesCanada,FrankMcLaughlinEastmanKodak,andGuentherCartwrightRochesterInstituteTe Workshop inRochester,NewYork.Theweek-longworkshop,whichtookplaceAugust1978,alsofeaturedasspeakersKlausB.H Henry WilhelmandCarolBrowergivepresentationsonthepreservationofblack-and-whitecolorphotographsatVisualSt In 1966,Wilhelmservedasan assistanttoAnselAdams Wilhelm andfellowstudentJohn Phillipsphotographed, In themid-1960’s,asastudentinterestedinfineartand Wilhelm hasbeeninvolvedwithphotographysincechild- In 1981,Wilhelmreceivedaone-yearfellowshipfromthe In 1980,Wilhelmservedasavolunteertechnicaladvisorto Henry WilhelmisoneofthefoundingmembersAmeri-

News [1993],andotherfilms)intheirsuccessfuleffortto andalsohadasummerjobatHunterAssociates Taxi

Driver Grinnell [1976],

IV College andWilhelmestablishedPres- Cape

– Fear 1966 [1991], , whichwasseized Washington The

Age

of sible and published a26-pagebookletentitled years undertheEastStreetGalleryname.In1969,Wilhelm base prints;heproducedtheprintwashersforanumberof the designofarchivalprintwashersforblack-and-whitefiber- to exhibittheworkofMidwesternfineartphotographers. In 1967,WilhelmestablishedtheEastStreetGalleryinGrinnell increased Wilhelm’sinterestinthepreservationofphotographs. National ParkinCalifornia.DiscussionswithAdamsfurther 1990. Wilhelm and Browerweremarriedin1991. contact Wilhelm.Browermoved toGrinnellfromNewYorkin buffered boardsandpaperson colorphotographsledherto Brower’s concernaboutpossible adverseeffectsofalkaline- ting forclientsinNewYorkCity andelsewhere. Publishing Company,Browercontinues todoconservationmat- graphs inthisbook.InadditiontoherworkatPreservation his researchandwriting,shetookmanyofthephoto- mount boards.BrowerassistsWilhelminvariousaspects of co-authored Chapter13onthecompositionandstability of tion mattingoffinephotographicprints.WithWilhelm,she 12, whichdiscussesthehandling,presentation,andconserva- of theProfessionalPictureFramersAssociationsince1985. the AmericanInstituteforConservationsince1982,andamember has beenamemberofthePhotographicMaterialsGroup of ing fromthelittle-knowntohistoricallyprominent.She photographs madebyabroadspectrumofphotographers,rang- tors, andprivatecollectors,hasmattedawidevariety of years, Browerhasworkedwithmanyphotographers,cura- Gallery, Pace/MacGillandothers.Duringthepast20 Graphics, LaurenceMillerGallery,LifePictureLight major museumsandgalleriesinNewYorkCity,includingCastelli known forhermattingofphotographicprintsmanythe handling andconservationmattingofphotographs;sheisbest high prioritywasplacedonconservation. used inherownworkledtoworkingforgallerieswherea ing thelongevityofdrawingpapers,pencils,inks,andpaints Institute inNewYorkCity(1969–1974).Herconcernsregard- School ofArtandDesign,DepartmentFineArts,atPratt subject ofpreservationasanundergraduatestudentinthe tion ledtothewritingofthisbook. In 1972,WilhelmreceivedthefirstoftwoU.S.patentsfor Brower andWilhelmbecame acquaintedin1978when As contributingauthortothisbook,BrowerwroteChapter In 1972,Browerbegantoinvestigateandpromotetheproper Carol Brower,anartist,becameactivelyinterestedinthe

Storing

Permanence

Black . Researchwhichbeganwiththatpublica-

and

White

Photographs Procedures About theAuthors

for

Maximum

for chnology.

Processing endriks udies

Pos- v

This document originated at on June 6, 2003 under file name: vi files generated onhigh-resolutiongraphicarts scanners,are are printedwithseparationnegatives producedfromdigital and PolaroidPermanent-Color pigmentcolorprints,which been developedforthegraphic artsproofingfield. ink-jet printingsystems(e.g.,Iris Graphicsprinters)thathave trophotographic systems(e.g., 3MDigitalMatchprint)and at reasonablecostarethehigh-resolutionliquid-tonerelec- promising technologiesforproducinghighlystablecolorprints storage, printing,andtransmission.Indeed,amongthemost has greatlyexpandedtheoptionsavailableincolorimaging, and high-capacitywirefiber-opticcableTVsystems— munications networks—includingdirectsatellitebroadcast systems duringtheremainderofdecade);andtelecom- sion (whichwillacceleratewiththeadoptionofdigitalHDTV technology; graphicartselectronicprepresssystems;televi- age processing,viewing,datarecording,andimagedata-base usable 15,or25,100yearsfromnow—andbeyond.) before itiscertainthatthesedigitalimagefileswillstillbe hardware andsoftwareproblemsmustbesolved,however, any oftheabovecolorimagingsystems.(Somedaunting of theworldandberecordedand/orimmediatelyoutputusing Kodak PhotoCD),magnetictape;orstoredon.? disc, arewritablemagneto-opticalwritableCD(e.g., ate anIlfochromesilverdye-bleachprint;oroutputtoa.? or Agfacolorprint;outputtoanIlfordDigitalImagercre- Printer todirectlyexposeaFujicolor,Ektacolor,KonicaColor, by offsetlithographyorotherprocess;printedwith.? tives forhigh-quality4-color(or7-color,or10-color)printing color printer;ortoanimagesettermakeseparationnega- or toalarge-formatXeroxVersatecliquid-tonerelectrostatic digital signalinterfacetoproducealow-cost,plain-paperprint; or toaCanonColorLaserCopierothercolorcopierwith ration negativesformakinganUltraStablepigmentcolorprint; (dye-sublimation) print;ortoanimagesettergeneratesepa- series printertoproduceanEktathermthermaldye-transfer 7700- an Irishigh-resolutioninkjetprinter;ortoaKodakXL color papersfromKodak,Fuji,Konica,Agfa,orIlford. turn canbeusedtomakeprintsinadarkroomwithtraditional ating whatiscalleda“second-generationoriginal,”whichin or transparencyfilmwithahigh-resolutionrecorder,cre- manipulated colorimagecanbewrittenbacktonegative image-processing software.Thecomputer-corrected/enhanced/ computer orworkstationrunningAdobePhotoshopother scanned toproduceadigitalimagefileforinputpersonal Photographs canbeoriginatedontraditionalcolorfilmand there aremorewaystomakecolorprintsthaneverbefore. tographs andmovingimagesthanatanytimeinthepast, been amoreexcitingtimeinthehistoryofcolor gies, itwouldbemoreappropriatetosaythattherehasnever ing, recording,andhigh-resolutioncolorprintingtechnolo- account therapidemergenceof“photo-realistic”digitalimag- fields ofstillandmotionpicturephotography.Or,takinginto in 1935–36,therehasneverbeenamoreexcitingtimethe introduction ofKodachromeandAgfacolortransparencyfilms Introduction: LookingToward theFuture The PermanenceandCareofColorPhotographs The potentiallyextremelylong-lasting UltraStable,EverColor, The mergingoftraditionalphotographywithcomputerim- The digitalimagefilemaybetransmittedtotheotherside The digitalimagefilemaybestoredonamagnetichard Or thedigitalimagefilecanbeoutputwithaMetrumFoto- Or thedigitalfilecanbeoutputdirectlyonplainpaperwith Many morewaysarenowavailabletomakecolorstillpho- Since themoderneraofcolorphotographybeganwith imaging! per takestime.Oncesamplesofanewproductareobtained, ating theimagestabilitycharacteristicsofacolorfilmorpa- dark, somecolormaterialslastfarlongerthanothers.Evalu- of thephotographymarket. prints willbecomeincreasinglyimportantinmanysegments into thenextcentury,alternativemethodsofmakingcolor be theprimarymeansoftakingstillphotographsuntilwell hardcopy) systemsareannouncedalmostmonthly. quently. New“photo-realistic”digitalcolorprinting(color Improved colorpapersarebeingintroducedalmostasfre- for only2or3yearsbeforetheyarereplacedbynewproducts. ated greatly.Mostcolornegativefilmsarenowonthemarket Konica —thepaceofnewproductintroductionhasacceler- facturers ofcolorfilmsandpapers—Kodak,Fuji,Agfa, national competitionamongtheworld’sfourprincipalmanu- marketplace. Inrecentyears,however,withincreasedinter- certain scientificfields—hadnotyetappearedinthegeneral tion inspaceexploration,militaryintelligence-gathering,and photography —whichhadachievedconsiderablesophistica- films andpaperstocontendwith.Electronicsystemsforstill stability researchreportedinthisbook,therewerefewercolor motion pictureandtelevisionmoving-pictureimaging. gether thepreviouslyseparatefieldsofstillphotographyand images, movingandsound,arefinallybringingto- Texas, whicharereproducedonpage36.) the LyndonBainesJohnsonLibraryandMuseuminAustin, Dye Transferportraitsoffivepresidentsinthecollection will lastfarlongerthantheveryfadedKodakEktacolorand Portrait GalleryinWashington,D.C.TheUltraStableprints City, asetofthesesixprintsistobegiventheNational Nixon. ProducedundercontractforTimeInc.inNewYork States presidents:Clinton,Bush,Reagan,Carter,Ford,and photographer WilliamCoupon’sportraitsofthesixlivingUnited the UltraStableprocess,waspreparingprintsof examples ofthemergingoldandnewimagingtechnologies. ums andarchives. displayed inmuse- color printswhen for varioustypesof sible displayperiods made forpermis- low predictionstobe long-term testsal- tained fromthese lumination. Dataob- with fluorescentil- tests areconducted Similar 1.35klux to pressin1992. time thisbookwent than 10yearsatthe progress formore that hadbeenin sten lightfadingtest candescent tung- level, 1.35kluxin- samples inalow- amining colorprint Henry Wilhelmex- When exposedtolightduringdisplay,orwhenstoredinthe While itappearsthattraditionalcolorfilmswillcontinueto More than20yearsago,whenthisauthorbegantheimage Multimedia systems,whichinvariouswayscombinestill (At thetimeofthiswriting,CharlesBerger,inventor Introduction

1983

This document originated at on June 6, 2003 under file name: physical damage toirreplaceablephotographic originals. increased accesstocollections whileavoidinghandlingand tions. Digitalimagedata-base systemsareprovidinggreatly are providingcoldstoragefacilities topreservetheircollec- Increasing numbersofmuseums andmotionpicturestudios than anypreviouscolorpaper forprintingcolornegatives. when exposedtolightondisplay, andwhenstoredinthedark, color papersintroducedin1992,forexample,lastfarlonger they wereatthebeginningof1980’s.TheFujicolorSFA3 vation. Colormaterialsare,overall,muchmorestablethan financial compensation. their respectivemanufacturers,thishasbeendonewithout about themerits—orlackthereofofvariousproductswith tems. Althoughthisauthorhasfrequentlyvoicedhisopinions papers orfromanymanufacturerofelectronicimagingsys- from anymanufactureroftraditionalphotographicfilmsand this author’sfirmpolicynottoacceptpaidconsultingwork a regularbasis. publish stabilitytestresultsandproductrecommendationson is anongoingeffort,andithopedthatawaywillbefoundto tal imagingmaterialsassoontheyappearonthemarket— that follow.Thisresearch—whichwillincorporatenewdigi- Meaningful stabilitydatashouldbecomeavailableinthemonths as productionsamplesofthefilmscanbeobtainedin1993. Lumiere andElitefilmswillbestartedbythisauthorassoon 7700-seriesdigitalthermaldye-transferprinters.) XL cies, orfortheEktathermelectronicprintpaperusedinKodak’s for EktachromeRadiancepaperprintingcolortransparen- duced in1986.Likewise,nostabilitydatahavebeendisclosed papers, thefirstofwhich,Ektacolor2001paper,wasintro- current ously beenavailable. the manufacturers.Mostofthisinformationhasnotprevi- less veryvaluableaccelerateddarkfadingdatasuppliedby author’s teststogetherwiththeoftenincompletebutnonethe- papers giveninChapter1onpages3to6werebasedthis The recommendationsforthelongest-lastingcolorfilmsand up toayearormoreisrequiredconductmeaningfultests. image stabilitydatafor stability dataavailable;forexample,Kodakhasnotreleased disclose theresultsofitsstabilitytestswiththesenewfilms. At thetimethisbookwenttopress,Kodakhaddeclined Fujichrome filmslistedintherecommendationsonpage3? previous Ektachromefilms?Aretheymorestablethanthe lowish stainformation)ofthesenewfilmsbetterthanthat tor-fading anddarkstoragestability(includingratesofyel- include testdataontheseproductsinthisbook.Istheprojec- chrome Eliteamateurfilms—werenotavailableintimeto films —EktachromeLumiereprofessionalandEkta- chrome filmswouldbeintroducedin1993.Samplesofthese September 1992,however,KodakannouncedthatnewEkta- this wasdone.AtthePhotokinatradeshowinGermany as, overall,thelongest-lastingtransparencyfilmsavailable, products onthemarket.InrecommendingFujichromefilms ample —itisofcoursenecessarytotestallthedifferent film orpaper—thelongest-lastingcolorslidefilm,forex- the factthatthisgoalwas,formostpart,achieved. and allofthoseinvolvedwiththisbookcantakesatisfactionin The PermanenceandCareofColorPhotographs The comingyearslookhighlypromisingforimagepreser- To assurecontinuedindependenceinthisresearch,itis As withothernewproducts,teststheEktachrome It wasthisauthor’sgoalthattheserecommendationsbe (In recentyears,Kodakhasbeenveryreluctanttomake In makingarecommendationforparticulartypeofcolor atthetimethisbookwenttopressendof1992, any ofitsProcessRA-4Ektacolor Acknowledgments while hismotherandfathercompleted thisbook. after day,nightnight,throughout hisfirstyearoflife, Charles Wilhelm,ourinfantson, whowaitedsopatiently,day sensitivity broughtthislong projecttocompletion;and my bestfriendandwife,whose strength,determination,and stood thedifficultiesofmytasks; toCarolBrowerWilhelm, helm, my11-yearoldson,whohasalwayssomehowunder- see it”)encouragedmetoworkalittleharder;DavidWil- daughter, whosegentleskepticism(“Iwillbelieveitwhen I in manyimportantways;toSarahWilhelm,my14-yearold Wilhelm, myexceptionalmother,whocontributedtothisbook will alwaysbeatrustedfriendandcolleague;toJaneGilmer and megetthroughbothhappydifficulttimes,who Schwalberg, whosesupportandhumorhelpedCarolBrower for hiscontributionsandfriendshipovertheyears;toBob tor ofconservationresearchattheNationalArchivesCanada, prints listedinChapter3wouldnothavebeenpossible. computer programs,theimage-lifepredictionsfordisplayed of thestabilitytestsreportedinthisbook.WithoutJune’s individual densitometricreadingsgeneratedduringthecourse record, stain-correct,andanalyzethewelloveronemillion more than5yearstowritethecomputerprogramsused nell College,volunteeredcountlesshoursoveraperiodof mer workingattheRobertNoycecomputercenterGrin- most intelligenteditorIhaveeverworkedwith. particular thanksforhisdedicationtothisbook.Johnisthe my manuscriptduringthepast15years,andhedeserves Wisconsin. Johnreadandeditedthecountlessrevisionsof science writer,editor,andlong-timefriendfromMadison, ness affairsofthisprojectsinceitbegan. addition, IthankMarkBjorndal,whohashandledthebusi- Charles Lannomfortheircontributionstothiseffort.In photographic andmotionpictureheritage. immeasurable contributiontothepreservationofworld’s book wouldnothavebeencompleted.Sharphasmadean out hisfirmbutunderstandingguidance,thewritingofthis term image-stabilitytestingwillforeverbeappreciated.With- patience andcomprehensionoftheproblemsinherentinlong- archives. Sharpbecameinvolvedinthiswork1981,andhis when theyaredisplayedinhomes,offices,museums,and ingful image-lifepredictorsforvarioustypesofcolorprints scribed inChapter2,andtoestablishtheirvalidityasmean- required todeveloptheacceleratedlightfadingtestsde- of theimportancehistory.Manyyearsresearchwere Sharp haswide-ranginginterestsandanacuteappreciation businessman andafriend.Endowedwithkeenintellect, support andencouragementofSharpLannomIV,aGrinnell and small,Iamextremelygrateful. which itisbased.Forallofthesecontributions,bothlarge vital tothecompletionofthisbookandresearchupon cally producedcolorprints,andothermaterialsthatwere image-stability data,samplesofcolorfilms,papers,electroni- Canada, andothercountrieshavecontributedinformation, panies intheUnitedStates,Japan,Germany,Switzerland, created, manyindividuals,collectinginstitutions,andcom- I alsogivespecialthankstoKlausB.Hendriks,thedirec- June Clearman,amathematicianandcomputerprogram- No oneismorefamiliarwithmyworkthanJohnWolf,a I alsoexpressmyappreciationtoWilliam,Thomas,and This bookwouldnotexistwereitforthelong-standing Throughout thepast20yearsduringwhichthisbookwas Introduction andAcknowledgments

Henry Wilhelm vii

This document originated at on June 6, 2003 under file name: viii hpe 0 TheExtraordinarilyStableTechnicolorDye-Imbibition Chapter 10. The PermanenceandCareofColorPhotographs hpe .ThePermanentPreservationofColorMotionPictures Chapter 9. ColorPrintFadingandtheProfessionalPortraitWedding Chapter 8. 239 MonitoringtheLong-Term FadingandStainingofColorPhotographs Chapter 7. 163 Projector-CausedFading of35mmColorSlides Chapter 6. DarkFadingandYellowish StainingofColorPrints,Transparencies, Chapter 5. TheEffectsofPrintLacquers, PlasticLaminates,3MPhotogard, Chapter 4. LightFadingStabilityof DisplayedColorPrints Chapter 3. AcceleratedTestsforMeasuringLightFading,Dark Chapter 2. 1 TraditionalandDigitalColorPrints,Negatives,Slides: Chapter 1. Motion PictureColorPrint Process(1932–1978) Photographer –WhattoDoAboutaTroubling Situation and UV-AbsorbingPlasticFilters and YellowishStainFormationinColorPrintsFilms in MuseumandArchiveCollections and Negatives Which ProductsLastLongest? Acknowledgments Introduction: LookingTowardtheFuture About theAuthors About theCover Similar ProceduresCanBeEmployedwithBlack-and-WhitePrints Fujichrome FilmsHavetheLongestLifeWhenProjected The MythofUVProtectionforEktacolor,Fujicolor,andSimilarColorPrints Light-Induced CrackingofRCPapers:IsItStillaProblemwithColorPrints? Brilliance —WhetherExposedtoLightonDisplayorStoredintheDark Provides AbsolutelyNoIndicationofHowLongItWillRetainItsOriginal The HiddenProblem:SimplyLookingataBeautifulColorPhotograph Unchanged forManyHundredsorEvenThousandsof Years Release PrintsIstheOnlyViableWaytoKeepColorMotion Pictures Negatives, ColorReversalOriginals,LaboratoryIntermediates, and Low-Temperature, Humidity-ControlledStorageofOriginal Camera Fujicolor SFA3PapersArebyFartheLongest-LastingColor NegativePapersAvailable Contents hpe 0Rcmedtos 347 Chapter 10Recommendations: hpe eomnain:3 Chapter 1Recommendations: hpe eomnain:301 Chapter 9Recommendations: 279 Chapter 8Recommendations: 241 Chapter 7Recommendations: 213 Chapter 6Recommendations: 147 Chapter 4Recommendations: Table ofContents vi–vii 345 101 299 211 145 267 61 vii ii v

This document originated at on June 6, 2003 under file name: hpe 1 PrintMountingAdhesivesandTechniques,Tapes,RubberStamps, Chapter 11. INDEX Large-Scale,Humidity-ControlledColdStorageFacilitiesfor Chapter 20. Frost-FreeRefrigeratorsforStoringColorandBlack-and-White Chapter 19. HandlingandPreservation ofColorSlideCollections Chapter 18. DisplayandIllumination ofColorandBlack-and-WhitePrints Chapter 17. TheStorageEnvironment forPhotographs:RelativeHumidity, Chapter 16. FramingMaterials,Storage Boxes,PortfolioCases,Albums, Chapter 15. EnvelopesandSleevesfor FilmsandPrints Chapter 14. 451 393 Composition,pH,Testing,andLightFadingStabilityofMountBoards Chapter 13. TheHandling,Presentation,andConservationMattingofPhotographs Chapter 12. The PermanenceandCareofColorPhotographs Pencils, Inks,andSpottingMethodsforColorB&WPrints Films andPrints Cabinets, andShelves and MotionPictures the PermanentPreservationofB&WandColor Films,Prints, Temperature, AirPollution,Dust,andthePreventionofFungus and OtherPaperProductsUsedwithPhotographs Selection ofFilms,SlideMounts,Pages,andIndividualSleeves of B&WRCPrintsonLong-TermDisplay The AlarmingLight-InducedImageDiscolorationandBaseCracking By CarolBrowerandHenryWilhelm By CarolBrower Cellulose NitrateStill-CameraNegativesandMotionPictures Appendix 19.1:FreezerStorageforPermanentPreservation of Contents hpe 4Rcmedtos 485 Chapter 14Recommendations: 369 Chapter 11Recommendations: hpe 0Rcmedtos 697 Chapter 20Recommendations: 658 Chapter 19Recommendations: 629 Chapter 18Recommendations: 577 Chapter 17Recommendations: 544 Chapter 16Recommendations: 511 Chapter 15Recommendations: hpe 3Rcmedtos 453 Chapter 13Recommendations: Table ofContents 625 485 367 655 575 509 727 687 539 675 ix

This document originated at on June 6, 2003 under file name: 1

1. The PermanenceandCareofColorPhotographs and ColorSlides:WhichProductsLastLongest? Traditional andDigitalColorPrints,Negatives, Brilliance —WhetherExposedtoLightonDisplayorStoredintheDark Provides AbsolutelyNoIndicationofHowLongItWillRetainItsOriginal The HiddenProblem: should replacetheprint.Kodaksaiditwasn’ttheirfault anditwasn’tthestudio’sfault. wasn’t satisfiedwiththatsoIleftandwrotetoKodak andtoldthemthatIthoughtKodak didn’t. Theysaiditwasn’ttheirfaultthatfadedand theycouldreplaceitforhalfprice.I seven yearsold!TheysaiditwasprintedonKodakpaper andtheythoughtitwouldlastbut faded sobadlythatIbroughtitintoseewhattheywould doaboutit.Thepicturewasonly hangs attheentryofeveryCabinetmember’sofficeonCapitolHill. a 30"x40"photographtakenbySmithandprintedonKodakEktacolorProfessionalPapernow bility. Inaddition,photographyoffersquickresultsatafractionofthecostoilpainting.So photographic paperssuchasKodakEktacolorProfessionalPaperofferimprovedimagesta- traditional oilpaintingswasthatSmithabletoconvinceWhiteHouseofficialsthe taken fortheJune11,1989, painted andformal,Kochislookingratherrelaxedcandidinthiscolorphoto.Thephoto, official portraitinCityHall.UnliketheMayor’spredecessors,whoseportraitsareboth not takeseriously,fromthefirstconcept,ecologyofpermanence. disappearing, sothehistoryofphotographyisstrewnwithskeletonsinventorswhodid inextricably interwovenprocesses:makingtheimageappearandkeepingfrom is thatofarchivalquality—whetheraphotographwilllastaslongpainting. approve thephoto.“I’mexcited,”saysHeisler,whothinksconcernofArtCommission to shootKoch.TheArtCommission,whichdecidesonallartworksincitybuildings,stillmust happen before.It’ssucha gradualthingyoudon’tnoticeitatfirst. that photographsliveforever .Itsortoftakesyoubysurprisewhenyou’ve never seenit taken inblack-and-white,wouldtheyhavefaded?All theadsI’veseeninnewspaperssay problem before—wehaveallourownbabypictures andtheylastedforever.Ifthesewere I hadapicturethatwasn’tanygoodandknewit wasn’t When IcameintoFehrenbachStudioswasangry. Myson’sgraduationportraithad . partofthereasonCabinetprojectwasdonewithphotographsinstead A GregoryHeislerphotoofNewYorkCityMayorEdwardI.KochmaywindupasKoch’s From itsearliestperiodofconceptioninthe19thcentury,photographydependedontwo SimplyLookingataBeautifulColorPhotograph New

York

Times

Sunday Founder ofthePolaroidCorporation Edwin H.Land(1909–1991) Reedsburg, Wisconsin–1980 Mrs. LloydKarstetter in photographer MerrettT.Smith From a1986interviewwith New YorkCity–1989 Photo “PDNews” bySusanRoman Kodak

Magazine

District

Studio , wasHeisler’sfirstassignment

News

Light my 4 3 fault!Weneverhada magazine 1 2 Chapter 1

This document originated at on June 6, 2003 under file name: most othertypes ofcolorphotographsalso graduallyfade the light,fastertheyfade. KodakEktacolorprintsand that fadewhenexposedtolight ondisplay.Thebrighter images formedofcyan,magenta, andyelloworganicdyes black-and-white photographs, mostcolorphotographshave 1800’s andearly1900’sthatare stillinexcellentcondition. cant numbersofblack-and-whitephotographsfromthelate years —orevenlonger.Museumcollectionshavesignifi- tors thathaveremainedingoodconditionfor50to100 people haveblack-and-whitephotographsoftheirances- destructing images,areanothermatteraltogether).Many 17, black-and-whiteRCprints,withtheirsometimesself- correctly processedfiber-baseprints;asdiscussedinChapter manent whenstoredinthedark(atleastthisistruewith prolonged exposuretolightandarealsoessentiallyper- than reflect,light.Thesesilverimagesareunaffectedby mentary structureofthetinygrainssilverabsorb,rather tallic silver—theimagesappearblackbecausefila- of Black-and-WhitePhotographs and PrintsversustheMetallicSilverImages The OrganicDyeImagesofColorFilms Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Unlike theusuallyverylong-lasting silverimagesof Black-and-white photographshaveimagesmadeofme- manence inthecolorphotographyfield. points intheoften-troubledhistoryofper- period wasoneofthemostmemorablelow highly unstableEktacolorRCpaperofthis customers askingforreplacements.The were broughtbacktothestudiobyangry prints madebetween1969and1976that of thefadedandcrackedKodakEktacolor Studios inReedsburg,Wisconsinwithsome nice andRobertFehrenbachof public alike.Shownherein1981areBer- granted byphotographersandthegeneral photography thathadlongbeentakenfor manent imagesprovidedbyblack-and-white resulted inthelossofessentiallyper- ally becameapparent,thechangetocolor motion picturefields.Unfortunately,asgradu- few segmentsofthestillphotographyand and isnowessentiallycompleteinallbuta began toproceedinearnestthe1960’s man Colormotionpicturefilmsin1950— color negativefilmin1942,andEast- transparency filmsin1935and1936,Koda- ductions ofKodachromeandAgfachrome got underwayratherslowlywiththeintro- photography tocolor—which The worldwideshiftfromblack-and-white book willchange. Furtherimprovementsin imagestability is certainthattheproductrecommendations giveninthis image fadingandstainingbecome moresophisticated—it are introduced—andasprocedures forpredictingcolor (reported inChapters5and 9). made availablebyAgfa,Fuji, Ilford,Kodak,Konica,and3M nonetheless vitallyimportantaccelerateddarkfadingdata Chapters 2through6—togetherwithoftenincompletebut author overaperiodofmorethan15yearsandreported in accelerated darkfading/stainingtests—conductedbythis are basedonextensiveacceleratedlightfadingtestsand available atthetimethisbookwenttopressinlate1992, recommendations, whichcovercolormaterialsthatwere color materialsaregiveninthenextfourpages.These midity instorageacceleratethedeteriorationprocess. cessing iscompleted.Hightemperaturesand/orhighhu- but inexorableimagedeteriorationbeginsthemomentpro- and formyellowishstainwhenstoredinthedark;slow and ColorPrintMaterials The Longest-LastingColorFilms As existingproductsareimproved andnewproducts Recommendations forthemoststable,longest-lasting (text continued on page7..) Chapter 1

January 1981 2

This document originated at on June 6, 2003 under file name: 3 The PermanenceandCareofColorPhotographs Kodachrome, andAgfachrome). transparency filmsofagiventype(e.g.,Fujichrome,Ektachrome, stability differencesbetweenthe“amateur”and“professional” tion oforiginals,Fujichromeisthebetterchoice.Thereareno must beprojected,andtimeormoneypreventsroutineduplica- choice ifprojectioncanbeavoided,butoriginalssometimes slide filmonthemarket.Kodachromeisaverygood Kodachrome hastheworstprojector-fadingstabilityofanycolor during prolongedstorageinthedark.Unfortunately,however, that remainscompletelyfreefromyellowishstainformation coupler processingmethod,istheonlycolortransparencyfilm color film,andKodachrome,asaresultofitsunique,external- tion thanKodachromefilm,Velvia’sprincipalcompetitor. stability thanEktachrome.Velvialastsfarlongerunderprojec- projected, butVelvianeverthelesshasbetterprojector-fading 1990, isnotquiteasstabletheotherFujichromefilmswhen sharp, extremelyfine-grain50-speedfilmintroducedbyFujiin Ektachrome films.FujichromeVelviaProfessionalfilm,avery Fujichrome’s stabilityindarkstorageisroughlyequaltothatof yellowish stainthatoccursovertimeinstorageisconsidered, jected twiceaslongEktachromeslides.However,when for agivenamountoffading,Fujichromeslidescanbepro- tance tofadingduringprojectionisthebestofallslidefilms— chrome filmsareclearlythebestchoice.Fujichrome’sresis- Longest-Lasting ifProjectionCanBeAvoided: Longest-Lasting Overall: Color TransparencyFilms: Longest-Lasting Low Speed(ISO100): Very LowSpeed(ISO25–50): Color NegativeFilms: Longest-Lasting Fujicolor RealaFilm Fujicolor SuperG100Film 3M ScotchColor100Film Kodak Ektar100Film Konica ColorImpresa50ProfessionalFilm Kodak Ektar25ProfessionalFilm Kodak Ektar25Film Kodachrome “Amateur”Films Kodachrome ProfessionalFilms Fujichrome CDUDuplicatingFilms Fujichrome “Amateur”Films Fujichrome VelviaProfessionalFilm Fujichrome ProfessionalFilms Kodachrome hasthebestdarkstoragedyestabilityofany For aphotographerwhoprefersProcessE-6films,Fuji- (ISO 100) Recommendations (ISO 50) very poordarkfadingstability. 200 film).Pre-1990versionsofthese 3MandPolaroidfilmshad pany forPolaroidandisessentially identicalto3MScotchColor late 1990(PolaroidOneFilmis made inItalybythe3MCom- mended herearethe“improved stability”typesintroducedin teur market. are daylightcolornegativefilmsintendedforthegeneralama- and thepleasinglylower-contrastKonicaSuperSR200Film Film, 3MScotchColor200PolaroidOneFilm(ISO200), Vericolor IIProfessionalFilmTypeL.FujicolorSuperG200 than Kodak’sequivalenttungsten-balancedcolor-negativefilm, commercial photography;thisfilmisconsiderablymorestable balanced colornegativefilmgenerallyusedforproductand raphy. Fujicolor160ProfessionalFilmTypeLisatungsten- tended primarilyforprofessionalportraitandweddingphotog- tronic-flash filmofmoderatecontrastandcolorsaturationin- Kodak VericolorIIIProfessionalFilmTypeSisadaylight/elec- and AgfacolorXRS1000ProfessionalFilm. products, suchasKodakVericolorIIProfessionalFilmTypeL other advantage,itisbesttostayawayfromtheveryworst course, decidetoselectafilmwithlowerstabilitygainsome each typehavebeenlisted.Whileaphotographermay,of tions, andthefilmsjudgedtobemoststableproductsof speed-range groupsarefilmsintendedforavarietyofapplica- High Speed(ISO400): Medium Speed(ISO160–200): Very HighSpeed(ISO1000–3200): 3M ScotchColor400Film Fujicolor SuperG400Film Fujicolor HG400ProfessionalFilm Kodak GoldPlus400Film Kodak EktapressGold400Film Kodak Vericolor400ProfessionalFilm Polaroid OneFilmColorPrintFilm(ISO200) 3M ScotchColor200Film Konica ColorSuperSR200ProfessionalFilm Konica ColorSuperSR200Film Fujicolor SuperG200Film Fujicolor 160ProfessionalFilmTypeL Kodak VericolorIIIProfessionalFilmTypeS Fujicolor SuperHG1600Film Kodak Gold1600Film Kodak EktapressGold1600Film Kodak Ektar1000Film The 3MScotchColor200and Polaroid OneFilmrecom- In theMediumSpeedgroup(ISO160–200),forexample, Among thecolornegativefilmsincludedinfiveISO in EuropeandAsia) (called EktacolorGold400ProfessionalFilm (made forPolaroidbythe3MCompanyinItaly) in EuropeandAsia) (called EktacolorGold160ProfessionalFilm Chapter 1

This document originated at on June 6, 2003 under file name: raphy —marketswherelong-lastingcolorprintsareamust. for portrait,wedding,commercialdisplay,andfineartphotog- Portrait Paper(tentativename),areparticularlyrecommended and itslower-contrastcounterpart,FujicolorSFA3Professional also outstanding.FujicolorProfessionalPaperSFA3TypeC reproduction, andimagesharpnessoftheFujicolorpapersare than fourtimeslonger made. Ondisplay,theFujicolorSFA3paperswilllast are withoutquestionthefinestchromogeniccolorpapersever very lowrateofyellowishstainformationindarkstorage,these rior lightfadinganddarkstability,combinedwiththeir papers. Infact,consideringtheFujicolorpapers’greatlysupe- best ofthefast-processingRA-4compatiblecolornegative 1993, werenotavailableatthetimethisbookwenttopress). Vericolor CommercialInternegativeFilm,tobeintroducedin Vericolor Internegative6011and4114films(stabilitydatafor IT-N hasconsiderablybetterdarkfadingstabilitythanKodak internegatives fromtransparencies.FujicolorInternegativeFilm the stabilityofonefilmwithanother. able datadidnotineverycasepermitaprecisecomparisonof test conditionsandmethodsofevaluation,however,theavail- time thisbookwenttopressin1992.Becauseofdifferences dations werebasedonthebestinformationavailableat dark fadingtestsconductedbythisauthor.Theserecommen- various manufacturersandonsingle-temperatureaccelerated are basedonArrheniusacceleratedtestdatasuppliedbythe Longest-Lasting Process EP-2 CompatiblePapers: Second Longest-Lasting(RA-4CompatiblePapers): Longest-Lasting Overall(RA-4CompatiblePapers): for PrintingColorNegatives: Longest-Lasting Papers Color InternegativeFilm: Longest-Lasting Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Konica ColorPaperTypeSR (SG) Konica ColorPaperProfessional TypeEX Konica ColorPaperTypeSR Konica ColorQASuperGlossyPrintMaterialTypeA3 Konica ColorQAPaperProfessionalTypeX2 Konica ColorQAPaperTypeA3 Konica ColorQAPaperTypeA5 Fujiflex SFA3Super-GlossPrintingMaterial Fujicolor ProfessionalPaperSFA3TypeC Fujicolor SFA3ProfessionalPortraitPaper Fujicolor SupremePaperSFA3 Fujicolor PaperSuperFAType3 Fujicolor InternegativeFilmIT-N Introduced in1992,FujicolorSFA3papersare Color internegativefilmsareusedbylabsformakingcolor The recommendationsforcolornegativefilmsgivenhere than Ektacolorpapers.Thecolor,tone byfar more the photofinishers fortheir35-centprints. “amateur” paperusedbyminilabsandlarge-volume,low-cost print maysellfor$1,000ormore,andEktacolorEdgepaper,an in theupscaleportraitandweddingfieldwhereasinglelarge between EktacolorPortraIIPaper,a“professional”paperused tics —therearenosignificantlightfadingstabilitydifferences papers haveessentiallythesameimagestabilitycharacteris- to amateurs.Forexample,allcurrentKodakEktacolorRA-4 professional marketsandthosesoldtophotofinisherscatering significant stabilitydifferencesbetweenpapersintendedfor Plus orEktacolorProfessionalpapers. term lightfadinganddarkstabilitythanKodakEktacolor Type EX,arerecommended.Thesepapershavebetterlong- lower-contrast counterpart,KonicaColorProfessionalPaper EP-2 compatiblepapers,KonicaColorPaperTypeSRandits large photofinishingandcommerciallabs.AmongtheProcess the endof1991RA-4papershadbecomestandardinmost had largelyreplacedtheolderEP-2papersinminilabs,andby as stableFujicolorSFA3color negativepaper. light ondisplay,neitherFujichrome Type35norIlfochromeis lect Paper.Itshouldbenoted, however, thatwhenexposedto Radiance Paperandpolyester-base EktachromeRadianceSe- lower ratesofyellowishstainformation) thanKodakEktachrome much betterlightfadinganddark storagestability(withmuch Paper Type35isbyfarthebestchoice;paperhas successful productintheportrait,wedding,andfineartfields. Such anew“Ilfocolor”printmaterialwouldbefabulously show inGermany,but,unfortunately,itwasnevermarketed. named CibacolorwasactuallyshownatthePhotokinatrade color negativeversionofCibachrome(nowcalledIlfochrome) had thetechnologytoproducesuchamaterial—in1963 light fadingstability)forcolornegativeusers.Ilfordhaslong offer anegative-printingversionofIlfochrome(withimproved and generallyyellowish-stain-pronechromogenicprocesses. dye (silverdye-bleach)systemcomparedwiththelessstable Here weseethegreatadvantageofIlfochromepreformed should lastmuchlongerthanmostblack-and-whitephotographs. normal storageconditions,Ilfochromepolyester-baseprints to-process colorprintmaterials.Whenkeptinthedark property makesIlfochromeuniqueamongconventional,easy- stain levels)innormal,room-temperaturedarkstorage;this can beconsideredabsolutelypermanent(withessentiallyzero Printing ColorTransparencies: Longest-Lasting Papersfor Longest-Lasting ProcessR-3CompatiblePapers: Longest-Lasting Overall: Fujichrome Super-GlossPrintingMaterial Fujichrome PaperType35-H Fujichrome PaperType35 Ilford IlfochromeRapidprintmaterials Ilford IlfochromeClassicprintmaterials In agivenmanufacturer’slineofcolorpapers,thereareno By thebeginningof1990,ProcessRA-4compatiblepapers Among ProcessR-3compatibleprintmaterials,Fujichrome It wouldbeamajoradvanceforphotographyifIlford Although subjecttolightfading,IlfordIlfochromeprints Ilfochrome [formerlycalledCibachrome]arerecommended) (for beststability,high-gloss,polyester-baseversionsof ( Recommendations continuedonnext page..) Chapter 1 4

This document originated at on June 6, 2003 under file name: 5 The PermanenceandCareofColorPhotographs Samples werenotavailablefor testingatthetimethisbook duced withahigh-stabilityversion oftheAgfaProofprocess. 1993 bytheCalifornia-basedEverColor Corporation,arepro- extraordinary lightfadingstability. with organicdyes,theprintsuse colorpigmentsthathavetruly Unlike conventionalcolorprintsinwhichtheimageisformed field —materialsagainstwhichallothersmustbecompared. prints. ThesearetheRollsRoyce’sofcolorphotography “archivally” processedandtonedfiber-baseblack-and-white last aslong(orquitepossiblyevenlongerthan)thebest or morewithoutsignificantfadingstaining.Theprintsshould that innormaldisplaysituationstheprintsshouldlast500years selves. Acceleratedtestdatafromprototypematerialsindicate and PolaroidPermanent-ColorPrintsareinaclassbythem- proved-stability yellowpigmenttobeintroducedinearly1993) ries —UltraStablePermanentColorPrints(madewiththeim- last Ilfochromedisplaymaterialsinbacklitapplications. whether ornotFujitransandFujiclearSFA3materialswillout- Duraclear RA,andEktatransRA.Onlylong-termtestswillshow on theorderoffourtimesaslongKodakDuratransRA, display applications,FujitransandFujiclearwillprobablylast ogy usedinFujicolorSFA3papers,anddemandingbacklit be introducedin1993,willemploythesameemulsiontechnol- chromogenic materialssuchasDuratransRA. displays, andthisgivesIlfochromeanaddedadvantageover ately heated,low-humidityconditionsassociatedwithbacklit materials hadreducedratesoflightfadingunderthemoder- meaningful comparisontobemade.Intests,IlfordIlfochrome Ektacolor SupraandotherRA-4papers)allowsa and EktatransRAdisplaymaterialshavethesamedyesetas sponding reflection-printmaterials(e.g.,KodakDuratransRA that theseproductshavethesamedyesetsastheircorre- with displaymaterials(theywillbetestedinthefuture),fact Longest-Lasting RA-4CompatibleMaterials: Longest-Lasting Overall: Transparent ColorDisplayMaterials: Longest-Lasting Translucentand Color PhotographsofAnyType: Longest-Lasting, MostStable Fujiclear SFA3DisplayMaterial Fujitrans SFA3DisplayMaterial Ilford IlfochromeDisplayFilm Ilford IlfochromeDisplayFilm Fuji-Inax PhotoceraCeramicColorPhotographs EverColor PigmentColorPrints Polaroid Permanent-ColorPrints UltraStable PermanentColorPrints EverColor PigmentColorPrints, tobeintroducedinearly On long-termdisplay—perhapsgoingonevenforcentu- Fujitrans andFujiclearSFA3Displaymaterials,expectedto Although thisauthordidnotconductcomparativetests (translucent base) (transparent base) Recommendations (transparent base) (translucent base) (tentative) (tentative) (tentative) ers andtheTektronixPhaserII called dye-sublimationprinters,theKodakXL 7700-series print- Included are“photorealistic”thermaldyetransferprinters(also producing colorprints(“hardcopy”)fromdigitalimagesources. Electronic StillCameras,andVideoSources: from Computers,CD-ROM’s,PhotoCD’s, Systems forPrintingDigitalColorImages unaffected bylight,rain,seawater,andfire. resulting “photographicceramictiles”areclaimedbyFujitobe on ceramicplateswhicharefiredathightemperatures.The available onlyinJapan,useinorganicpigmentstoformimages puter-generated images,PhotoCD’s,andotherdigitalsources. color transparencies,negatives,existingprints,com- separation negativesandmaybeusedtomakeprintsfrom pending theresultsofstabilitytestswithproductionmaterials. Permanent Color,andEverColorprintsarelistedas“tentative,” will haveverygoodlightfadinganddarkstoragestability. went topressin1992,butitisexpectedthatEverColorprints output wasevaluated,thefollowingdeserveparticularnote: arts proofingfield;however,amongthoseprintingdeviceswhose important andrapidlyexpanding“colorhardcopy”graphic stability ofallthemanydigitalcolorprintingmaterialsin “photorealistic” —colorprintsinlargesizesandatlowcost. System) provideamethodformakingpleasing—ifnotquite length, theprintersareusedinCactusDigitalColorPrinting (making printsupto54incheswideby15feetormorein such astheXerox/Versatec8900-seriesdigitalplotter/printers with digitalinterfaces).Liquid-tonerelectrostaticcolorprinters color electrophotographicplain-papercopier/printersequipped printers (e.g.,theCanonColorLaserCopier500andother publication layouts—aredigitalelectrophotographiccolorcopier/ theless adequateformanybusinessapplications,proofs,and Printers useauniquephotographic-thermal-transferprocess. (stability datanotavailable).Fuji(Fujix)PictrographyDigital is adigitalprinterusingspecialEP-2colorpapermadeby3M compatible colornegativepapers).The3MColorLaserImager can printhigh-qualitydigitalimagesonstandardprocessRA-4 Systems, andKodakLVTDigitalImageRecorders,allofwhich (e.g., MetrumFotoPrintDigitalPrinters,AgfaPrinting digital printersusingtraditionalcolorphotographicmaterials tic” inkjetprinters(i.e.,IrisGraphicscolorprinters);and Kodak ColorEdgecopier/printers Canon ColorLasercopier/printers Cactus DigitalColorPrinters Fuji PictrographyDigitalPrinters Kodak XL7700-seriesDigital Printers Ilford DigitalImagers Kodak LVTDigitalImageRecorders Bremson LaserColorRecorders Agfa DigitalPrintingSystems Metrum FotoPrintDigitalPrinters An ever-increasingnumberofmethodsareavailablefor Fuji-Inax PhotoceraCeramiccolorphotographs,whichare All threeoftheseprocessesemploydigitallyproduced The recommendationsgivenhereforUltraStable,Polaroid This authorhasnothadanopportunitytotesttheimage Producing lower-qualitycolorimages—whicharenever-

(continued frompreviouspage) ( Ilfochrome colorprints SD areexamples);“photorealis- (electrostatic color“prints”) (RA-4 colorprints) ( (Pictrography prints) (plain-paper “prints”) RA-4 colorprints (RA-4 colorprints) (plain-paper “prints”) ( RA-4 colorprints (Ektatherm prints) ) Chapter 1 ) )

This document originated at on June 6, 2003 under file name: satisfied. Atthetimethisbook went topressin1992,noneof storage medium,allthreeofthese considerationsmustbe from now.TorelyonthePhoto CDasalong-termimage ing systemsthatwillbeinuse 25,50or100years(ormore) available forthevastlydifferent computer andelectronicimag- ware fordecompressingandreading PhotoCDimageswillbe The thirdconsiderationiswhatassurancetherethatsoft- will stillbeavailablein25,50,or100years(ormore)fromnow. ance thereisthatcompatiblehardwareforreadingPhotoCD’s the PhotoCDitself.Thesecondconsiderationiswhatassur- the firstconsiderationislong-termstability(readability)of an exampleofalaser-readopticaldiskimagestoragemedium, three distinctconsiderations.TousetheKodakPhotoCDas storage ofphotographicallyoriginatedcolorimagesinvolves digital opticaldiskandmagneticsystemsforthelong-term not recommendedforotherthanshort-termapplications. prints availableatthetimethisbookwenttopressin1992were (“Image” inEurope),Polaroid600Plus,andSX-70 light fadingstability,Polaroid“Vision95”prints,SpectraHD in normal,room-temperaturedarkstorage,andbecauseofpoor can bemade,theprintsshoulddisplayedwithcaution. images withnousablenegativesfromwhichadditionalprints Fujicolor andEktacolor;becausePolacolorprintsareunique ing stabilitycomparedwithchromogeniccolorpaperssuchas increased stabilitywouldbeintroducedbeforetheendof1993. pany), themakerofprinters,hassaidthatinksgreatly was verypoor.However,IrisGraphics,Inc.(aScitexcom- book wenttopressin1992,thelightfadingstabilityofIrisprints large-format colorimagesfromdigitalsources.Atthetimethis digital printsaretentative,pendingcompletionofstabilitytests. Photo CDsystemwasintroducedinthesummerof1992. type ofprintavailablefromKodakPhotoCDimageswhenthe the UnitedStates,KodakEktathermprintswereinitiallyonly that ofprintsmadewithconventionalcolornegativepapers.In other typesofthermaldyetransfercolorprintscanapproach as goodorbetterthanprintsexposedwithanopticalenlarger. devices areinexpensiveandtheiroverallimagequalitycanbe produce thelongest-lastingprints;colorprintsmadewiththese compatible FujicolorSFA3colorpapersorIlfochromematerials realistic” colorprintsfromdigitalsources,printersusingRA-4 of PhotographicallyOriginatedImages: Recommended fortheLong-TermPreservation and Magnetic-Media-BasedSystemsAreNot Photo CD’s,CD-ROM’s,andOtherOpticalDisk Longest-Lasting Overall: “Instant” ColorPrints: Longest-Lasting Polaroid Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Polaroid PolacolorER,64T,100,andPro100Prints The suitability ofKodakPhotoCD’sandothertypes The Because ofexcessiveyellowishstainthatoccursovertime Polaroid “peel-apart”instantprintshaveinferiorlightfad- Iris inkjetprintersarecapableofproducinghigh-quality, The recommendationsforFujiPictrographyprintsandCactus The overallimagequalityofKodakEktathermprintsand Of theavailablemethodsformakinghigh-quality,“photo- silver-image black-and-whitemicrofilmsonpolyesterbase. tions, thesefilmslikelywilloutlastconventionallyprocessed fact, thatthisauthorbelievesundernormalstoragecondi- image stabilityofIlfochromeMicrographicfilmsissogood,in dark storagestabilityofIlfochromeMicrographicfilms.The man ColorandFujicolordonotevenapproachtheoutstanding Kodachrome filmandmotionpictureprintfilmssuchasEast- als suitableforlong-termmuseumandarchiveapplications. crographic filmsaretheonlycolormicrofilm/microfichemateri- normal roomtemperature,polyester-baseIlfordIlfochromeMi- have poorimagestability,andtheir useshouldbeavoided. conditions. AgfaCP1andCP2 color motionpictureprintfilms advantageous whenfilmsmust bestoredinlessthanideal greatly affectedbyhighhumidities, andthiscanbeparticularly indicate thattheFujicolormotion pictureprintfilmsarenot ter 9forfurtherinformation). Fuji’s acceleratedagingdata Eastman KodakCompany,andAgfa-GevaertAG(refertoChap- data suppliedbythemanufacturers:FujiPhotoFilmCo.,Ltd., and printfilmsarebasedonArrheniusaccelerateddarkfading and MicroficheProducts: Longest-Lasting ColorMicrofilm preserved forlong-termimagepreservation. of colorimages,photographicoriginalsmustbecarefully — havetremendousutilityfortherapidaccessanddistribution other opticaldiskandmagneticdigitalimagestoragesystems 1980’s?). AlthoughPhotoCD’sandotherCD-ROM’s— now (recalltheSonyBetamaxcamcordersandVCR’sof able thattoday’sPhotoCD’swillbeusableeven25yearsfrom media inthecomputerandvideoindustriesmakeitquestion- consequent obsolescenceofhardware,software,anddatastorage them was.Thecontinuingrapidtechnologicalchangeandthe Longest-Lasting ColorPrintFilms: Longest-Lasting ColorIntermediateFilm: Longest-Lasting ColorNegativeFilms: Negative andColorPrintFilms: Longest-Lasting MotionPictureColor Ilford IlfochromeMicrographicFilms Fujicolor PositiveFilmLP,8816and8826 Fujicolor IntermediateFilm,8213and8223 Eastman EXR500TColorNegativeFilm5296and7296 Eastman ColorNegativeFilm7291 Fujicolor NegativeFilmF-500,8570and8670 Fujicolor NegativeFilmF-250D,8560and8660 Fujicolor NegativeFilmF-250,8550and8650 Fujicolor NegativeFilmF-125,8530and8630 Fujicolor NegativeFilmF-64D,8520and8620 Fujicolor NegativeFilmF-64,8510and8610 Because theyareessentiallypermanentindarkstorageat These recommendationsforcolormotionpicturenegative Chapter 1 6

This document originated at on June 6, 2003 under file name: 7 color filmand paper tohelpprotectthemselves fromupset cluded afadingwarrantydisclaimer oneverypackageof too late. after aproductispurchased. Andbythen,ofcourse,itis hidden characteristic—one that manifestsitselfonlyyears the generalpublicalike,image stabilityhasremaineda were forthemostpartkeptsecret.Forphotographersand papers. Inyearspast,however,theresultsofthesetests extensive imagestabilitytestswiththeircolorfilmsand color films—themajormanufacturershaveconducted color-Neu transparencyfilmin1936—thefirstmodern nothing abouthowlongitwilllast. Looking ataprocessedcolorfilmorprintwilltellyou mation abouttheimagestabilitycharacteristicsoffilm. Missing, inmostcases,hasbeeneventhebasicinfor- tral sensitivitycurves,andspectraldyedensitycurves. lation transferfunctions(MTF),characteristiccurves,spec- ing RMSgranularityvalues,resolvingpowermodu- routinely publishimage-qualitydatafortheirfilms,includ- Indeed, Kodak,Fuji,andtheothermajormanufacturers with theresults,heorshecantryadifferentproduct. ately afterprocessing,andifthephotographerisnotpleased duction characteristicsofafilmcanbeexaminedimmedi- might lastlonger. film —madebythesameoradifferentmanufacturer take place.Thephotographerhasnoideawhetheranother cessed colorimageswilllastbeforenoticeablechanges film, noinformationisprovidedabouthowlongthepro- situation, somematerialswilllastfarlongerthanothers. among currentproducts—foranygivenstorageordisplay fading anddarkstoragestabilitypropertiesdiffergreatly every colorfilmorprintmaterial.Theinherentlight facturer. Thesearefundamentalpropertiesofeachand mation thathavebeenbuiltintotheproductbyitsmanu- mine theusefullifeofacolorfilmorprintare inherent Staining CharacteristicsofaColorMaterial The tion thathasbeenpublishedpreviously. presented inthisbookhelpfillmajorgapstheinforma- fading ofcolorslidesdeserveparticularnote,andthedata stability ofcolorprintmaterialsandtheprojector-caused body ofinformation.Theassessmentsthelightfading to makesenseoutofacomplexandconstantlychanging concerted effortoveraperiodofmanyyearsbythisauthor and productrecommendationspresentedhererepresenta from thatreportedinthisbook,theimage-lifepredictions tions thatonemightencounterintherealworldmaydiffer cessed, stored,anddisplayedinthewidevarietyofcondi- better productinthefuture. book wenttopresswillinevitablybeeclipsedbyaneven was rated“longest-lasting”initscategoryatthetimethis trying hardtooutdoeachother,acolorfilmorpaperthat will bemade,andwithFuji,Kodak,Konica,Agfaall The PermanenceandCareofColorPhotographs Most manufacturersofcolor materialshavelongin- Since theintroductionofKodachromein1935andAgfa- The sharpness,graininess,color,andtone-scalerepro- At present,whenaphotographerbuysrollofcolor The mostimportantfactorsthatwill,ultimately,deter- While therelativeperformanceoffilmsandpaperspro- Inherent dyestabilityandresistancetoyellowishstainfor- DyeStabilityand Yellowish turers publishforeachoftheircolorfilmsandpapers. nical datasheetsthatKodak,Fuji,andtheothermanufac- stability informationwillberoutinelyincludedinthetech- use. Itishoped,however,thatinthefuturebasicimage the longevityofcolorfilmsandprintmaterialsthey only informationsuppliedtothegeneralpublicconcerning acceptable. and filmshavefadedtothepointthattheyarenolonger customers oncetheinevitablehasoccurredandcolorprints mid-1980’s. Ilford, andPolaroid—has greatly intensifiedsincethe color filmsandpapers—Kodak, Fuji,Agfa,Konica,3M, tion amongtheworld’sseven principalmanufacturersof nates thephotographicindustry asitoncedid.Competi- photographic manufacturer, thecompanynolongerdomi- enues inexcessof$20billion, isstilltheworld’slargest the customerprefer? essentially identicalinappearance—whichprintwould color paper—andbothprintscostthesamewere times longerthanaprintmadeonthe“leadingbrand” print onacolorpaperthatwhendisplayedwouldlastfour general public.Ifaportraitstudioofferscustomer a or paperoveralessstableone.Thesameistrueofthe almost everyphotographerwillchoosealonger-lastingfilm and soforth). fine-grain images;colornegativeorreversalpaper; transparency; high-speedfilmorslow-speedwithsharp, photographer’s requirements(e.g.,colornegativeor products availablefromthosethatotherwisemeetthe lar purpose,itisonlyprudenttochoosethemoststable when selectingacolorfilmorprintmaterialforparticu- is NoLongertheUnchallengedLeader Fundamental Restructuring,EastmanKodak With thePhotographyIndustryUndergoinga or ColorPaper a ColorFilm Consideration WhenSelecting Image PermanenceIsanImportant For themostpart,abovedisclaimershavebeen Agfa includesthefollowingonitscolorfilmboxes: Similarly, Fujistatesonitspackages: The wordingofKodak’sdisclaimeristypical: Although theEastmanKodakCompany,with1992rev- Other factorsbeingequal—andifthereisachoice — Although aphotographermustconsidermanyfactors wise warrantedagainst,anychangeincolor. this productwillnotbereplacedfor,orother- any changeincolor. is nowarrantyagainst,oranyliabilityfor, change isexpressedorimplied. warranty againstorliabilityforanycolor Since colordyesmaychangeovertime, As allcolordyesmayintimechange,there Since colordyesmaychangeintime,no Chapter 1

This document originated at on June 6, 2003 under file name: the pastdecade beenreceivingincreased attention byal- that itisakeyaspectofoverall productquality—hasin accelerated dramaticallyduring thepastfewyears. ment efforts,andtherateofnew productintroductionshas turers havesharplyincreased theirresearchanddevelop- marketplace. Becauseofthese pressures,themanufac- respond totheoftenunclearneedsofarapidlychanging fighting eachotherformarketshare,butarealsotrying to the otherphotographicmanufacturersarenownotonly into astateofunprecedentedupheaval.Kodak,Fuji,and from outsidethetraditionalphotographyindustry. color imagingfieldhasfinallyopeneduptocompetitors as manywaystomakecolorprintstherearenow.The In theentirehistoryofphotography,therehaveneverbeen stable colorprintswillbecomeavailableatreasonablecost. transfer printing—offerthehopethatinfuturehighly liquid-toner electrophotographicprinting,andthermaldye from digitalsources—includinginkjetprinting,dry-and now-ubiquitous amateurcamcorder. ENG (electronicnewsgathering)videocamerasandthe the spanofonlyafewyearsbyintroductionportable once hugetelevisionnewsfilmandhomemoviemarketsin photography industryisthecompletedestructionof confusion anduncertaintyinthephotographyindustry. silver-halide-based photography,haveallcontributedto tronic imagingsystemsthatincreasinglyaredisplacing electronic documentmanagementsystems,andotherelec- tems, desktoppublishing,electronicbiomedicalimaging, the rapidadvancesintelevision,computerimagingsys- threats tothetraditionalphotographycompaniesposedby Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Image permanence—andthe long-overduerecognition These forceshaveputtheentirephotographyindustry New technologiesformakinghigh-qualitycolorprints A primeexampleofthechangestakingplacein The increasedworldwidecompetition,togetherwiththe tives aremorethan competitors’ papers. respect whencomparedwiththeimagestabilityofallits press inlate1992,Kodak’spapersfellshortalmostevery weak areaforKodak,andatthetimethisbookwentto the Kodakpapers.Thestabilityofcolorpapershasbeena lower ratesofobjectionableyellowishstainformationthan Fujicolor papersalsohavebetterdyestabilityandmuch pers (seeChapter3and5).Indarkstorage,the fading stabilitythanKodak’scorrespondingEktacolorpa- color papersnowhavefarbetterlightfadinganddark ments inthestabilityofitscolornegativepapers,andFuji- competitive issueinthemarketplace. rate objective,colorstabilityhasfinallybecomeamajor ing ever-improvingimagepermanenceaprimarycorpo- ers FujiPhotoFilmCo.,Ltd.andKonicaCorporationmak- most everymanufacturer.WiththeJapanesemanufactur- process RA-4and EP-2compatiblepapers.) Kodak intheoverallimage stabilityofitsKonicaColor to press,Konicacontinued to maintainsuperiorityover months earlierinApril1984, and atthetimethisbookwent in itsKonicaColorTypeSR colornegativepaperseveral in August1984. paper wastheintroductionofamoredark-stablecyandye vance madebyKodakintheimagestabilityofEktacolor that periodofmorethan20years,theonlysignificantad- 37 RCPaperwasintroducedin1971(seeChapter3).In papers hasseenalmostnoimprovementsinceEktacolor have revealedthatthelightfadingstabilityofEktacolor available atthetimethisbookwenttopressinlate1992. Portra IIPaperandtheotherEktacolorpapersthatwere On display,FujicolorSFA3papersforprintingcolornega- In recentyears,Fujihasachievedsubstantialimprove- (Konica hadintroducedanimproved-stability cyandye In fact,asshownabovein four

times Figure 1.1

more Ektacolor PortraIIPaper). rent Ektacolorpapers(e.g., four timeslonger SFA3 paperslastmorethan light ondisplay,Fujicolor 1971. Whenexposedto more than20yearsagoin of Ektacolor37RCPaper bility sincetheintroduction ments inlightfadingsta- shown negligibleimprove- on theotherhand,have Kodak’s Ektacolorpapers, ing tothisauthor’stests. more than50yearsaccord- estimated displaylifeof or SFA3papershavingan bility, withcurrentFujicol- creasing lightfadingsta- have exhibitedsteadilyin- RA-4 compatiblepapers tions ofFujicolorEP-2and 1980, successivegenera- Figure 1.1

stable , thisauthor’stests thanEktacolor Beginningin Chapter 1 thancur- 8

This document originated at on June 6, 2003 under file name: 9 caused byvisiblelight—and ing thatoccurswiththesepapersis contains UV-radiation.Mostofthefad- whether ornottheilluminationsource makes littledifferenceinfadingrates and inmostindoordisplaysituationsit rate UVabsorbingemulsionovercoats, and colorreversalpapersallincorpo- ca Color,andAgfacolorcolornegative life ofonlyalittleover12years. other hand,haveapredicteddisplay tions. CurrentEktacolorprints,onthe “home andcommercial”displaycondi- prints is54years,basedonthisauthor’s predicted displaylifeforFujicolorSFA3 covered withglassduringthetests. for 12hoursaday).Theprintswere the listedyearsofdisplay(at450lux which theprintswouldreceiveduring light exposuresequivalenttothose conducted at21.5kluxforaccumulated erated fluorescentlightfadingtests clearly evidentintheseillustrations. SFA3 papers,introducedin1992,are in thelightfadingstabilityofFujicolor Ektacolor papers. until 1986,issimilartothat of current Ektacolor 74RCpaper,inuse from1977 Material). Thelightfadingstability of color UltraPaper,andDuraflex RAPrint per, EktacolorPortraIIPaper, Ekta- Royal IIPaper,EktacolorSupra Pa- cluded EktacolorEdgePaper, fading characteristics(thesepapersin- late 1992hadessentiallyidenticallight at thetimethisbookwenttopressin match forFujicolorTypeCpaper. pers, waschosenasthebestcontrast Kodak’s Ektacolor“professional”pa- per. Suprapaper,whichisoneof made onKodakEktacolorSupraPa- Type C,andtheEktacolorprintswere on FujicolorSFA3ProfessionalPaper bulb fluorescentlampsispresent. impaired whenUVradiationfrombare- the stabilityoftheseprintscanbegreatly UV-absorbing overcoats,however,and Ektatherm digitalprintsdonothave Kodak DyeTransferprints,and any benefit.IlfordIlfochromeprints, UF-3 orotherUVfiltersisoflittleif UV radiation.FramingwithPlexiglas Kodak EktacolorPapers Fujicolor SFA3Papersand Comparative LightFadingof The PermanenceandCareofColorPhotographs Current Ektacolor,Fujicolor,Koni- As reportedinChapter3,thisauthor’s The printsweresubjectedtoaccel- The dramaticimprovementsmade All oftheEktacolorpapersavailable The Fujicolortestprintsweremade not by color paperavailableatendof1992. Unfaded printmadewithKodakEkta- SFA3 paperavailableatendof1992. Unfaded printmadewithFujicolor Ektacolor 74RC paper(1977–1986). Unfaded printmadewithKodak the equivalentof 10yearsofdisplay. Kodak Ektacolor74RCprint after equivalent of10yearsdisplay. Fujicolor SFA3colorprintafterthe equivalent of10yearsdisplay. Kodak Ektacolorprintafterthe 60% 9 b Chapter 1

This document originated at on June 6, 2003 under file name: Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? the equivalentof 15yearsofdisplay. Kodak Ektacolor74RCprint after equivalent of15yearsdisplay. Fujicolor SFA3colorprintafterthe equivalent of15yearsdisplay. Kodak Ektacolorprintafterthe the equivalentof 30yearsofdisplay. Kodak Ektacolor74RCprint after equivalent of30yearsdisplay. Fujicolor SFA3colorprintafterthe equivalent of30yearsdisplay. Kodak Ektacolorprintafterthe the equivalentof 50yearsofdisplay. Kodak Ektacolor74RCprint after equivalent of50yearsdisplay. Fujicolor SFA3colorprintafterthe equivalent of50yearsdisplay. Kodak Ektacolorprintafterthe Chapter 1

Wedding Photograph Max Brown 10

This document originated at on June 6, 2003 under file name: 11 trations. Inadditiontohavingbetter in 1992,isclearlyevidenttheseillus- of FujicolorSFA3papers,introduced dye and KodakEktacolorPapers of FujicolorSFA3Papers Yellowish StainingBehavior Comparative DarkFadingand ducted at144 celerated darkfading/stainingtestcon- problem thanisdyefadingitself. time indarkstorageisamoreserious robbing yellowishstainthatoccursover current chromogenicpapers,brilliance- late 1992.WithEktacolorandmostother at thetimethisbookwenttopressin Ektacolor papersthatwereavailable of color papersalsohavefarlowerrates proved thepaper’s overallstability.) stability cyandye,andthisgreatly im- first chromogenicpapertouse ahigh- Type SR,introducedin1984, wasthe dark storage.(KonicaPCColor Paper oped highlevelsofyellowish stainin addition, overtimethepapers devel- with verypoordarkfadingstability;in 1977 until1986,employedacyandye (1989–92) andotherEktacolorpapers. as thatofthepreviousPortrapaper behavior ofthepaperremainssame storage, butthepooryellowishstain somewhat betterdyestabilityindark Portra IIPaper,introducedin1992,has aflex RAPrintMaterial).Ektacolor Paper, EktacolorUltraandDur- color RoyalIIPaper,EktacolorSupra included EktacolorEdgePaper,Ekta- cal darkfading/stainingstability(these to pressin1992hadessentiallyidenti- pers availableatthetimethisbookwent tra IIPaper,alloftheEktacolorpa- match fortheFujicolorTypeCpaper. pers, waschosenasthebestcontrast of Kodak’sEktacolor“professional”pa- pra Paper.Suprapaper,whichisone were madewithKodakEktacolorSu- per TypeC,andtheEktacolorprints with FujicolorSFA3ProfessionalPa- facturers —arelistedinChapter5. nius testsconductedbythemajormanu- tions basedonmulti-temperatureArrhe- papers —and20%dyefadingpredic- parative darkstoragetestsforcolor this author’ssingle-temperaturecom- the numberofdayslisted.Resultsfrom The PermanenceandCareofColorPhotographs yellowish The superiordarkstoragestability The printsweresubjectedtoanac- Ektacolor 74RCpaper,inusefrom With theexceptionofEktacolorPor- The Fujicolortestprintsweremade

stability

indarkstorage,theFuji- stain ° F (62

formation ° C) and45%RHfor thanthe color paperavailableatendof1992. Unfaded printmadewithKodakEkta- SFA3 paperavailableatendof1992. Unfaded printmadewithFujicolor from 1977until 1986). Ektacolor 74RCpaper(available Unfaded printmadewithKodak in accelerateddarkfading/stainingtest. Kodak Ektacolorprintafter60days accelerated darkfading/stainingtest. Fujicolor SFA3printafter60daysin dark stainingtest. 60 daysinaccelerateddarkfading/ Kodak Ektacolor74RCprint after Chapter 1

This document originated at on June 6, 2003 under file name: Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? in accelerateddarkfading/stainingtest. Kodak Ektacolorprintafter120days accelerated darkfading/stainingtest. Fujicolor SFA3printafter120daysin dark stainingtest. 120 daysinaccelerateddarkfading/ Kodak Ektacolor74RCprint after in accelerateddarkfading/stainingtest. Kodak Ektacolorprintafter180days accelerated darkfading/stainingtest. Fujicolor SFA3printafter180daysin print notavailable. 180 daysinacceleratedtest—sample Kodak Ektacolor74RCprint after in accelerateddarkfading/stainingtest. Kodak Ektacolorprintafter240days accelerated darkfading/stainingtest. Fujicolor SFA3printafter240daysin dark stainingtest. 240 daysinaccelerateddarkfading/ Kodak Ektacolor74RCprint after Chapter 1

Wedding Photograph Max Brown 12

This document originated at on June 6, 2003 under file name: 13 both indarkstorageandwhenexposedtolightondisplay. chrome PaperType35isbyfarthemoststablematerial, are subjecttolightfading,however.) storage stability.(BothIlfochromeandDyeTransferprints expensive thanIlfochromeprints,alsohaveexcellentdark stability. KodakDyeTransferprints,whicharefarmore conventional colorprintcanevenapproachthislevelof ing orstainingwhenkeptinthedark;noothertypeof expected tolast500yearsormorewithoutnoticeablefad- which canbemadeonlyfromcolortransparencies,are temperature darkstorage.Polyester-baseIlfochromeprints, color printsthatareessentiallypermanentinnormal,room- Ilfochrome silverdye-bleachprintsaretheonlytypeof to PrintColorTransparencies Staining BehaviorofColorPapersUsed Comparative DarkFadingandYellowish The PermanenceandCareofColorPhotographs Among processR-3compatiblereversalpapers,Fuji- Among “easilyprocessed”colorprintmaterials,Ilford paper stilldevelops highlevelsofyellowishstain. improved dyestabilityindark storage, butovertimethe test. EktachromeRadiancepaper (1991—)hasgreatly after 6monthsintheaccelerated darkfading/staining Kodak Ektachrome22RCprint (initialtype:1984–90) the now-obsoleteEktachromeandFujichromepapersbelow. one-year testperiodwastwiceaslongthatusedwith almost nofadingandsufferedonlyslightstaining.The accelerated darkfading/stainingtest.Theprintshowed Kodak DyeTransferfiber-baseprintafteroneyearinthe test (theprintsaresubjecttolightfading,however). no detectablefadingorstainingatthecompletionof accelerated darkfading/stainingtest.Theprintshowed made onaglossypolyester-base,afteroneyearinthe Ilford CibachromeII(nowcalledIlfochromeClassic)print, ity comparedwith Ektachrome22paper. yellowish stainlevelandthemuch bettercyandyestabil- Paper Type35(1992—)hassimilar stability.Notethelow in theaccelerateddarkfading/staining test.Fujichrome Fujichrome PaperType34RCprint (1986–92)after6months were similarinappearancepriortoacceleratedaging. Classic). Printsshownbelowmadewithotherprocesses Unfaded IlfordCibachromeIIprint(nowcalledIlfochrome Chapter 1

Robert Hodierne – Vietnam (Hill 881 North), May 1967

This document originated at on June 6, 2003 under file name: Color materials,bothinventedbyCaliforniaphotographer tion onpage49)andprintsmadewithPolaroidPermanent- include UltraStablePermanentColorprints(seedescrip- with Fujicolor,Ektacolor,andmostothercolorprocesses. ments insteadofthefarlesslight-stableorganicdyesused is toformthecolorimageswithhigh-stabilitypig- graphs thatcansafelybedisplayedforhundredsofyears May HaveaDisplayLifeofMoreThan500Years UltraStable andOtherPigmentColorPrints Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? properly adjustedfortheprocess. to maketheseparationshadnotbeen because thedigitallaserscannerused early prototypeprintisexaggerated The colorofthepinkdressinthis Polaroid Permanent-Colormaterials. Unfaded pigmentprintmadewith in 1992havesimilar imagestability. able atthetimethisbookwentpress Process RA-4Ektacolorpapersavail- color ProfessionalPaperand the tacolor PlusPaperin1985.Ekta- Unfaded printmadeonKodak Ek- Currently availablehigh-stabilitypigmentcolorprints The onlywaytomaketrulylong-lastingcolorphoto- fluorescent illuminationfor6years.) (The printwasexposedto21.5klux the printremainsingoodcondition. Some magentafadingoccurred,but equivalent to575yearsofdisplay. light exposureinanacceleratedtest Polaroid Permanent-Colorprintafter for 2.7years[75 glass-filtered fluorescentillumination (The printwasexposedto21.5 klux equivalent to250yearsofdisplay. exposure inanaccelerated test Kodak EktacolorPlusprintafter light ° F and60%RH].) as soonverifiedproductionsamplesareobtained. thor willstartlong-termstabilitytestswiththeseprocesses capable ofthebestcolorandtonereproduction.Thisau- three producedthemoststableprints—norwhichwas were notyetavailable,anditwasknownwhichofthe tion samplesofprintsmadewiththesethreeprocesses and thesupplierslistonpage293). by theEverColorCorporation (see descriptiononpage122 arts proofingsystemandplannedforintroductionin1993 with ahigh-stabilitymodificationoftheAgfaProofgraphic Charles Berger,andEverColorPigmentColorPrintsmade At thetimethisbookwenttopressinlate1992,produc- 144 accelerated testwasconductedat material couldbeobserved.(The ing oftheimageorpolyesterbase ing/staining test.Nofadingorstain- 6 yearsinanaccelerateddarkfad- Polaroid Permanent-Colorprintafter 144 accelerated testwasconducted at yellowish stainingoftheimage. (The staining test.Notethesevere,overall year inanaccelerateddarkfading/ Kodak EktacolorPlusprintafter one ° ° F [62 F [62 ° ° C] and45%RH.) C] and45%RH.) Chapter 1

Wedding photograph Max Brown 14

This document originated at on June 6, 2003 under file name: 15 (and variouscombinationsoflayers)arereproducedbelow. prints arepreparedindividually.Examplesoftheselayers color photographs,theimagelayersofUltraStable black imageinadditiontocyan,magenta,andyellow. Digital Copier,andKodakColorEdgeCopieralsoemploya printers suchastheCanonColorLaserCopier,Xerox5775 dark areasandtoincreaseapparentsharpness.Colorcopier- photographs inordertoobtaintherequireddensities genta, andyellowimagelayersusedwithtraditionalcolor this bookutilizea“blackprinter”inadditiontocyan,ma- prints, andoffset-printedcolorillustrationssuchasthosein Stork inkjetprints,sometypesofthermaldyetransfer organic dyestoformtheimage. stability pigmentsinsteadofgenerallymuchlesslight-stable manent Colorprintreproducedattheright,employhigh- Some typesofcolorprints,includingtheUltraStablePer- black areashaveamaximumconcentrationofallthreedyes. tion ofthethreedyes.Nodyeispresentinwhiteareas,and an image,thecolorisdeterminedbyrelativeconcentra- paper base,orwhitepolyesterbase.Atanygivenpointin coated ontransparentfilmbase,polyethylene-coatedRC colors) dyesresidinginverythingelatinlayersthatare organic cyan,magenta,andyellow(thesubtractiveprimary Magenta, Yellow,andSometimesBlackLayers Color PhotographicImagesAreComposedofCyan, The PermanenceandCareofColorPhotographs out yelloworblack images. Cyan andmagentawith- Cyan image. Unlike Ektacolorprintsandmostothercurrenttypesof UltraStable prints,EverColorpigmentIrisand Most colorfilmsandprintshaveimagescomposedof magenta orblack images. Cyan andyellowwithout Magenta image. out cyanorblack images. Magenta andyellowwith- Fuji asanaidforsettingupgraphicartscolorscanners. print wasmadefroma6x7-cmtransparencysuppliedby of cyan,magenta,yellow,andblackpigmentlayers.The UltraStable PermanentColorprintwithanimagecomposed Yellow image. Black image. low withoutblack image. Cyan, magenta,andyel- Chapter 1

UltraStable print and color image layers courtesy of Charles Berger

This document originated at on June 6, 2003 under file name: Zavell Smith Photographers (3) have greatlyreducedratesofyellowishstainformation. SFA3 andFujichromeType35papers,introducedin1992, ance andevermoreobjectionableyellowishstain.Fujicolor is usuallycharacterizedbyanoverallchangeincolorbal- storage withEktacolorandotherchromogeniccolorprints density portionsofanimage.Fadingthatoccursindark change thatisvisuallymostapparentinlow-andmedium- highlight andlow-densitydetailaswellacolor-balance fading characteristicallyresultsinapartialortotallossof and theresultisaprogressiveshiftincolorbalance.Light (and blackimage,ifpresent)rarelyfadeatthesamerate, 1968 by Fehrenbach Studios and StaininNormalDisplayDarkStorage How ColorPhotographsCanLookAfterTheyFade Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? after 10yearsof display. 1970 EktacolorRCprint When colorprintsandfilmsfade,thethreeimagedyes dress whilethegroom’sblacktuxedoappearsunaffected. fading andlossofdetailinskintonesthebride’s Displayed 1968Ektacolorprintwithseveremagentadye layer ofclearpolyethylene. paper. Atthebottomisa of fiber-basephotographic ment, followedbyacore white titaniumdioxidepig- (RC) layercontaininga is apolyethyleneplastic Beneath theprintemulsion formed duringprocessing. and yellowdyesthatwere with thecyan,magenta, of anEktacolor74RCprint, A magnifiedcross-section after 10yearsof display. 1970 EktacolorRCprint

Courtesy of Klaus B. Hendriks after 8yearsof display. 1973 EktacolorRCprint severe magentadyefadinganddevelopedyellowishstain. oval mat.After7yearsofhomedisplay,theimagesuffered This 1971KodakEktacolorRCprintwasframedbehindan in thedark(notestain). 1950 Kodacolorprintkept in thedark(notecyanfade). 1980 Agfacolorprintkept after 13yearsof display. 1969 EktacolorRCprint Chapter 1

Courtesy of Sarah Wilhelm 1971 by Max Brown

1969 by Fehrenbach Studios 16

This document originated at on June 6, 2003 under file name: 17 white andcolor,itisnotunlikelythatblack-and-whitepho- Assuming equalcostsandeaseofusebothblack-and- before black-and-whitesystemshadbecomewidespread. tography ifpracticalcolorprocesseshadbeeninvented and-white pictureswouldhavehadinthehistoryofpho- to simulatethefullrangeofcolorsinoriginalscene. sometimes ratherelaborateworkwasdoneinanattempt little rosycolortothecheeksofpeopleinportraits; Often thecoloringconsistedofnothingmorethanaddinga photographers begantohand-colortheirdaguerreotypes. graphs incolorpersisted,anditwasnotlongbeforemany ducing aworkablecolorprocess,thedesiretomakephoto- brother Claude: used toproducecolorimages.In1816,Niepcewrotehis menting withvariousmaterialswhichtheyhopedcouldbe Frenchman, JosephNicephoreNiepce,hadbeenexperi- guerreotype processinFrance1839,heandanother Replaced Black-and-WhitePhotography Color PhotographyHasNowLargely The PermanenceandCareofColorPhotographs It isinterestingtospeculateaboutwhatplaceblack- While neitherDaguerrenorNiepcesucceededinpro- Long beforeLouisDaguerrepubliclyrevealedhisda- and printedon color negativepapers. amateur photographsweremade withcolornegativefilms color slidefilms.By1990, approximately 90%ofall from thepreviouslypopularblack-and-white filmsand toward colornegativefilmsand colorprints—andaway tography intheUnitedStatesembarked onamajorshift Figure 1.2 me atthemoment,anditismostdifficult. succeed infixingthecolors;thisiswhatoccupies as theprincipaleffectisconcerned,butImust me tobelievethatmyprocesswillsucceedasfar The experimentsIhavethusfarmadelead Beginninginthemid-1960’s, amateurpho- color portraitadvertisingslogan Of Time.AndMakeItLastForever,”asa1980Kodak come totakealmostforgranted. term stabilityofthemetallicsilverimagesthattheyhad and-white photography,theywerealsogivingupthelong- little realizationontheirpartthatinabandoningblack- phy duringthe10yearsfrom1965to1975,therewasvery virtually totalshiftfromblack-and-whitetocolorphotogra- color isalmostalwaysanimportantpartofthisreality. phy hasalwaysbeentorecordevents,people,andscenes; tic applications.Theprincipalachievementofphotogra- osity, perhapsdesirableonlyforcertainscientificorartis- tography wouldhavebeenconsideredsomethingofacuri- interview withBruceK.MacDonaldin white printmaker,saidthisaboutcolorphotographyinan and-white filmsandbecameanaccomplishedblack-and- cial photographerwhostartedhiscareerin1962withblack- information thandoblack-and-whitephotographs. plete depictionofrealityandprovidemuchmorevisual photographs. Colorphotographsofferamuchmorecom- monochromatic imagesofcarefullymadeblack-and-white stunningly beautifulinawaythatisverydifferentfromthe and advertisements.Attheirbest,colorphotographsare tures, orcolorillustrationsinnewspapers,magazines,books, be colorphotographs,television,motionpic- an overwhelmingpreferenceforcolorimages,whetherthey color. Weseeincolor;andthegeneralpublichasshown photographs aremissingonecrucialelement,andthatis came intogeneralusearound1900. ver-gelatin materials(theordinaryblack-and-whiteprint) peal ofportraitphotographyeversincehighlystablesil- generations tocomewasaveryimportantpartoftheap- the photographcouldbedisplayedwithoutworryformany the samenameatMuseumofFineArtsinBoston: which alsoservedasthecataloguefora1978exhibitionof celebrated bookofcolorphotographstakenonCapeCod The abilitytomakeaportrait—“TakeAMomentOut When portraitandweddingphotographersmadethe Joel Meyerowitz,aNewYorkCityfineartandcommer- Despite theirgreatstabilityadvantages,black-and-white complex, more interestingtoworkwith. more content!Theformfor thecontentismore now. Wehavecolorandittells usmore.There’s time becausethat’sallwecould get.That’schanged the waythingsareinaphotograph foralong stripped oftheircolor.We’ve acceptedthatthat’s and whiteshowshowthings lookwhenthey’re behavior inAmerica,shootingoutofacar.Black a lotofinterestingthings:lifeinthestreets,crazy is asubject..Blackandwhitetaughtmeabout subjects forme.Colorsuggeststhatlightitself ing. Colorsuggestsmorethingstolookat,new and whiteisaverycultivatedresponse. is green,notgray;fleshcolor,gray.Black rial adifferentsetofresponses. length. Thisstimulatesintheuserofeachmate- reduces thespectrumtoaverynarrowwave- full spectrumofvisiblelightwhileblackandwhite . [Color]makeseverythingmoreinterest- . Colorisalwaysapartofexperience.Grass . Colorfilmappearstoberesponsivethe 5 putit—andknowthat Cape 6

Chapter 1 Light, his

This document originated at on June 6, 2003 under file name: Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? for hundredsof yearsundernormalconditions withoutsignificantchange. medium thatcouldindeedlast a lifetime.Properlyprocessedblack-and-whitefiber-baseprints canpotentiallybedisplayed early 1970’s,mosthadnorealization thatingivingupblack-and-whitephotography,theywere alsogivingupahighlystable a lifetime,”whichprovednotto betrue.Whenportraitandweddingphotographersswitched tocolorduringthe1960’sand give upblack-and-whitephotography andswitchtocolor.TheadsuggestedthattheEktacolor printsofthetimewould“last A 1963Kodakadthatappeared onthebackcoverofcompany’s Studio Light magazineencouragedphotographers to Chapter 1 18

This document originated at on June 6, 2003 under file name: 19 ized” videoversionsofoldblack-and-whitemoviessuchas Company subsidiary,andothersbeganreleasing“color- Broadcasting System,throughitsTurnerEntertainment tions ofmanymoviedirectorsandfilmcurators—Turner so strongthatinthemid-1980’s—overheatedobjec- many millions ofdollarsontheeffort. Turner hadcolorizedseveral hundredfilmsandhadspent izing business.Atthetimethis bookwenttopressin1992, sion programs, shorts andcartoonsmore than2,000hoursoftelevi- rical motionpicturesinitslibrary alongwithabout2,000 more than$350,000.Turner, whichholdssome3,300theat- the costsforafeature-lengthfilmsometimesamounting to the globalbroadcast,cable,andvideocassettemarkets. sion programshavebeencolorizedforsaleandrental in many hundredsoffilmsandearlyblack-and-whitetelevi- zation ofmovieshasbecomeaflourishingindustry,and original black-and-whiteform.Thecomputer-aidedcolori- The moviesthemselvesarenotharmedandremainintheir It’s of B&W Movies andTelevisionProductions The DesireforColorLedtotheColorization ate colorsforeachscene—andisoutputonvideotape. human operatorsmakingdeterminationsaboutappropri- many cases,releasedonvideocassette. colorized filmsarebeingbroadcastovertelevisionand,in The PermanenceandCareofColorPhotographs come thecoreofworldwidephotographicindustry. and papersdesignedfortheamateurmarkethavebe- tive films—contributedabout80%.Colornegative exposures, whileamateurs—mostlyusingcolornega- 1990, professionalsmadeonlyabout20%ofthetotal phers havebyfarthelargestshareofmarket.In exposures madeintheUnitedStates,amateurphotogra- Figure 1.3 The desireforcoloronthepartofgeneralpublicis Colorizing afilmcosts$2,500to$3,000minute,with The colorizationprocessisdonewithcomputers—

a

Wonderful Intermsofthetotalnumberstillcamera 8 isbyfarthebiggestcustomer ofthecolor-

Life and Yankee

Doodle

Dandy . The 7 ment filmindustryisspending moremoney and atahigherprice.” months thantheblackand white hassoldin10years— “We’ve soldmorecolorcassettes of‘WayOutWest’insix watch anythinginblackandwhite.”Glickwentontosay: were incolor.Intheagegroupunder20,nobodywants to that “85percentofpeoplewouldwatchsomethingonlyif it in itsarchives: a Hollywoodstudiowithmanyclassicblack-and-whitemovies They dolikecolor,andwhenwecolorit,theybuyit.” black-and-white films:“Peopledon’tlikeblackandwhite. Toronto-based companythatpioneeredthecolorizationof from fadingaway inexistingcolormovies. black-and-white filmsthanit isspendingtopreventcolor Ironically, perhaps,atthepresent timetheentertain- An audiencesurveycommissionedbythestudioshowed According toEarlGlick,chairmanofHalRoachStudios, Said WilsonMarkle,presidentofColorizationInc.,a films amountedtolessthanonepercentofthetotal. tographs madewithcolortransparencyfilmsandB&W In 1992,itwasestimatedthatportraitsandweddingpho- amateur “35-centdrugstoreprint”Ektacolorcounterparts). professional labshavethesameimagestabilityastheir films andpapers(theEktacolorusedbymany phers haveconvertedalmostentirelytocolornegative Figure 1.4 they’d commandamuchbiggerprice. thought, well,ifthesepictureswereincolor, so much,becauseit’sblackandwhite.”Sowe thing tothemthey’dsay,“Well,thisisonlyworth color picture.Everytimewewenttosellsome- fore don’tpayasmuchtheywouldfora and-white movieasalesserpicture,andthere- television andsoon—alwaysclassifytheblack- and sale—televisionstations,networks,cable People whobuythemoviesfordistribution Professionalportraitandweddingphotogra- 10 adding Chapter 1 colorto 9

This document originated at on June 6, 2003 under file name: supplied forthe professionalmarketfrom 1938 until1951. Kodachrome sheetfilmsin sizes upto8x10incheswere was introducedin1936;the film hadanASAspeedof10. amateur moviefilm.Kodachrome for35mmcolorslides first successfulintegraltripack colorfilms. by aprocessknownas accessible toeveryone.Thesefilms,whichformedimages in 1936,high-qualitycolorphotographysuddenlybecame ency filmin1935andAgfaAgfacolorNeutransparency ages wasdifficultandtime-consuming. making good-qualityprintsfromtheadditivescreenim- satisfactory resultsinanybutlarge-formatcameras,and the time,theylackedresolutionnecessarytoproduce chrome platesandtheotheradditivescreenprocesses of raphers wouldconsiderusingthem,or,inthecaseofAuto- and time-consumingthatonlythemostdedicatedphotog- saw onlylimiteduse.Theywereeithersocumbersome with asingleexposure—alloftheseearlycolorprocesses shot” camerasthatexposedallthreeseparationnegatives through red,green,andbluefilters—orincomplex“one- glass-plate separationnegativesphotographedsequentially 1907, anddye-transfertricolorcarbroprintsmadefrom plates introducedbytheLumierebrothersinFrance the early1900’s,suchasadditivescreenAutochrome and AgfacolorNeuColorTransparencyFilms 1935–36 withtheIntroductionofKodachrome The ModernEraofColorPhotographyBeganin Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Kodachrome filmwasfirstmarketed in1935asa16mm With theintroductionofKodakKodachrometranspar- Although anumberofcolorprocesseswereavailablein employing colornegativefilmsfortheirwork. even thesebranchesofphotographyareincreasingly Polaroid instantphotographsarestillwidelyused.But that colortransparencyfilms,black-and-whiteand in commercial,industrial,educational,andscientificfields journalism, stockphotography,fineartand Figure 1.5 Itisamongphotographersworkinginphoto- chromogenic

development , werethe sion bleachbathswasabandoned. tive re-exposuremethod,andtheuseofcontrolled-diffu- some aspectsofthefilmitself—waschangedtoselec- by nowsufferednearlytotallossofyellowdye. Kodachrome wasrelativelypoor,andmostexampleshave chines. Thedark-storagestabilityofthisfirstversion 3 diffusion bleachmethod;thiswasaverycomplex28-step, to beprocessedusingwhatwasknownasthecontrolled- new process.From1935to1938Kodachromewasdesigned and workwithotherKodakpersonnelinperfectingtheir tation tojointhestaffofKodakResearchLaboratories 1922, andin1930MannesGodowskyacceptedaninvi- perimental platesforMannesandGodowskybeginningabout work ofthetwoinventors,Kodakcoatedanumberex- sicians andavidamateurphotographers.Interestedinthe Mannes andLeoGodowsky,Jr.,whowereprofessionalmu- of anycurrentKodakcolornegativeorreversalpaper. ity —theirdarkstabilityismuchbetter,infact,thanthat chrome processprintshaveverygooddarkstoragestabil- under theKodachromeProfessionalPrintname.AllKoda- 1941 until1946;from19461956,theprintsweresold professional marketwerecalledKotavachromePrintsfrom made withEktachromeRCreversalpapers. parency. Inlateryears,many“KodachromePrints”were negative paperswithaninternegativemadefromthetrans- prints wereprintedonKodakfiber-baseorRC-basecolor parency byKodakProcessingLaboratories.Mostofthese any printmadefromaKodachromeorEktachrometrans- continued tobeusedformanyyearsafter1955signify Kodachrome Printname.Thename 1946 until1955,theacetate-baseprintsweresoldunder were madewithawhitepigmentedacetatebase.From Minicolor name;theprints,whichhadroundedcorners, with printsmadetheKodachromeprocessunder 1 ⁄ 2 professional labs intheU.S.stillprocessedKodachrome. this bookwenttopressin1992, onlytwoindependent cess E-6FujichromeandEktachrome films.Atthetime share inrecentyearsfavor of themucheasiertopro- Kodachrome hassufferedaconsiderable lossofmarket in Dallas,Texas(thelinewasclosed attheendof1992). The Kodachromeprocessingmachine atTheColorPlace In 1938theprocessingofKodachrome—aswell Kodachrome grewoutoftheresearchLeopoldD. Kodachrome processacetate-baseprintssuppliedtothe Beginning in1941,Kodaksuppliedtheamateurmarket -hour processrequiringthreeseparateprocessingma- Chapter 1

February 1989 20

This document originated at on June 6, 2003 under file name: 21

Russell Lee for the Farm Security Administration – 1939 (Courtesy of the Library of Congress) sion layersduring manufacture,onlyone color developer Because thecolorcouplerswere incorporatedintotheemul- now usedinallchromogenicmaterials exceptKodachrome. the basicincorporated-coupler designofAgfacolorNeuis was probablymoresignificant thanKodachromeinthat 1936, oneyearafterKodachrome filmbecameavailable, make itimpracticalfortheusertoprocessfilm. two preciselycontrolledcoloredlightre-exposuresteps processors. Thethreeseparatecolordevelopersandthe procedure andcanbedoneonlywithlarge,continuous stain formationduringlong-termstorage. transparency filmthatremainstotallyfreeofyellowish dark fadingstability.Kodachromefilmisstilltheonly cedure introducedin1938,Kodachromehashadverygood First Incorporated-CouplerColorFilm Agfacolor NeuTransparencyFilmWasthe The PermanenceandCareofColorPhotographs of Kodachromefilmfromthisearlyperiodwaspoor. the FarmSecurityAdministration,darkfadingstability photograph takeninOklahoma1939byRussellLeefor around 1940.Ascanbeseeninthis35mmKodachrome and processingprocedurewasinusefrom1935until The initial“controlled-diffusionbleach”Kodachromefilm Agfacolor Neufilm,introduced byAgfainGermany Kodachrome processingcontinuestobeaverycomplex Beginning withtheimprovedfilmandprocessingpro- cal compoundsknownas used toreactwith,orcouplespecialtypesofchemi- in thecourseofdevelopmentsilverimagecanbe types ofdevelopers,oxidationproductsthatareproduced can bedescribedasfollows: simple terms,theprocessofchromogenicdevelopment Siegrist, thatwerepublishedbetween1912and1914.In in patents,andarticleswrittenwithhisco-worker,Hans was firstdisclosedbytheGermanchemistRudolfFischer and withallProcessE-6compatibletransparencyfilms. used withallcolornegativefilms,papers, the incorporated-couplerconceptpioneeredbyAgfaisnow and thelatex“L-couplers”employedbyFujiinrecentyears), encapsulated couplersinventedbyKodakintheearly1940’s replaced byothermethods(e.g.,the“protected”oroil- swollen duringmanufacturingandprocessinghasbeen emulsion layertoanotherwhenthewaswetand couplers inAgfacolorNeufilmfrommigratingone pared withthatrequiredKodachromefilm. was requiredandprocessinggreatlysimplifiedcom- Emulsion LayerswithChromogenicDevelopment Formation ofColorImageDyesinFilmandPrint images. the densityof the silverimage—whichin turnisdeter- formed. Thus,thedensityof thedyeimagecorrespondsto even thoughcolorcouplers arepresent,nodyewillbe place, developeroxidationproducts arenotproducedand there hasbeennolightexposure andnodevelopmenttakes ucts thatformsthecoloreddyes. Itcanbeseenthatwhere tion betweenthecouplersand thedeveloperoxidationprod- couplers themselvesarecolorless;itisthechemicalreac- ing” couplersusedwithmoderncolornegativefilms,the remain inplaceaftertheyareformed. cally synthesizedinthethinemulsionlayerswherethey of adepression-eraNewMexicofamilyeatingdinner. Kodachrome processareevidentinthis1940photograph stability andfreedomfromyellowishstainoftheimproved method thatisstillinusetoday.Theexcellentdarkfading procedure changedtotheselectivere-exposurereversal In 1938Kodachromefilmwasmodifiedandtheprocessing When asilverhalideemulsionisdevelopedwithcertain Chromogenic development(couplingcolordevelopment) Although thetechniqueAgfadevisedtopreventcolor With theexceptionsofspecialcolor-correcting“mask- 11 Thus,duringprocessing,thedyesarechemi- color

couplers toformcoloreddye Chapter 1

Russell Lee – 1940 (Library of Congress)

This document originated at on June 6, 2003 under file name: Courtesy of Klaus B. Hendriks facturers ofcolor materials.Ofcourse,only arelatively in thecourseofresearchand developmentbythemanu- lated todate;newcouplersare constantlybeingproduced films andpapersforprinting colornegatives. picture colornegativefilms, as wellmotionpictureprint were theforerunnersofallcurrent stillcameraandmotion film andacompanioncolorprintfilm.Theseproducts first incorporated-couplermotionpicturecolornegative introduced in1936.Inearly1939,Agfatheworld’s achieved byAgfaintheAgfacolorNeutransparencyfilm thus preventingpropercolorreproduction. formed wherethereshouldbeonlyacyandyeimage— sion layerintotheredsensitivelayer,magentadyewillbe a magentacouplerdiffusesoutofthegreensensitiveemul- was wetduringmanufactureorprocessing.If,forexample, assigned layerintoanotheroftheemulsionwhile it way topreventthecouplersfromwanderingtheir on hisideas,however.Hismaindifficultywasinfindinga Fischer wasunabletomakeausablecolormaterialbased low, magenta,andcyandyesinthethreeemulsionlayers. film containingincorporatedcouplersthatwouldformyel- obtained apatentforthedesignofanintegraltripackcolor and suitabledevelopersforproducingcolorimages,Fischer at thecompletionofprocessing. photography —thereisnosilverleftincolorfilmsorprints halide photography”eventhough—unlikeblack-and-white ten referredtoas“silver-basedphotography”or“silver resolution colorimages.Modernphotographyisof- employed inblack-and-whitefilmstobeusedformhigh- permits thesameextremelylight-sensitivesilverhalides removing thesilverhalidewithafixer. it backintoasilverhalide(chemicalbleaching)andthen emulsion; thesilverimageislaterremovedbyconverting ored dyeimagearepresentatthesamelocationsin development iscompleted,bothasilverimageandcol- emulsion ateachpointintheimage.Afterchromogenic mined bytheamountoflightexposurereceived Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Archives ofCanada,attheage10monthsinGermany. the ConservationResearchDivisionofNational The photographisofKlausB.Hendriks,thedirector dark storagestabilityofearlyAgfacolorfilmswaspoor. As illustratedbythis1938Agfacolortransparency,the Many thousandsofdifferent couplers havebeenformu- Application oftheoriginalFischerprocesswasfinally In 1913,theyearafterhefirstdescribedcolorcouplers The greatvirtueofthechromogenicprocessisthatit use inaparticularemulsionlayerarethefollowing: properties ofacouplerthatdetermineitssuitabilityfor mercially availablefilmandprintmaterials.Amongthe small numberofcouplershaveactuallybeenusedincom- many months or yearsafterprocessing. by aparticularcouplergenerally arenotapparentuntil performed, thestabilitycharacteristics ofthedyeformed Unless acceleratedlightfading anddarkfadingtestsare volves acompromiseofthese andmanyotherproperties. .Thelightfadingstabilityofthedyeformedbycou- 4. Thecoupler’sreactioncharacteristicswiththeoxida- 3. Thecoloroftheunreactedcoupler.(Exceptwith 2. Thecolor(andpurity)ofthedyeformedby 1. .Whetherornotthecouplerisprotectedbyapatent 7. Thetendencyofunreactedcouplers,whichremainin 6. Thedarkfadingstabilityofthedyeformedbycou- 5. Selection ofaparticulardye-forming coupleralwaysin- color, Fujicolor,andallother harmful effectsoflightexposure.Inaddition,Ekta- rated inanemulsionduringmanufacturetoreducethe pler. (Variouschemical“stabilizers”maybeincorpo- process (e.g.,E-6,C-41,RA-4,R-3,andEP-2). developer atthetimeandtemperaturespecifiedby ticular silverhalideusedinanemulsionwiththecolor tion productsthatresultfromdevelopmentofthepar- negative films,couplersmustbecolorless.) yet exist,andthisdegradescolorreproduction.) blue light.Incolorphotography,“perfect”dyesdonot light andwouldbefullytransparenttobothred fect magentadye,forexample,wouldabsorbonlygreen genta, andyellowdyesareofprimaryinterest.(Aper- almost anycolor,butincolorphotography,cyan,ma- coupler. Couplerscanbeformulatedtoformdyesof be licensedonacceptableterms. held byacompetitorand,ifitis,whetherornotcan duced ratesofyellowishstainformation. of “low-stain”magentacouplersthathavegreatlyre- Fujichrome Type35reversalpaperemploynewtypes themselves. FujicolorSFA3colornegativepaperand serious problemthanthedarkfadingofimagedyes main intheprintfollowingprocessing—wasamore tion oftheinitiallycolorlessmagentacouplersthatre- storage —causedprimarilybythegradualdiscolora- went topressin1992,yellowishstainformationdark Kodak Ektacolorpapersavailableatthetimethisbook exposure tolightandultravioletradiation.Withthe stain canoccurindarkstorage,oritbecausedby and otherlow-densityareasofcolorprints.Yellowish brownish incolor,isparticularlynoticeablewhites time. Suchstain,whichisalmostalwaysyellowishor the emulsionafterprocessing,toproducestainover fading stabilityofadye.) may haveasignificantdeleteriouseffectonthedark pler. (Unreactedcouplersthatremainintheemulsion in printsdisplayedundernormalindoorconditions.) essentially eliminateUVradiationasacauseoffading materials employUV-absorbingemulsionovercoatsthat current chromogenicprint Chapter 1 22

This document originated at on June 6, 2003 under file name: 23 ably faroutlasttheoriginalcolorprints. due exposuretolight,theprintedreproductionswillprob- good-quality, long-lastingpaperandisprotectedfromun- excellent. Whenabookofcolorphotographsisprintedon dark storagestabilityoftheseinksappearsgenerallytobe than thecyanandblackinkswhenexposedtolight), magenta andyellowinksaregenerallymuchlessstable offset printingtypicallyhavepoorlightfadingstability(the For example,althoughthe4-colorprocessinksusedin colorants haveverygoodstabilitywhenkeptinthedark. less thanadequatelightfadingstability,nearlyallofthese with fabrics,printing,watercolors,andotherpurposeshave dark unlesskeptatrefrigeratedtemperatures. many ofthemalsohavepoorstabilitywhenstoredinthe most uniqueamongcommerciallyavailabledyesinthat dyes aresubjecttolightfading,chromogenical- relatively unstableindarkstorage.Whilemostclassesof and printsasagrouphavethedistinctlimitationofbeing tions ofKodachrome. Kodacolorwasawide-latitude chro- believed thatithadsolvedmost ofthemarketinglimita- carefully inscribedanddated albums. and relatives,keptinwallets andpurses,arrangedin have colorprintswhichcould bedisplayed,senttofriends to viewtheircolorphotographs, mostpeoplepreferredto for themostpartsatisfiedwithputtingonfamilyslideshows fact thatalthoughadvancedamateurphotographerswere for amateurcolorsnapshots.Kodakwaswellawareofthe closed Kodakoutofthebulkpotentiallyhugemarket box camerasoftheday.Thislimitationaloneeffectively that thefilmwasunusableinsimple,fixed-exposure films hadaverynarrowexposurelatitude,whichmeant ency filmsdesignedtobeviewedbyprojection,Kodachrome shortcomings. First,incommonwithallcolortranspar- believed thattheKodachromesystemhadseveralserious nings hasalwaysbeenorientedtowardthemassmarket, ucts forKodak,thecompany,whichfromitsverybegin- of thedyesthatmakeupcolorimagehave place couplercharacteristicsrelatingtothevisualquality is completed.Itnotsurprising,then,thatinthemarket- image qualitythatareapparentimmediatelyafterprocessing color reproduction,saturation,andotheraspectsof The colorpurityofthesedyeshasadirectbearingonthe rity ofthecyan,magenta,oryellowdyethatitproduces. important characteristicofacolorcoupleristhepu- Terms ofTheirInstabilityinDarkStorage Chromogenic DyesAreVirtuallyUniquein Among AvailableDyesandPigments, of ColorFilmsandPrintsThatHaveBeenMarketed Differences inthePermanenceofManyTypes Kodachrome Film,ThereHaveBeenTremendous In theYearsFollowingIntroductionof a particularcolordye. have priorityoverthelong-termstabilitycharacteristicsof The PermanenceandCareofColorPhotographs While manyofthedyesandpigmentsintendedforuse Among theavailablecolorprocesses,chromogenicfilms With theKodacolorprocess, introducedin1942,Kodak While Kodachromefilmsandprintsweresuccessfulprod- From amanufacturer’spointofview,thesinglemost tended to does notknowofa and faded,severelystained prints.Infact,thisauthor dacolor nowhavenothingleft butunprintablenegatives Consumers whomadetheunfortunatedecisiontouseKo- from marketingtheproductstoanunsuspectingpublic. black-and-white filmsandprints—didnotdissuadeKodak less stablethanKodachromefilmsandprints— of overall orange oryellowstainregardless of whetherthey reasonable condition;allhave fadedanddevelopedanugly, reduce theprintstainingproblem) thatsurvivestodayin until 1953(theyearthatKodak managedtosignificantly The TotallyLostKodacolorEraof1942–53 was requiredwiththeKodachromeprintprocess). sive, non-absorbentacetate-basesupportofthetypethat port wasintroducedasasubstituteforthemoreexpen- 1968, beforealow-costpolyethyleneresin-coatedRCsup- cost fiber-basepapersupport(itwasmanyyearslater, in simple toprocess.Kodacolorprintsweremadewithalow- sure boxcameras;boththefilmandprintswererelatively mogenic colornegativefilmdesignedforuseinfixed-expo- The factthatbothKodacolorfilmsandprintswerefar period alsohaveextremelypoorlightfadingstability. now exhibitsimilarstaining.Kodacolorprintsfromthis played. AllKodacolorprintsmadefrom1942until1953 print hasbeenkeptinanalbumandnotdis- book, andhismother,VirginiaWolf.Theseverelystained A 1944KodacolorprintofJohnWolf,theeditorthis single Kodacolorprinttakenfrom 1942 Chapter 1

Courtesy of Virginia Wolf

This document originated at on June 6, 2003 under file name: image stability, andovertheyearsthishaseffectively doomed kept secret,Kodakcouldnot advertiseimprovementsin duce morestablecolorprint processes. Withstabilitydata to thepublicmeantthatthere waslittleincentivetointro- able toKodakthanwasblack-and-white photography. and-white films.Colorphotography wasmuchmoreprofit- amateur photographerswouldsimplycontinuetouseblack- market forKodacolorwouldbeseriouslyrestricted.Most if theprintswerekeptinanalbumdark— just howpoorthestabilityofKodacolorprintswas—even ence inimagestability.) facturer atthesametimethathadsuchanextremediffer- difficult tofindanotherpairofproductsofferedbyamanu- (Looking backonthehistoryofcolorphotography,it is treme stabilityadvantagesofKodachromeoverKodacolor. best intereststoletthepublicbecomeawareofex- stability; thecompanyconcludedthatitwouldnotbeinits Kodak adoptedapolicyofstrictsecrecyonmatterscolor and PrintsHasBeenShroudedinSecrecy For YearsthePermanenceofColorFilms great eraofcolorphotographytobe — ofKodacolorprintsandnegativesrepresentthefirst processing. Thesehundredsofmillions—perhapsbillions dye-forming colorcouplersthatremainintheprintafter albums. Thediscolorationiscausedbyunstablemagenta were exposedtolightondisplayorkeptinthedark Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Kodacolor printsoncelookedlike. raphy the backcoverofJuly1950issue Printed reproductionssuchasthisad,whichappearedon The decisionnottodisclose colorstabilityinformation Kodak apparentlyfearedthatifthegeneralpublicknew It wasduringtheearlydaysofcolorphotographythat magazine,aretheonlyrecordofwhatpre-1953 totally Popular Photog- lost. Plus Paper, papers datedbacktoFebruary 1985andwereforEktacolor recent imagestabilitydatapublished byKodakforitscolor data formotionpicturefilms areincludedinChapter9. Kodak’s darkfadingpredictions isincludedinChapter5; parency, andcolormotionpicturefilms.Asummation of published stabilitydataforitscolornegative,trans- and Ektachromepapers.Atthattimethecompanyalso publish darkfadingandlightdataforitsEktacolor every KodakPhotoCDisanEktathermprint. sources. Theindexprint(“contactprint”)accompanying for makingprintsfromKodakPhotoCD’sandotherdigital which isusedintheKodakXL7700-seriesdigitalprinters stability dataforEktathermthermaldyetransferpaper, printing colortransparencies.Kodakalsohadnotreleased for EktachromeRadianceorSelectpapers aflex. Likewise,Kodakhadnotreleasedanystabilitydata Ektacolor Edge,RoyalII,PortraSupra,Ultra,andDur- time thisbookwenttopressin1992,thesepapersincluded to theintroductionofEktacolor2001Paperin1986.At any ofitsProcessRA-4Ektacolorpapers,whichdateback in recentyears,Kodakhasnotdisclosedstabilitydatafor releasing basicimagestabilitydatafortheircolorpapers should trytosatisfytherequirementsofnearly terms ofcolorpermanence:thecompanydecidedthatit decision thatwastohavefar-reachingconsequencesin print processesforthegeneralmarket. potentially long-lasting(andprobablymoreexpensive)color Kodak’s interestinsilverdye-bleachmaterialsandother 1984 asareplacement forEktacolor78Paper. Its EktacolorandEktachromePapersSecret Kodak ContinuestoKeepStabilityDatafor on EktacolorEdgePaper,is there isagoodpossibilitythatthedrugstoreprint,made touching commonlydoneintheprofessionalportraitfield, stability problemsassociatedwiththelacqueringandre- store. Infact,asdiscussedinChapter8,becauseofthe used forthe35-centprintstheypickupattheirlocaldrug- wedding photographscostinghundredsofdollars. studio isprintedonthe portrait orweddingphotographpurchasedfromtheirlocal and minilabbusiness. design aspectwasdictatedbythedrugstorephotofinishing mentation, allusingacolorprintmaterialwhoseevery and photographersproducingprintsforhistoricaldocu- portrait andweddingphotographers,fineart spent inproducingaprintisconsideredimportant. hotly competitivemarketinwhicheveryfractionofacent its principalmarket:drugstorephotofinishing.Thisisa of thiscolorprintmaterialwereunfortunatelydictatedby ties. Thedesign,processingspeed,andcostrequirements and aconcentrationofresearchdevelopmentactivi- terial. Thisallowedconsiderableeconomiesofproduction of photographywithonebasicchromogeniccolorprintma- At thetimethisbookwent to pressin1992,themost For afewyears,beginningintheearly1980’s,Kodakdid Although Fuji,Konica,andAgfahavebeenroutinely As aresult,duringtheearly1940’sKodakmadepolicy Very fewpeopleknowthatthemostexpensivecolor Thus wehavearrivedatthepresent,withprofessional 12 a ProcessEP-2paperthatwas introducedin same more

type stable thanportraitand ofcolorpaperthatis every Chapter 1 branch 24

This document originated at on June 6, 2003 under file name: 25 tive processthatKodakhadstartedworkonin1934. print process,ahigh-stabilitysilverdye-bleachdirectposi- actually goneahead andintroducedAzochrome intheearly current Kodakchromogenic printmaterial.IfKodakhad dark storagestability—certainly muchbetterthanany ined bythisauthorsuggestthat theprocesshasexcellent of thespecialized,andsmall, advertisingmarket. the alreadyexistingDyeTransfer processsatisfytheneeds materials suchasKodacolorforthegeneralmarketandlet to concentrateitseffortsonfarlessstablechromogenic Kodak haddecidedtoabandontheAzochromeprocessand the marketingofAzochrome,andbyendwar, during processingtoformthecolorimage.) during manufacture.Thedyelayersareselectivelybleached formed dyesthatareincorporatedintheemulsionlayers example —theimageismadeupofhighlystable,fully the silverdye-bleachprocess—Ilfochromeisonlymodern Stable SilverDye-BleachMaterial,in1941 Kodak AlmostIntroducesAzochrome,aHighly The PermanenceandCareofColorPhotographs In 1941,EastmanKodakannouncedtheAzochromecolor A numberofexamplesearly Azochromeprintsexam- The outbreakofWorldWarIIcausedKodaktopostpone difference instabilitybetweenKodak’samateurandprofessionalcolorpapers—asituationthatcontinuestoexisttoday. introduction ofKodakColorPrintMaterialTypeCin1955(renamedEktacolorPaper1958),therehasbeennosignificant policy offocusingitscolorphotographyeffortsonthehigh-volume,low-costamateursnapshotmarket.Beginningwith print materialeverdevelopedbyKodak.Inabandoningthehigh-stabilitysilverdye-bleachprocess,Kodakembarkedona excellent condition,withnoapparentfadingorstaining.Indarkstorage,Azochromewasprobablythemoststablecolor Kodachrome transparency.Aftermorethan50yearsofstorageinthedark,extremelysharpcolorimageremains George EastmanHouseinRochester,NewYork.Theprintisbelievedtohavebeenmadefroma4x5-inchor8x10-inch This 1941KodakAzochromesilverdye-bleachprintisinthecollectionofInternationalMuseumPhotographyat 13 (In downgrading can beseeninthenowseverely fadedEkta- cret withinKodak.Theunfortunate resultsofthisproduct image stabilitybetweenthese filmswasacloselyheldse- discontinued Kodachromefilms. Thelargedifferencesin films fadedinthedarkatleast 20timesfasterthanthe no oneoutsideofthecompany wasawarethatthesenew films withEktachrome atthebeginningof1950’s, Than theKodachromeFilmsTheyReplaced Early EktachromeFilmsWereFarLessStable Azochrome technologywouldlast Color microfilmsandmotionpictureprintfilmsmadewith portrait andweddingmarket—inthefineartfield. would havebeenextremelysuccessfulintheprofessional color printmaterialsfortheprofessionalmarket. today thecompanywouldbeproducingfarmorestable materials wouldhaveproceededmuchdifferentlyandthat tics —itiscertainthattheevolutionofKodak’scolorprint 1940’s —anddiscloseditssuperiorstabilitycharacteris- current chromogenicproductsfortheseapplications. When Kodakreplacedlarge-formatKodachromesheet A high-stability,negative-printingversionofAzochrome far

longer thanKodak’s Chapter 1

Albert Wittmer – Courtesy of the International Museum of Photography (Gift of Walter Clark)

This document originated at on June 6, 2003 under file name: proved interms ofimagestabilitysince the mid-1980’s. prints, have(withsomeexceptions) beensignificantlyim- similar tothatusedwithstill-camera colornegativesand a negative/positivecolorprocess thatisinmostrespects professional filmsfinallyequalledthatoftheamateurfilms. improved E-6Ektachromefilms,thatthestabilityof until 1977,whenallEktachromefilmswerereplacedby secret fromprofessionalsandamateursalike.Itwasnot stable productthanwereamateurs,afactthatwaskept tographers usingEktachromeweresuppliedwithafarless explained why—fora10-yearperiodprofessionalpho- Process E-4Ektachromefilms(1966–1977).Kodakhasnever and werefarinferiortothethen-available“amateur”35mm E-3 duplicatingfilms,hadverypoordarkfadingstability in sheet-filmandroll-filmformats.Thesefilms,the United StatesusedKodakProcessE-3Ektachromefilms commercial, advertising,andfashionphotographersinthe years sincethephotographsweremade. tomechanical reproductionshavebeenpublishedinthe were madefromtheEktachromesandbecausemanypho- because DyeTransferandtricolorcarbro(pigment)prints 1947 havesufferedseverefading.Theimagessurviveonly graphs takenbyLosAngelesphotographerTomKellyin chromes ofthefamousMarilynMonroecalendarphoto- and otherinstitutionsallovertheworld. tional MuseumofPhotographyatGeorgeEastmanHouse, Geographic Society,theLibraryofCongress,Interna- chromes fromtheperiodincollectionsof A MajorProblemforFilm StudiosandArchives The EastmanColorMotionPictureProcess: Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? zine (atTimeWarnerInc.), Color motionpictures,mostof whicharenowmadewith use from1946until1976. the KodakProcessE-1,E-2,andE-3Ektachromefilmsin The severecyanandyellowdyelossischaracteristicof normal room-temperatureconditionssinceitwastaken. Rothschild andstoredinthedarkNewYorkCityunder An Ektachrome120transparencyshotin1959byNorman During theperiodfrom1959to1976,mostprofessional theoriginal8x10-inchProcessE-1Ekta- For example, Vogue magazine,theNational Life maga- few peopleintheHollywoodmovieindustryrealizedthat imbibition motionpictureprintprocessinthemid-1970’s, what oncewerebrilliant,full-colorimages. all thatremainsisaghastlyreddish-magentareminderof images (andusuallymuchoftheyellowdyeaswell),and 1970 havenowlostmostofthecyandyecomponenttheir all EastmanColorprintsmadebetween1950andaround about 1985havebynowsufferedsignificantfading. introduction oftheEastmanColorprocessin1950until motion picturecolornegativesandprintsmadeafterthe controlled coldstorageforlong-termpreservation.Most However, eventheimprovedproductsrequirehumidity- and printfilmssupplied byKodak,Fuji,andAgfa. poor imagestabilityofthemotion picturecolornegative Martin Scorsese’seffortstofocus attentiononthevery color filmfadingcrisis.Thearticle describedfilmdirector industry publication,featured a front-pagestoryonthe The July9,1980editionof between thedark-storagestabilityoftwofilms. looked likebutalsoillustratesthedramaticdifference 10%. ItnotonlyshowswhattheoriginalEktachrome chrome wasmade,itisestimatedtohavefadedlessthan more than30yearsthathavepassedsincetheKoda- original Ektachrometransparencyontheleft.During Above isaKodachromeduplicatemadein1961ofthe When theTechnicolorCorporationabandoneditsdye- Variety , theentertainment Chapter 1 14 Nearly

1959 by Norman Rothschild – Courtesy of the photographer 26

This document originated at on June 6, 2003 under file name: 27 sive, highlystable colorprintsofexcellent quality. Matchprint systemhasthe potential toproduceinexpen- ing system.Asdiscussedlater inthischapter,theDigital the 3MDigitalMatchprintgraphic artsdirect-digitalproof- ployed intheElectrocolorprocess reappearedin1990 years afteritwasintroduced. Thebasictechnologyem- of theprocessandwithdrew itfromthemarketonly2 and missedopportunity,3Mfailedtoexploitthepotential tography business.Inaclassicexampleoflimitedvision cessful intheuppertierofportraitandweddingpho- properly promoted,theprocesswouldhavebeenverysuc- exposed tolightondisplayandwhenkeptinthedark. ducing printsthatwereessentiallypermanentbothwhen of pigments,theprocesswouldhavebeencapablepro- ments couldalsobeemployed. Electrocolor prints,patentsfortheprocessstatethatpig- chromogenic colornegativepapersavailableatthetime. fading stabilitythantheKodakEktacolorpaperandother tially permanentinthedarkandhadmuchbetterlight accelerated agingtests,theprintsappearedtobeessen- at the3MCompanyinSt.Paul,Minnesota.Inthisauthor’s process developedbyVsevolodTulaginandhisco-workers color transparenciesusingaliquid-tonerelectrophotographic 1965, producedcolorprintsfrombothnegativesand made bytheTechnicolordye-imbibitionprocess. Eastman ColorPrintFilm5384isfarlessstablethanprints they weregivinguppermanentcolormotionpictures.Current Highly StableElectrophotographicColorPrints Its PioneeringElectrocolorProcessforMaking The 3MCompanyAnnounces,andThenWithdraws, The PermanenceandCareofColorPhotographs Had thestabilityadvantagesofElectrocolorprintsbeen Although 3Musedorganicdyestoformtheimagesof The 3MElectrocolorprocess,whichwasintroducedin and releaseprintscanbemadefromtheseseparations. the cameracolornegative,andanewintermediatenegative Story poor imagestability.Fortunately,inthecaseof introduction oftheprocessin1950until1982havesimilarly went topress).AllEastmanColorPrintFilmsdatingfromthe clip containingthisimagewas30yearsoldatthetimebook period hadextremelypoordarkfadingstability(the70mmfilm Story As isvividlyshowninthisframefromthe1961film , black-and-whiteseparationnegativesweremadefrom , starringNatalieWood,EastmanColorPrintFilmfromthe 15 Withtheproperselection West Side West Side 2-inch-wide section ofan8x10-inchElectrocolor testprint. with outstandingimagestability. Thisportraitisfroma thereafter, hadthepotentialof producingcolorprints cess, introducedin1965and abandoned by3Mshortly The 3MElectrocolorliquid-toner electrophotographicpro- Technicolor film Reproduced aboveisanactualframefromthe1935 process inthemid-1970’s(seeChapter10). replaced bythefarlessstableEastmanColorprint and Europe,theTechnicolorimbibitionprocesswas is currrentlyinuseChina,buttheUnitedStates tion oftheTechnicolorimbibitionprintingprocess remains inverygoodcondition.Amodernadapta- normal room-temperaturestorageinHollywood,also this 57-yearoldfilmclip,whichhasbeenkeptin surface scratches,thecellulosenitratefilmbaseof essentially permanentindarkstorage.Exceptfor printing processproducedcolorimagesthatare 3-strip cameras.TheTechnicolordye-imbibition first feature-lengthmoviefilmedwithTechnicolor Hopkins andAlanMowbray. Becky Sharp 131% 27 c , whichstarredMiriam Becky Sharp Chapter 1 was the

Courtesy of Donald R. Hotchkiss

This document originated at on June 6, 2003 under file name: Courtesy of Gert Koshofer and Klaus B. Hendriks troduction ofAgfachromeCU-410. intensive workbeginningin1962culminatingwiththein- process hadbeeninvestigatedbyAgfasince1927,with tography historianGertKoshofer,thesilverdye-bleach finishing plants.AccordingtothenotedGermancolorpho- material usedforprintingtransparenciesinAgfa’sphoto- duction ofAgfachromeCU-410,areversalsilverdye-bleach product’s demise.Forexample,in1970Agfastartedpro- stability advantagesoftheprocess—resultingin secrecy preventedthemanufacturerfromexploiting or, inafewcases,actuallyputonthemarket,veilof when apromisingprocesswasbeingactivelyresearched, regarding colorstabilityisthatonanumberofoccasions, Agfa customerswhoreceivedtheseprintsevenrealized as ithadbegun6yearsearlier.Koshoferreportsthatfew Agfa stoppedproducingthematerialin1976,justasquietly facture andprocessthanchromogenicreversalmaterials, was somewhatmorecostlyandalsodifficulttomanu- stability advantagesoftheseprints.Becausethematerial current IlfordIlfochromeandKodakDyeTransferprints. fact, theprintshavemuchbetterlightfadingstabilitythan dark storageandtohaveverygoodlightfadingstability;in tested bythisauthorprovedtobeessentiallypermanentin Conventionally ProcessedColorPrintMaterial Abandons, Soon the World’sMostStable In 1970AgfaofGermanyIntroduces,but Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? mogenic negative andreversalprintsystems. doned thetechnologyinfavor of thefarlessstablechro- the importanceofsilverdye-bleach systemandaban- bleach materials.LikeKodak, Agfafailedtorecognize three timeslonger conducted bythisauthor,CU-410 lastedapproximately print materialevermadebyAgfa. Inlightfadingtests fading stabilityoftheprintsisfar betterthaninanyother 1970. Essentiallypermanentindarkstorage,thelight An AgfachromeCU-410silverdye-bleachprintmadein One ofthesaddestlegaciesfromerasecrecy To thisauthor’sknowledge,Agfaneveradvertisedthe thancurrentIlfochromesilver dye- 16 SamplesofCU-410 dye fadinginlessthan6years.Untoldmillionsofportraits with theprintsinmostcasessufferingfromnear-totalcyan Type 4paperhadunbelievablypoordarkfadingstability, labs inEuropeandtheU.S.ThecyandyeAgfacolor was alsousedbyasignificantnumberofphotofinishing 1970’s untilthepaperwasdiscontinuedin1982.The use, especiallyinthemassportraitbusiness,frommid- est-cost colorpaperavailable,Type4enjoyedwide Paper Type4,thefirm’sfirstRCcolorpaper.Aslow- fiber-base paper,Agfa-GevaertintroducedAgfacolorPE son, hadverypoorstability. nic AgfachromeandAgfacolorpapers,which,bycompari- have ledtorequestsforinformationonAgfa’schromoge- ity ofAgfachromeCU-410becausethiswouldinevitably apparently wasreluctanttopublicizetheexcellentstabil- promoted andtheproductwasconsideredafailure.Agfa over thecompany’schromogenicmaterials—wasnever bility. Imagestability—theprincipaladvantageofCU-410 maintaining strictsecrecyonmattersconcerningcolorsta- had thewisdomtodepartfromitspolicyattimeof have withoutadoubtbeencommerciallysuccessfulifAgfa have followedifworkontheprocesshadcontinued,would materials almostexclusively),andinthefineartfield. portrait andweddingmarkets(whichusecolornegative also haveachievedtremendoussalesintheprofessional negative-printing versionofCU-410,thecompanycould cesses). AsitwaswellwithinAgfa’scapabilitytoperfecta and considerablymoreexpensivepigmentcolorprintpro- most stablecolorprintproduct(excludingthecomplex market today,itwouldinanoverallsensebetheworld’s dark-storage stability.IfAgfachromeCU-410wereonthe CU-410 processwasvastlyinferiorinbothlightfadingand Agfachrome reversalpaperwithwhichAgfareplacedthe were otherwisedifferentfromotherprints.Thechromogenic that theyweremadebythesilverdye-bleachprocessor Agfacolor PaperType4(1974–1982) The WorstColorPaperinModernTimes: photographer and theoriginalnegativenolonger exists. of cancer.Theportraitwastaken byadiscountstore center ofDonald’scoffin.In1987, atage11,Donalddied that wasmadewithAgfacolor Type4papersitsonthe Donald WilhelmIVandhis7-year-old sisterDonnaJo A veryfaded1977childhood portraitof13-month-old In 1974,asareplacementforitsthenpopularAgfacolor Agfachrome CU-410,andimprovedversionsthatwould Chapter 1

1987 28

This document originated at on June 6, 2003 under file name: 29

1991 fated Type4paper. press in1992representavast improvementoverAgfa’sill- papers thatwereavailable at thetimethisbookwentto of itscolorpapers,andthe Agfacolor Type8and9 Agfa begantomakeaserious efforttoimprovethestability would haveusedtheproduct. poor stabilityofthepaperbeenknown,notasinglelab sum in1987.Itisalmostcertainthat,hadtheextremely paper; thecasewassettledoutofcourtforanundisclosed raphers acrosstheUnitedStateswhohadusedType 4 in 1985againstAgfa-Gevaertonbehalfoflabsandphotog- the paperledtofilingofanationwideclass-actionsuit ness lossesresultingfromtheexceedinglypoorstability of other mass-marketportraitlabsarenowworthless.Busi- PCA International,Inc.ofMatthews,NorthCarolinaand of children,adults,andfamiliesmadewithType4paperby The PermanenceandCareofColorPhotographs of theoriginalcolorimage. paper worldwidehasnowfadedtoanuglyreddishghost one ofthecountlessmillionsprintsmadewiththis in thedarkorexposedtolightondisplay,everysingle finisher thatusedAgfacolorType4paper.Whetherkept misfortune ofsendinghercolornegativefilmtoaphoto- too late.Inthe1970’sandearly1980’s,shehad of familyphotographs,didnotlearnthisfactuntilitwas fornia, shownherewithhermostlyveryfadedcollection Like manypeople,BettyJ.GerberofWalnutCreek,Cali- Some colorphotographslastmuchlongerthanothers. The fiascodidhaveonebeneficial outcome,however— also hadlightfadingstabilitythatwas thor, Ciba-GeigydecidednottomarketCibacolor. For reasonsthathaveneverbeenunderstoodbythisau- at thesametimefirmintroducedCibachromein1963. Geigy announcedsuchaproductundertheCibacolorname means ofaspecialreversalprocessingprocedure,andCiba- to makesilverdye-bleachprintsfromcolornegativesby prints fromcolortransparencies.Itispossible,however, materials andthereforehavealwaysbeenusedformaking silver dye-bleachproductsareinherentlydirectpositive Negatives —ButCibacolorIsNeverMarketed Silver Dye-BleachProcessforPrintingColor In 1963Ciba-GeigyAnnouncestheCibacolor able tobenefitfromthesuperiorpermanenceofCibachrome. color negativefilmsalmostexclusively,haveneverbeen in theportraitandweddingfields,which,becausetheyuse blunder. Cibacolorwouldhavebeenextremelysuccessful failure toexploitthepotentialofCibacolorwasamajor ited marketforIlfochromematerialsandthatCiba-Geigy’s color wouldhavebeenfargreaterthanthecurrentlylim- the time.ThisauthorbelievesthatdemandforCiba- of Ektacolorandotherchromogenicmaterialsavailableat Geigy atthePhotokina tradeshowinGermany in1963. was oneoftheprintsexhibited bytheSwissfirmCiba- This Cibacolorprint,madedirectly fromacolornegative, Essentially permanentindarkstorage,Cibacolorprints Cibachrome (renamedIlfochromein1991)andother far superiortothat Chapter 1

Courtesy of Armin Meyer

This document originated at on June 6, 2003 under file name: 1968 and 1971 by Max Brown appears tohaveactually prints underglass—usuallyarecommendedpractice color balanceiftheyhavebeendisplayed;framingofthese and 1977nowexhibitsevereimagefadingshifts in Very RapidFadingandSevereColorShifts 1960’s andEarly1970’sHaveSufferedfrom Displayed EktacolorRCPrintsMadeintheLate Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? returned faded printstotheirstudios(see Chapter8). trait andweddingphotographers afterdisgruntledcustomers color, causedconsiderabledifficulties forprofessionalpor- raphy studiosmadetheswitch fromblack-and-whiteto introduced byKodakduring the periodwhenmanyphotog- RC base-associatedfadingand stainingonpage72). in therapidlightfadingthatoccurred(seediscussion of RC baseusedwiththeseproductswasitselfamajorfactor pers marketedbyKodak,andthisauthorbelievesthatthe ration. TheprintsweremadewiththefirstRCcolorpa- Most KodakEktacolorRCprintsmadebetween1968 in achurchundersimilarlightingconditions. under glassandhadbeenondisplaynexttoeachother photographs wastakenin1980.Bothprintswereframed than theRCprintwhenthispictureoftwochoir fiber-base printhadbeendisplayedfor3yearslonger fiber-base EktacolorProfessionalPaper,eventhoughthe faded muchmorethanthelowerprint,madein1968with The upperprint,madein1971withEktacolorRCpaper, The rapiddeteriorationofthese RCpapers,whichwere contributed 355% 30 a totheirrapiddeterio- very poorstabilityoftheearlyEktacolorRCpapers). lawsuit againstKodakwhichwasbroughtaboutbythe placements (seeChapter8foranaccountofBrown’s to Brown’sstudiobyiratecustomersaskingforfreere- new EktacolorRCpapers.Theprintshadbeenreturned prints thatweremadefrom1969to1974withthethen- is shownherein1981withagroupofseverelyfaded Max Brown,anIowaportraitandweddingphotographer, period whenthis photographwastakenin1981. even thoughtheRCprinthadbeen displayedforashorter the fiber-baseEktacolorProfessional printontheright, the EktacolorRCprintonleft fadedmuchmorethan Displayed undersimilarlighting conditionsinahome, 355% 30 b Chapter 1

1968 and 1970 by Fehrenbach Studios 1982 30

This document originated at on June 6, 2003 under file name: 31

Courtesy of Thomas T. Hill Fine ArtsinBoston. size replicasofpaintingsinthe collectionoftheMuseum apart film,Polaroidhasforsome yearsofferedforsalelife- Modern Art”appearedin Photograph IsPartoftheCollectionMuseum of standing stability.Anadentitled“ThisPolaroidSX-70 instant colorfilmswhichclaimedthattheprintshadout- tisements forthecompany’sSX-70andPolacolorpeel-apart sheet, issubjecttocatastrophiccracking(seepage125). ceiving layer,locatedbeneaththetransparentprintcover addition, withSX-70printsfromthe1970’s,imagere- after onlyafewmonthsindarkstorage(seepage174).In Objectionable levelsofyellowishstainwereoftenreached physical stabilityoftheone-of-a-kindprintswasverypoor. soon becameapparentthatboththeimagestabilityand quite asensationwhentheywereintroducedin1972,butit the moststableandfaderesistantinexistence.” able clarityanddefinitionofdetailwhosecolorisamong zines in1977;itstatedthatSX-70printshave“..remark- Also SufferfromInternalImage-LayerCracking of YellowishStain—ManyPrintsfromthePeriod 1970’s QuicklyDevelopedObjectionableLevels Polaroid SX-70InstantColorPrintsMadeInthe stability ofthe printsisverypoor(seeChapter 3). than $1,000.Thisauthor’stests showthatthelightfading framed andintendedfordisplay, rangefrom$120tomore The PermanenceandCareofColorPhotographs kept inthedarkundernormalstorageconditions. parent polyesterprintcoversheet.Thehasbeen located intheimage-receivinglayer,beneathtrans- be seenoverthewholeareaofimage;cracksare once-white backgroundofthisphotograph.Crackscan overall yellowishstainwhichisplainlyevidentinthe after theSX-70systemwasintroduced,hasdevelopedan This PolaroidSX-70print,madein1972onlyafewmonths Using alarge-formatversion ofitsPolacolorERpeel- During the1970’sand1980’s,Polaroidranmanyadver- The PolaroidSX-70cameraandinstantcolorprintswere 18 Pricesforthereplicas,which are The

New

Yorker andothermaga- 17 Polaroid SX-70prints. the newlyintroducedKodakInstantPrintFilmPR-10and lished anarticlethatcomparedthelightfadingstabilityof and officesituations..” are handled,displayed,orstoredintheusualvarietyofhome Kodak instantprintsisentirelysatisfactorywhensuch conference, wrote: Eastman Housestaffmember andtheorganizerof which wasnotopentothepublic,WilliamJenkins,aGeorge was heldattheVictoriaandAlbertMuseuminLondon). preservation sponsoredbytheRoyalPhotographicSociety the UnitedStates(earlier,in1973,aconferenceoncolor Photographs” in1975.Thiswasthefirsteventofitstype in “Colloquium ontheCollectionandPreservationofColor Eastman House,inRochester,NewYork,presented a tions, theInternationalMuseumofPhotographyatGeorge bility problemandtheneedtobettercarefortheircollec- alert themuseumworldtomagnitudeofcolorsta- If anything,the fact, ofanycolorprintmaterialevertestedbythisauthor. tremely poorlightfadingstability—byfartheworst,in that displayedKodakPR-10Instantcolorprintshadex- this author’slow-level,long-termlightfadingtestsrevealed Have VeryPoorLightFadingStability Saying Kodak’sPR-10InstantColorPrints Consumer Poor PermanenceofColorPrintsandFilms Become MoreAwareof–AndAlarmedbythe The MuseumWorldandtheGeneralPublic out ofproportion.” “the entiretone”ofthearticlewas“misleadingandblown fading testsusedbythemagazinewerenotvalidandthat nounced thearticleandsaidthathigh-intensitylight by fading testsagreedingeneralwiththeconclusionsreached in ageneral-circulationpublication. because atestreportlikethishadneverbeforeappeared prints. ThisapparentlycaughtKodakquitebysurprise ity oftheKodakproductwasfarinferiortoPolaroidSX-70 light fadingtestsandconcludedthatthestabil- into instantphotographyprobablyexceeded$2billion. damages andinterest;Kodak’stotallossesfromitsforay Polaroid atotalof$924,526,554—nearly$1billion!in pany byPolaroid.Intheend,Kodakwasorderedtopay historic patentinfringementsuitbroughtagainstthecom- films andcamerasfromthemarketin1986afterlosinga prints actuallywas. how poorthelightfadingstabilityofKodakPR-10instant In November1976, In aletterofinvitationtothoseattendingthemeeting, In whatcanbeviewedasalandmarkeventthathelped As shownonpage138(seethelastentryinTable3.3), In spiteofthefactthatKodak’sown—secretlight- Kodak wasforcedtowithdrawitsill-fatedinstantprint Consumer tographs. We have collecteddyetransfer and time withthedifficultyofcollecting colorpho- of Photographyhasbeenconcerned forsome As youmayknow,theInternational Museum

Reports

Reports Consumer

According toKodak, , Kodak’spublicrelationspeoplede- 19 PublishesArticle Consumer 20 Themagazineusedhigh-intensity

Reports

articleunderstatedjust Reports magazinepub- “the stabilityof Chapter 1 21

This document originated at on June 6, 2003 under file name: refrigeration. and motionpicturesunder improper conditions,without tinued tostoreitspricelesscollection ofcolorphotographs time thisbookwenttopress in1992,EastmanHousecon- new $7.4-millionarchivebuilding completedin1988.Atthe Eastman Housedidnotinclude arefrigeratedvaultinits examples existinnoothercollection intheUnitedStates, many ofwhichweremadebycolorprocesses becoming worsewitheachpassingyear. cause ofimproperstorageinthepast,anddamage is color photographshavealreadyseriouslydeterioratedbe- color processesintheUnitedStates.Manyoftheseearly House possessedthemostvaluablecollectionofhistorical acquisition ofthe3M-SipleyCollectionin1976,Eastman dations toemergefromthe1975conference.With number ofrecentlyacquiredEktacolorprints. portant benefactor);thecollectionnowincludesasizable print materialproducedbyKodak,themuseum’smostim- ation inlightofthefactthatthisisbyfarlargestselling ing KodakEktacolorprints(apotentiallyembarrassingsitu- about thefateofcolorportraits: earlier ofPresidentJohnF.Kennedy,alsoexpressedalarm faded Ektachrometransparencieshehadtakensomeyears Newman, saidattheconference: color products.Therenownedportraitphotographer,Arnold cies andfortheverypoorimagestabilityofmanyits by somestrongdenunciationsofKodakforitssecrecypoli- chrome andEktachromefilms.Themeetingwasmarked perature dark-keepingstabilitydataforthecurrentKoda- and Bard,forthefirsttime,gavesomebasicroom-tem- stability, representedKodakattheconference.Larson became Kodak’sregularspeakeronthesubjectofcolor man Kodak,andCharletonBard,who,duringthe1980’s, Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? In spiteoftheimmensevaluethesephotographs, Refrigerated storagewasoneofthemajorrecommen- Eastman Houselaterchangeditspolicyofnotcollect- Newman, whoshowedthegroupaselectionofseverely George Larson,akeyfigureinstabilityresearchatEast- when allthesepersonalpicturesbegintofade. getting angryinabout8to10yearsfromnow are goingtofindthatthepublicisstart public doesn’tknowit,butitisbuyingjunk. they areexpectedtolast.ThegreatAmerican disappear. these picturesin25years?They’regoingto family snapshots.What’sgoingtohappen color weddingpictures,vacationand nic printmadefromacolornegative.] to aKodakEktacolorprintorotherchromoge- “Type Cprint”isagenerictermusedtorefer as “TypeC”prints. from acquiringthelessstablematerialssuch permanent, butourpolicyhasbeentorefrain carbro printsbelievingthesetoberelatively They [Kodakandtheothermanufacturers] These thingsarecarefullyhungonwallsand Millions andmillionsofpeoplehavetaken 22 [Note:Incurrentusage, 23 of HistoricalPhotographs.” Organizedby GeorgeTalbot, Local History(AASLH)sponsored aseminaronthe“Use based onpresentationsgivenatthesemeetings. and preservationpublishedduringthepast20yearswere ences andsymposia.Manyofthearticlesoncolorstability ums andarchivesledtomanyotherpreservationconfer- tions ofcolorphotographsandmotionpicturesinmuse- desire tolearnmoreabouthowbettercareforcollec- man Houseconference. nor PolaroidorFujiwasinvitedtoattendthe1975East- Conference, theworld’smoststablecolorprintmaterial), called Cibachromeand,atthetimeofEastmanHouse Local HistorySeminarin Madison,Wisconsin The 1976AmericanAssociation forStateand Conferences SoonFollowed Other ImportantPreservation In May1976theAmerican Association forStateand Concern abouttheinstabilityofcolormaterialsand Neither Ilford,themanufacturerofIlfochrome(then stability problemsforthecompany. a Kodakresearchscientistwhoworkedoncolorimage Listening toNewman’scomplaintsisCharletonBard(right), Eastman HouseinRochester,NewYorkOctober1975. Preservation ofColorPhotographs”sponsoredbyGeorge transparencies atthe“ColloquiumonCollectionand ing abouthisseverelyfadedProcessE-1Ektachrome New YorkCityphotographerArnoldNewmancomplain- Chapter 1

October 1975 32

This document originated at on June 6, 2003 under file name: 33

Courtesy of NASA (Photograph AS11-40-5947) simply written offcolorphotographyaltogether. stability problem,manycurators andmuseumpeoplehad and nothingcouldbedoneto stopit.Becauseoftheimage- museum curatorsandarchivists wasthat“allcolorfades” definitely. Atthetime, prevailingviewamongmost nedy colornegatives,prints, andmotionpicturesin- Goodrich thatitwasindeed possible topreservetheKen- took placeattheAASLHseminarinMadisonconvinced Color FilmsHavingPermanentValue,” Eastman Kodakentitled“PreservationofMotionPicture ture filmstoragebyPeterZ.Adelsteinandco-workers at had readalittle-noticed1970articleoncolormotionpic- collection ofcolormaterialsfromtheKennedyera.Goodrich thinking abouthowbesttopreservethelibrary’sextensive Library hadnotyetbeencompletedandGoodrich of thoseattendingtheseminar;atthattime,Kennedy gerald KennedyLibraryinBoston,Massachusetts,wasone storage wasemphasized. graphs andmotionpicturesbyhumidity-controlledcold discussed. Thegreatincreaseinlifeaffordedcolorphoto- white andcolorphotographsinaninstitutionalsettingwere the speakers;processingandcareofbothblack-and- B. HendriksoftheNationalArchivesCanadawereamong Wisconsin inMadison,Wisconsin.ThisauthorandKlaus the meetingtookplaceatStateHistoricalSocietyof at temperaturesdownto20 with representativeKodakcolormotionpicturefilmsstored number ofyearsitwouldtakefora10%dyelosstooccur small graphthat,forthefirsttime,gavepredictions The PermanenceandCareofColorPhotographs first timethathumanbeingshadsetfootonthemoon. lunar orbittoalandingonthemoon.Themissionwas lunar moduleinwhichthetwoastronautsdescendedfrom toric July1969Apollo11mission.Inthebackgroundis ment packageonthesurfaceofmoonduringhis- Armstrong, EdwinE.Aldrin,Jr.deploysaseismicexperi- In thisEktachromephotographbyNASAastronautNeil This articleandthediscussionsaboutcoldstoragethat Allan B.Goodrich,audiovisualarchivistattheJohnFitz- ° F (–6.7 ° C). 24 whichincludeda their holdings(seeChapter20). picture studiostoconstructcoldstoragevaultspreserve encourage manyothercollectinginstitutionsandmotion photographic storagefacilityintheworld,andithashelped collection. Thiswasthefirsthumidity-controlled,0 (–18 a humidity-controlledcoldstoragevaultmaintainedat0 processes affecting photographicmaterials overtimecame which scientificinvestigation ofthecomplexdeterioration the moderneraofphotographic preservationfield—in Conference inWashington, D.C. at the1978SPSEAnnual Materials” Session The “Stability and Preservation ofPhotographic In October1979theKennedyLibrarybeganoperationof In aneventthatcouldbeconsidered thebeginningof at WhiteSands,NewMexico. Houston, andathirdsetiskeptin0 duplicates isstoredinasecond0 preservation effortintheworld,acompletesetofcolor Texas. Aspartofthemostsophisticatedcolorfilm (–18 other spacemissions,arepermanentlypreservedat0 original colorstillphotographsandmotionpicturesfrom sion tothemoononJuly16–24,1969,togetherwith astronauts forphotographyonthehistoricApollomis- The originalEktachrome ° C) and30%RHtopermanentlypreservetheKennedy ° C ) and20% RH at NASA EF and headquartersinHouston, MS ° F (20% filmsusedbythe ° F (20% RH ) facilityin RH Chapter 1 ) vault ° F ° ° F F

October 1987

This document originated at on June 6, 2003 under file name: Photographic Materials GroupoftheAmerican Institute zations inthephotographicconservation fieldhasbeenthe to takepartbutdeclinedattend. sentations attheconference.EastmanKodakwasinvited including representativesofPolaroidandIlford,gavepre- chairperson oftheevent.Anumberexpertsinfield, photography andinphotojournalism;thisauthorservedas conference focusedoncolorstabilityproblemsinfineart lenge, thePhotographer’sandCollector’sDilemma.”The entitled “ThePermanenceofColor—Technology’sChal- (ICP) inNewYorkCitysponsoreda2-dayconference formation incolorprintmaterials. proposed limitsfordyeloss,colorimbalance,andstain accelerated lightfadingtests;inthetalk,thisauthoralso significant reciprocityfailureswithcolorprintmaterialsin data which,forthefirsttime,showedthattherecouldbe by Kodak. color materialsandtheacceleratedtestmethodsemployed significant newinformationaboutthestabilityofKodak of EastmanKodakoncolorimagestabilitythatcontained Archives ofCanada. meeting, waschairedbyKlausB.HendriksoftheNational preservation, whichwasthefirstofitskindatanSPSE for Conservationin1979 Materials GroupoftheAmerican Institute Establishment ofthePhotographic in NewYorkCity at theInternationalCenterofPhotography The 1978ConferenceonColorPermanence Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Processes driks andhisstaffassembled conservation field. train numerousindividualsnowworkinginthephotographic at theNationalArchivesofCanada,Hendrikshashelped tion. Throughinternshipsintheconservationlaboratories been anvaluablecontributiontothefieldofcolorpreserva- aging ScienceandTechnologyotherorganizationshas numerous conferencesandsymposiafortheSocietyofIm- modern black-and-whitematerials,hisworkinorganizing 1975 hascenteredontheconservationofhistoricaland tional ArchivesofCanadasincehebeganhisworktherein film andprintmaterials. becoming moreopenaboutthestabilityproblemsofcolor important firststepbythephotographyindustrytoward Washington, D.C.inMay1978. Society forImagingScienceandTechnology,orIS&T)in Photographic ScientistsandEngineers(nowknownasthe the programofannualconferenceSociety Preservation ofPhotographicMaterials”wasincludedin to theforefront—aspecialsessionon“Stabilityand of thechapteronpreservationin1989book such on-lineresourceintheworld.Hendriksisauthor base forphotographyconservationthatisnowthelargest Since itsfoundingin1979,one ofthemostactiveorgani- In May1978,theInternationalCenterofPhotography This author’spresentationattheSPSEmeetingincluded The meetingincludedapresentationbyRobertJ.Tuite Although mostofKlausHendriks’researchattheNa-

26 and

Materials – 28 Overaperiodofmanyyears,Hen-

Neblette’s Phocus 25 Thisspecialsessionon 27 Themeetingwasan

, abibliographicdata Eighth

Edition Imaging . 29 storage inthemotionpictureindustryandfilmarchives. crease awarenessoftheimportancelow-temperature “Cold StorageofMotionPictureFilms”thathelpedin- Congress sponsoredaconferenceinWashington,D.C.on of CongressColdStorageConference The 1980AmericanFilmInstituteandLibrary for Conservation. Gevaert. color stabilityahigh-prioritygoalforKodak,Fuji,andAgfa- peal forsupportofScorsese’scampaigntomakeimproved Martin ScorsesewasMarkdelCostello,whomadeanap- Attending theconferenceonbehalfofnotedfilmdirector bility characteristicsofitsexistingcolormotionpicture cuss Scorsese’sdemandsthatKodak(a)disclosethesta- and TonyBrunoofKodak’sMotionPictureDivisiontodis- Donna GigliottiandMarkdelCostellometwithKenMason ment suiteonJuly14,1980,Scorseseandhisassistants related issuestoScorseseandhisstaff. serving asavolunteertechnicaladvisoroncolorstability- papers arecitedelsewhereinthisbook. presented atthegroup’sgatherings.Anumberofthese lishes aboundvolumeofcollectedpapersthathavebeen related information,andeachyeartheorganizationpub- become amajorvenuefortheexchangeofconservation- care ofphotographiccollections. servation field,curators,andothersresponsibleforthe consists ofpracticingconservators,researchersinthecon- the diversemembershipofPhotographicMaterialsGroup once ayearatdifferentlocationsaroundNorthAmerica), can InstituteforConservationandalsomeetsseparately sponsors aprogramateachannualconferenceoftheAmeri- In 1980theAmericanFilmInstituteandLibraryof At ameetinginMartinScorsese’sNewYorkCityapart- The PhotographicMaterialsGroup(PMG)meetingshave libraries (seediscussion inChapter9and 20). improve thestorageconditions theyprovidefortheirfilm more timeandmoneytofilm preservation—andto encouraged themajorHollywood filmstudiostodevote both companiesbeginningin 1982. Scorsesehasalso negative andcolorprintfilms thatwereintroducedby and Fujitodevelopthelonger-lasting motionpicturecolor film preservatoncampaignhelped topersuadeKodak Age ofInnocence Martin Scorsese,thedirectorof 32 Followingtheconference,thisauthorbegan 30 Usuallymeetingtwiceayear(thegroup ( 1993), andothernotedfilms.Scorsese’s Cape Fear (1991), Chapter 1 The 31

July 1980 34

This document originated at on June 6, 2003 under file name: 35 Ektacolor 74RCPaper. of thephotographsinexhibitionwereprintedonKodak stability, especiallywhenexposedtolightondisplay.)Most a paint,watercolor,fabricdye,orothermediumhaspoor (As appliedtoworksofart,theterm“fugitive”meansthat fine artworldandtheresultingproblemof“fugitivecolor.” the shiftfromblack-and-whitetocolorphotographyin of contemporarycolorphotographytofocusattentionon bor, Michigansponsoredanationalinvitationalexhibition exhibition catalogue Symposium attheUniversityofMichigan The 1982 more stablemotionpicturecolornegativeandprintfilms. Fuji PhotoFilmCo.,Ltd.soonfollowedwithsubstantially about tentimesmorestablethanthefilmstheyreplaced. and 7384(16mm);indarkstoragethesenewfilmswere replacing themwithEastmanColorPrintFilm5384(35mm) doning allofitsexistingmotionpictureprintfilmsand 1981. InOctober1981Kodakannouncedthatitwasaban- made public.TheinformationbecameavailableinMay announced thatcolorfilmandprintstabilitydatawouldbe vince Kodakthattheseissueshadtobeaddressed. picture industrybehindhim,Scorsesewasabletocon- ucts. Withtheweightofentireentertainmentmotion films and(b)replacecurrentwithlonger-lastingprod- color PrintSystem.”Theessay beganwiththestatement: The PermanenceandCareofColorPhotographs conserve space,isRobertMcCracken,asupervisorinArchiveOperations. Shown hereinthecolorfilmvault,whichisequippedwithmovableshelvingto (4.4 The colorfilmvault,oneofninevaultsinthehigh-securitybuilding,iskeptat40 located ontheParamountstudiolotMelroseAvenueinHollywood,California. The colorfilmstoragevaultintheParamountPicturesFilmandTapeArchive, This authorcontributedanessay tothe In January1982theUniversityofMichiganinAnnAr- In August1980,onlyamonthafterthemeeting,Kodak simple: theyfade. Theprintsnotonlyfade when ° C) and25%RH.Themulti-million-dollarfacilitywentintooperationin1990. The problemwithKodakEktacolor printsis Fugitive Color 33 entitled“TheProblemsofthe Ekta- Exhibitionand Fugitive

Color spective. Sitting inthesymposiumaudience wasreporter dak, gaveapresentationonthe problemfromKodak’sper- Bard, acolorstabilityresearch scientistatEastmanKo- spoke onbehalfoftheexhibition organizers,andCharleton stability problemsofcolorprints andfilms.Thisauthor Accompanying theexhibition wasasymposiumonthe good darkkeepingstability. rapidly onexposuretolight,generallyhavevery 18th-century watercolors,someofwhichfadequite properties thanKodakEktacolorRCprints.Even seum ofModernArt,onewouldbeunlikelytofind diverse mediumcollectionssuchasthatoftheMu- play, 25to30yearsisnotaverylongtime.In condition afterhundredsofyearsconstantdis- world, whereonecanfindRembrandtsinpristine the artisthadcreated.Intraditionofart images there,buttheywillnotbethesame images couldbefarworse. displayed for25to30years,theconditionof viewing; iftheprintshavemisfortuneofbeing any prints arekeptinthe have significantlyyellowed.Andthatiswhenthe of cyandyefading;thewhitesinprintswill and aseriouscolorshifttowardred-yellowbecause prints willhavesufferedavisiblelossofcontrast the storagetemperatureandrelativehumidity. fade inthe its onlyfault);muchworse,Ektacolorprintsalso even betemptedtoforgivetheproductifthiswere they areondisplayandexposedtolight(onemight . Tobesure,therewillstillrecognizable . In25to30years[ofstorageinthedark] typeofartisticmediawithworsedarkkeeping ° F dark . Howfasttheyfadedependson Diane Keaton,andAlPacino. starred RobertDeNiro,Duvall, film, whichwonsixAcademyAwards, classic, tive fromFrancisFordCoppola’s1974 A rolloftheoriginalcameranega- dark The Godfather,PartII exceptforoccasional Chapter 1 . The

October 1992 (2)

This document originated at on June 6, 2003 under file name: ing problem. program topresenttheirdisparateviewsonthecolorfad- manding freereprints(seeChapter8),appearedonthe bringing fadedEktacolorRCprintsbacktohisstudiode- rapher MaxBrown,whowasplaguedbyiratecustomers Bard, thisauthor,andIowaportraitweddingphotog- show wasbroadcastnationwideonAugust31,1982.Charleton bility andpreservationofcolorphotographsataseminar RIT tocancelthisauthor’sinvitationspeakonthesta- after itwasrevealedthatKodakhadsecretlypressured interesting attendees. between theseminarspeakersthemselvesandalways- and enthusiasticexchangeofinformationviewpoints nars weremuch-anticipatedeventsandfeaturedafree field ofphotographicpreservation.TheearlyRITsemi- cluding thisauthor,whowereactiveinthenewlyemerging hoc twice-a-yeargatheringformanyofthespeakers,in- of photographiccollections,buttheyalsoservedasanad dustry whowereresponsibleforthecareandmanagement nars popularamongpeopleinmuseums,archives,andin- tion ofPhotographicImages.”Notonlywerethesesemi- semi-annual seminarsonthe“RestorationandPreserva- ogy (RIT)inRochester,NewYorksponsoredthefirstofits at theRochesterInstituteofTechnology Seminars onthePreservationofPhotographs ing fortheCBS-TVshow Marty Killeen,whowasworkingonafeaturecolorfad- Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? portraits arenow inroom-temperaturestorage. Johnsondiedin1973. installed theexhibitin1974;it wasremovedin1981,andthefaded among Johnson’smosttreasured possessions.TheJohnsonLibrary Johnson’s terminoffice.The fiveportraitsaresaidtohavebeen next totheOvalOfficeinWhite Housefrom1963until1969,during group ofphotographshadbeen displayedinasmallconferenceroom Kennedy, FranklinD.Roosevelt, andHarryS.Truman.Theframed former presidents:HerbertHoover, DwightD.Eisenhower,JohnF. sonally inscribedportraitshadbeengiventoPresidentJohnson byfive Johnson LibraryandMuseuminAustin,Texas,theseveryfaded, per- above astheyappearedin1979anexhibitattheLyndon Baines Treasured EktacolorportraitsofU.S.presidentsfadetoo. Shown The seminarswerecancelledamidcontroversyin1981 In September1977theRochesterInstituteofTechnol- Walter

Cronkite’s

Universe . The other 19th-centuryprocesses.Reilly’sbook, nological historyandpreservationofalbumenprints own, hadbecometheworld’sleadingauthorityontech- the RITpreservationseminarsand,initiallyworkingonhis Technology (IS&T).Reillyhadbeenaregularspeakerat sponsored byRITandtheSocietyforImagingScience ogy. nence Institute(IPI)attheRochesterofTechnol- nars wastheestablishmentin1986ofImagePerma- the silverimagesinmicrofilmsandothertypesofblack- scheduled totakeplaceinAugust1980. at theRochesterInstituteofTechnology The ImagePermanenceInstituteIsEstablished This authorhasnotbeeninvitedbacktospeakatRIT. sions atfirstrestrictedtoblack-and-whitephotography. eral yearslatertheseminarsresumed—withdiscus- ordered topayPolaroid$925millionindamages.) that KodakhadinfringedonPolaroidpatents;was drawn fromthemarketin1986afterafederalcourtruled film. (Kodak’sinstantprintfilmsandcameraswerewith- especially Kodak’sextremelyunstablePR-10instantprint the imagestabilityofitscolorfilmsandprintmaterials, pleased withthisauthor’scriticalcommentsconcerning the subject. by EastmanKodakin1986,isthedefinitivereferenceon tification One positiveoutgrowthoftheRITpreservationsemi- IPI’s researchonprotectivepolysulfidetreatmentsfor The lastoftheseminarstookplaceinMarch1981.Sev- 35 DirectedbyJamesM.Reilly,theInstituteisjointly

of 36

19th-Century although thisidentification isnotcertain. have beenmadewithanEktachrome paper, trait ofTrumanatthelowerright appearsto black-and-white printofRoosevelt. Thepor- tacolor print.Atthelowerleftis ahand-tinted of Kennedy,attheupperright, isanotherEk- considerable yellowdyefading. Theportrait Transfer print;theimagehas sufferedfrom center portraitofEisenhowerisaKodakDye was madewithfiber-baseEktacolorpaper.The Hoover attheupperleftindicatesthatprint Examination oftheveryfadedportraitHerbert

Photographic 34

Prints Kodakwasdis- Care , published Chapter 1

and

Iden-

November 1979 (2) 36

This document originated at on June 6, 2003 under file name: 37

May 1982 tract itsservices touseIPItestdataforsuch comparisons. films andpapers),nordoes it permitcompaniesthatcon- ations ofthestabilitycommercial products(e.g.,color a matterofpolicy,IPIdoesnot publishcomparativeevalu- private firmsthatsupplystorage anddisplaymaterials.As RIT, anumberofcollectinginstitutions, IS&T,andseveral from thefundingcompanies inthephotographicindustry, Board ofAdvisors,whichismadeuprepresentatives companies undercontract. activities. IPIalsoconductsmaterialstestingforprivate government sourcesconstitutetheprimarysupportforIPI’s although atthepresenttime,grantsfrominstitutionaland Kodak andothercompaniesinthephotographicindustry, optical diskimage-storagesystems. and systems,includingmagnetictape,disk, standards relatedtothepermanenceofimagingmaterials committee IT9,whichhasjurisdictionoveralloftheANSI Kodak in1987,presentlyservesaschairmanofANSISub- and preservation.Adelstein,whoretiredfromEastman stitute (ANSI)subcommitteesconcernedwithstabilitytesting the workofanumberAmericanNationalStandardsIn- others onthestaffofIPIhavebeenactiveparticipantsin on thestabilityofblack-and-whiteandcolormaterials. search programtoinvestigatetheeffectsofairpollutants and low-humiditystorage.IPIalsohasanongoingre- longevity ofthesematerialsaffordedbylow-temperature placed renewedemphasisonthesubstantialincreasesin silver imagesandfilmbasematerials.IPI’sfindingshave tween relativehumidityinstorageandthedeteriorationof earlier researchtobetterunderstandtherelationshipbe- importance inthepreservationfield.IPIhasbuiltupon temperatures andrelativehumiditieshavebeenofmajor cellulose esterfilm-basematerialswhenstoredatvarious of polyester,cellulosetriacetate,nitrate,andother and-white materialsanditsinvestigationsofthestability The PermanenceandCareofColorPhotographs Policy fortheImagePermanenceInstituteissetby Most ofIPI’sinitialfundingwasprovidedbyEastman James Reilly,PeterAdelstein,DouglasNishimura,and making theprint). TheMuseumofModern Art,whichis copy atasharplyreduced“lab price”(theactualcostof work forposterityandare happy toprovidethesecond always supportiveofthemuseums’ effortstopreservetheir have foundthatphotographers workingincolorarealmost instituted atwo-printacquisition program.Bothmuseums Art InstituteofChicagoareamong themuseumsthathave comparison withthe“preservation”print. sessed atanypointintimebyasimpleside-by-sidevisual the conditionof“expendable”printcaneasilybeas- available. Amajorbenefitofthetwo-printapproachisthat copy” iskeptinthedarkunderbeststorageconditions other institutionsforexhibition.Thesecond“preservation display purposes,foruseasastudyprint,andloan to tion. Thisapproachprovidesan“expendable”copyfor tical copiesofeachcolorphotographchosenforacquisi- The firststepistoobtainfromthephotographertwoiden- with thecolorprintfadingproblemgraduallyemerged. May 12,1979issueofthe and PleasuresofCollectingColor,”whichappearedinthe was nicelycapturedinNancyStevens’essay“ThePerils not collectcolorphotographsatall.(Thetenorofthetime investments woulddepreciateastheprintsfaded, Some museumcuratorsandcollectors,fearingthattheir Dye Transferprints,hearingthattheywouldlastforever. faded inthedark.OtherswouldcollectnothingbutKodak could safelybedisplayed. in colorbeganaskingquestionsabouthowlongprints collectors, andanewgenerationofphotographersworking its ownrightinthelate1970’s,museumcurators,private had finallyembracedcolorphotographyasanartformin the ProblemsPosedbyColorPhotographs Fine ArtMuseumsBegintoRespond The MuseumofModernArtinNewYorkCityandthe Among fineartmuseums,athree-partstrategytodeal Some wonderedifKodakEktacolorcolorprintsactually Almost immediatelyafterthefineartphotographyworld Saturday in theexhibition. and certainotherfragileitems used forAutochromeplates Copy transparencieswere the courseofexhibition. might haveoccurredduring quantify fadingorstainingthat densitometrically monitoredto of colorphotographytobe was thefirstmajorexhibition George EastmanHouse,this Museum ofPhotographyat Organized bytheInternational in Washington,D.C.1982. at theCorcoranGalleryofArt Color Photography Color asForm:AHistoryof

Review magazine.) Chapter 1 exhibition

This document originated at on June 6, 2003 under file name: May 1982 ment reproducedbelowin1984: director oftheDepartmentPhotography,issuedstate- Eggelston’s colorphotographscuratedbyJohnSzarkowski, art colorphotographywiththe1976exhibitionofWilliam generally creditedwithlaunchingthemoderneraoffine Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? collection (seeChapter7forprintmonitoringprocedures). program forthecolorandblack-and-whiteprintsinits seum toimplementanongoingdensitometricmonitoring collection ofcolorphotographs,wasthefirstfineartmu- The ArtInstituteofChicago,whichownsanextensive 20 x24inches,arenowstoredatabout30 works intheMuseum’sCollection,printsupto humidity conditions,eveninthedark.Mostsuch when storedundernormalroomtemperatureand color shiftwithinaslittletentotwentyyears color printmaterialsshowanoticeablefadingor it knownthroughexhibitionhere andelsewhere. our goalsofpreservingtheCollection andmaking fect, butitwillhelptoresolve theconflictbetween have fadedsignificantly.This solutionisnotper- a back-up,untilsuchtimeas the firstisjudgedto hibition andloan;theotherwill bekeptineffectas low-humidity storage.Onewillbeavailableforex- ever willbesold.Bothprintsplacedincold work ofart,andwillsorecordthem.Neitherprint the twoprintsasequivalentversionsofasingle make theprint.TheMuseumwillagreetoregard ably muchlower“lab”price,orwhatitcoststo one attheartist’sprice,otherpresum- unstable materials,wewillasktobuytwoprints, pose thefollowing: but alsotoshowthepictureswecollect,pro- to light.Sinceitisourpurposenotonlypreserve change colorwhen,onexhibition,theyareexposed substantially increasethelifeofprints. and 35%relativehumidity.Theseconditionswill It isnowwellknownthatwithafewexceptions When wedecidetopurchaseacolorprintin However, thesesamephotographsalsofadeor The MuseumofModernArt Statement toPhotographers Who WorkinColor New York ° F [–1.1 ° C] for thefardistant future. and preservetheprintsinessentially unchangedcondition any colormaterial—nomatter howunstableitmaybe— museums tocollectcolorphotographs madewithvirtually that havenosecond“preservation copy”incoldstorage. collections. Monitoringisparticularly importantforprints of Canadahaveinstitutedmonitoringprogramsfortheir Both theArtInstituteofChicagoandNationalGallery is takenoffdisplayandretiredtothecoldstoragevault. exceed certainpredeterminedlimits,theprintinquestion ing orstainingthatoccursovertime,andifthechanges print, andrecordsarekeptofalldensityreadings. print. Ameasurementlocationmapispreparedforeach red, green,andbluedensitiesatselectedlocationsoneach odically, anelectronicdensitometerisusedtomeasurethe and-white printsintheircollections(seeChapter7).Peri- staining thatmayoccurovertimewiththecolorandblack- art museumsistheelectronicmonitoringoffadingand collection in1988(seeChapter20). operation ofacoldstoragevaultforitsextensivefineart sections. TheNationalGalleryofCanadainOttawabegan tion; colormaterialsarekeptinthecolderoftwovault age vaultin1982forhousingitsentirephotographycollec- constructed alarge,two-part,humidity-controlledcoldstor- employed (seeChapter19).TheArtInstituteofChicago seum ofModernArt,alow-humidityrefrigeratorisnow problematic darkstoragestability.InthecaseofMu- cold storagefortheircolorprintsandothermaterialswith ened fineartmuseumsistoprovidehumidity-controlled This three-partpreservation strategyallowsfineart These proceduresallowdetectionofanysignificantfad- The thirdpreservationstepnowbeingemployedbyfine The secondpreservationstepbeingtakenbyenlight- today astheydidwhenweremade. ing anywhereintheworldthatlookessentiallysame believed tobethe Ektacolor printspreservedintheArtInstitute’svaultare art museumshavingcoldstoragefacilities,manyofthe and highratesofyellowishstainformation.Withfewfine from the1970’sandearly1980’shavepoordyestability When storedatnormalroomtemperature,Ektacolorprints of photography,andDouglasG.Severson,conservator. which wasconstructedin1982,areDavidTravis,curator graphs. Shownhereexaminingcolorprintsinthevault, provide coldstorageforitscollectionofcolorphoto- The ArtInstitutewasalsothefirstfineartmuseumto only examplesoftheseimagesexist- Chapter 1

October 1987 38

This document originated at on June 6, 2003 under file name: 39 d’Electricité). in documentspreparedforthe1900CongresInternationale man namedPerskyi,whousedtheFrenchword“télévision” “television” (awordthathasbeencreditedtoaFrench- ages electrically—anexcitingnewconceptthatwascalled vexing problemsof“photographing”andtransmittingim- United Statesinvolvedthemselvesintryingtosolvethe when anumberoffarsightedinventorsinEuropeandthe must gobackanother50years—totheearly1900’s the firstpracticalvideotaperecorderfortelevision, Corporation ofthe2-inchquadruplexvideotaperecorder, lished inthe Richard S.O’BrianandRobertB.Monroethatwaspub- excerpted fromanaccountofthehistorytelevisionby tion oftelevisiontothegeneralpublic.Thefollowing is Traditional PhotographytoElectronicSystems Image MakingHasBeenGraduallyShiftingfrom With theInventionofTelevisionin1920’s, tems forrecordingandpreservingmovingimages. tography beganasteadytransitiontowardelectronicsys- ditional silver-halide-basedblack-and-whiteandcolorpho- The PermanenceandCareofColorPhotographs from 1953until1961,diedin1969. Eisenhower, whoservedaspresidentoftheUnitedStates man EktachromeVideoNewsFilm,a16mmreversalfilm. television crewsfilmedthepressconferencewithEast- May 1965.AswithotherU.S.newseventsofthetime, press conferenceatGrinnellCollegeinGrinnell,Iowa Former PresidentDwightD.Eisenhowerspeakingata Beginning in1956,withtheintroductionbyAmpex By themid-1920’s,timehadcomeforintroduc- For theadventofelectronic the motionpicture intothehomeorconversely ofen- approach totelevisionwasas ameansofextending transmission (wireorradiophotos) technology.His ment designandtolaterdevelopment ofstill-picture made numerouscontributionsto motion-pictureequip- projector formotion-picturefilm inthe1890’sandhad had achievedsuccessindesigning thefirstpractical Jenkins, anindependentinventor,intheU.S.A.Jenkins Baird, aScottishengineer,inEngland,andC.Francis simultaneously, undertookthismission:JohnLogie inventive individuals,independently,butmoreorless dertaken todevelopaworkingtelevisionsystem.Two broadcasting, itwasinevitablethatworkwouldbeun- Stimulated bythereadypublicacceptanceofradio SMPTE 38

Journal inJuly1976: origination 39 ofimages,one 37 tra- family, athome intheirNewYorkCityapartment. with their8mmcamcorderisthe ClarkandTeresaWinter earlier moviecamerasandprojectors. Shownheretaping chemical processing)atfarless costandtroublethanthe offers “instant”movingimages withsound(andno larity duringthe1980’s,now-ubiquitous camcorder totally displacedbyelectronicsystems. Explodinginpopu- in whichtraditionalsilver-halide-based photographywas 8mm reversalcolorfilm,becamethesecondmajormarket Amateur homemovies,mostofwhichweremadewith placed traditionalcolorphotography. first majormarketinwhichelectronicsystemstotallyre- made bySonyandothermanufacturers.Thiswasthe pact ENG(electronicnewsgathering)televisioncameras appeared inthetelevisionnewsfield,replacedbycom- of the1970’s,motionpicturecamerahadallbutdis- Scenes suchastheaboveweresoontoend.Byclose first inwhichgradationsoftonescalethemoving tion byBairdis,however,generallyrecognizedasthe store duringApril1925.TheJanuary1926demonstra- giving publicdemonstrationsinaLondondepartment houette picturetransmissionjustafewweeksearlier, ington, D.C.on13June1925.Bairdhadachievedsil- “shadow graphs”acrosstheAnacostiaRivernearWash- ing theworld’sfirstradiotransmissionofmoving temporaneously, in1925,[with]Jenkinsactuallymak- ceeded intransmittingsmall,silhouetteimagescon- a centralproductionlocation. abling wiredorwirelesstransmissiontotheatersfrom . BothBairdandJenkinsappeartohavesuc- Chapter 1

Carol Brower – June 1987 May 13, 1965 (2)

This document originated at on June 6, 2003 under file name: systems andcamera imagingtubes. joined RCAtocontinuehis work onadvancedtelevision motion picturestotelevision images.In1929,Zworykin flying-spot scanningforconverting still-cameraslidesand and acathode-raytube(CRT) forviewinginaTVreceiver. tronically scannedcameraimaging tube(theIconoscope) system, whichwasdemonstratedin1924,employedanelec- States, thatlaunchedthemoderneraoftelevision.Zworykin’s Russian immigrantworkingforWestinghouseintheUnited television systemdevelopedbyDr.VladimirK.Zworykin, a Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? The Zworykinpatentalsocovered theuseofelectronic It wasthe1923patentapplicationforanall-electronic Messenger that includedtelevision’sfirstdrama, broadcasting ratherambitioustelevisionproductions the pioneeringSchenectady,NewYorkTVstationwas mission overW2XAD,Schenectady.[Bythenextyear, General Electricbeganexperimentaltelevisiontrans- tions followed.In1927,Dr.ErnstAlexandersonat transmitter locatednearWashington,D.C.;othersta- license, W3XK,wenttoJenkinsin1927foravisual broadcasting tothepublicwasunderway.Thefirst and nowbarelyrememberedintroductionoftelevision mechanical scanning,soonbeganintheU.S.Thefirst, nents wasachieved. used asrefinementofmechanicalandopticalcompo- and inafewyears,ashigh240,weresubsequently ture usedatthetime.Linecountsof16,24,30,48,60, and expressions,despitetheverycoarsescanningstruc- images madeitpossibletorecognizefacialfeatures quency of12 had adefinitionof30linesandframerepetitionfre- place forone-halfhourperiods,fivedaysaweek,and tion. TheseearlyBBCtelevisiontransmissionstook mission oftelevisionpicturesfromtheLondonsta- Television Companyforregularexperimentaltrans- rangements weremadebetweentheBBCandBaird sion broadcastingwasalsounderway.In1929,ar- missions. 2.95 MHzhadbeensetasideforexperimentaltrans- and portionsoftheradiospectrumbetween2.0 mental televisionlicenseshadbeenissuedintheU.S. enue inNewYorkCity.By1929,twenty-twoexperi- 250-watt televisionstationW2XBS,from411FifthAv- tion ofwhichwasbroadcastoversister-stationWGY.] don, thusinauguratingtheaterpay-television! ing audienceattheMetropoleCinema,Victoria,Lon- Downs onclosed-circuittelevisiontoacapacitypay- In June1932hetransmittedtheDerbyfromEpsom had madetelevisionrecordingsonphonographrecords. infrared televisionpickup(called“Noctovision”),and sional television,theaterprojection(of30-lineimages!), 1930 Bairdhaddemonstratedcolortelevision,3-dimen- Berengaria inmid-Atlantic,byshortwaveradio.By signals betweenLondonandNewYork,totheS.S. ary 1928,hetransmittedthenarrow-bandtelevision phone linebetweenLondonandGlasgow.InFebru- strated thetransmissionoftelevisionsignalsbytele- sible televisionapplication.InMay1927hedemon- seemed intentonanticipatingandexploringeverypos- . Experimentaltelevisionbroadcasting,using In GermanyandinEngland,experimentaltelevi- In 1928,RCAstartedoperatinganexperimental In additiontothisbroadcastingschedule,Baird , athree-cameraproduction,thesoundpor- 1 ⁄ 2 framespersecond. The

Queen’s introduced in1974 (andobsoleteby1990,having lostoutin Today, thevastmajorityoftelevisions soldarecolorunits. entire U.S.broadcastingindustry hadfullyembracedcolor. NBC inconvertingalloperations tocolor,andby1970the catch onwiththepublic.By 1967CBSandABChadjoined United Stateshadpurchasedcolortelevisionsets. ers. Attheendof1956,lessthan1%householdsin to discouragethepublicfrombuyingnewcolorreceiv- black-and-white televisionimageswereadequateserved ming available,andthenotionheldbymanypeoplethat television receivers,thelimitedamountofcolorprogram- sive lineofcolortelevisionsets.Thehighcost 1954, andbytheendof1955companyofferedanexten- ploy 625picture-scanninglines.) in Europe,areadaptationsoftheNTSCschemebutem- are theprimaryGermanandFrenchbroadcaststandards tem thatisstillwithustoday.(PALandSECAM,which casting; using525picture-scanninglines,thisisthesys- dards forblack-and-whitecompatiblecolortelevisionbroad- second NationalTelevisionSystemsCommittee,setstan- television broadcasting,basedon525picture-scanninglines. standards thatcoveredalltechnicalaspectsofmonochrome the radioandtelevisionindustry,establishedasetof22 Systems Committee(NTSC),agroupof168specialistsfrom ing ontherecommendationsofNationalTelevision May 1941theFederalCommunicationsCommission,act- tionwide commercialbroadcastingwasreadytobegin.In Widespread Acceptanceinthe1960’s Color TelevisionFinallyGains vision newsarchivesaroundtheworld. steadily deterioratinginnon-refrigeratedstoragetele- processing andwashing)and,withfewexceptions,are image stability(whichwasoftenmadeworsebyhurried Ektachrome motionpicturefilmsofthetimehavepoor last wordsofadyingNorthVietnamesesoldier.The about 15milesnorthofSaigon,televisioncrewsfilmthe color reversalfilm.Inthisscene,photographedin1967 done with16mmmotionpicturecamerasandEktachrome Most networktelevisioncoverageoftheVietnamwarwas The SonyBetamaxhomevideo cassetterecorder(VCR), It tookanother10yearsfor colortelevisiontoreally RCA beganmanufacturingcolortelevisionreceiversin In 1953theFCC,actingonrecommendationsofa By 1940televisionhadadvancedtothepointwherena- Chapter 1

1967 by Robert Hodierne 40

This document originated at on June 6, 2003 under file name: 41

February 8, 1988 These newbroadcast standardsandthedigital HDTVcam- (HDTV) colorbroadcasting system fortheUnitedStates. ting standardsforanall-digital, high-definitiontelevision munications Commissionwill issuenewregulationsset- age resolutionthancurrent 525-line televisionsystems. Color computermonitorsnow typicallyhavefarbetterim- newspapers areofferingever-bettercolorreproduction. quality intelevisionaswell.Magazines,books,andeven many timesitisplayed,hasbeguntoexpectbetterimage of lasting“forever”withoutwearingoutregardlesshow CD becauseofitsscratch-free,pristinesoundandclaims quickly embracedthelaser-read,non-contactopticalaudio line systemusedinEurope)arereadilyapparent. ever, theshortcomingsof525-linepicture(or625- ingly popularlarge-screenandprojectiontelevision,how- 1941, ashaving“adequate”imagequality.Withincreas- television picture,establishedmorethan50yearsago in distances —mostpeoplehavecometoacceptthe525-line to BeIssuedbytheFCCEndof1994 Standards fortheUnitedStatesAreExpected High-Definition, All-DigitalTelevisionBroadcast huge worldwidepre-recordedvideocassettebusiness. and —inalittle-anticipateddevelopmentlaunchedthe sumers torecordtheirfavoriteprogramsforlaterviewing the markettocompetingVHSsystem)enabledcon- The PermanenceandCareofColorPhotographs use ofHDTVinthetheatricalentertainmentindustry. inferior tothatoffilm,havediscouragedmorewidespread easily portableHDTVcamerasandimageresolutionthatis HDTV; avarietyofpracticalproblems,includinglack only majortheatricalfeaturetohavebeenoriginatedin book wenttopressin1992, by cinematographerGiuseppeRotunno. recorders wereusedfortheproduction,whichwas“filmed” in DesMoines,Iowa).SonyHDTVcamerasandvideo projection intheaters(shownaboveistheVarsityTheatre and releasedonstandardcolormotionpictureprintfilmfor (via threeelectronicallyprintedB&Wintermediatefilms) image wastransferredtomotionpicturecolornegativefilm instead ofwithmotionpicturefilm.Afterediting,thevideo to beshotentirelywithhigh-definitiontelevisioncameras Kathleen TurnerandSting,wasthefirstfull-lengthfeature Julia and By theendof1994,itisexpected thattheFederalCom- A visuallyandaurallymoresophisticatedpublic,which With amodestscreensize—andviewedatnormal , ahistoric1987Italianproductionstarring Julia and 40 Atthetimethis remainedthe transmission systemsinmanyareasofstillphotography. certain toaccelerateadoptionofelectronicimagingand become availableduringtheremainderofdecadeare high-capacity wireandfiber-opticcablesystemsthatwill ers, CD-ROM-basedvideogameunits,andtheinteractive, ogy, HDTVvideotapeandlaser-diskplayersrecord- eras andtelevisions,digitalsignalcompressiontechnol- change inthewaycolormovingimagesarerecorded. ductions toadoptanewtechnologymarkinganepochal Royal Journey Becky Sharp Italiana), the“film”joins1935Technicolor3-stripfilm New YorkTimes An advertisementfor at thePhotokina tradeshowinGermany1992. Sony HDTVanalogtelevisionreceivers drewlargecrowds andthe1951CanadianEastmanColorfilm asthefirstfeature-lengththeatricalpro- in1988.ProducedbyRAI(Radiotelevisione Julia and thatappearedinthe Chapter 1

September 1992 February 7, 1988

This document originated at on June 6, 2003 under file name: February 17, 1982 October 1992 soon beathingofthepast.Butconsumerswerequickto tion thattraditionalsilver-halide-basedphotographywould with greatfanfarein1981,therewasconsiderablespecula- is nowallbutdeadinmostpartsofthebusiness. than hasbeenthecaseinmoving-imagefieldwherefilm been muchslowertobecomeacceptedinstillphotography with DigitalImagingSystems The MergingofStillPhotography Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? color motionpicturefilmsincoldstorage. difficult problemsthanisthecasewithpreservationof long-term preservationofvideomaterialspresentsfarmore changes andconsequentequipmentobsolescence,the digital videotape.Becauseoffrequentvideotapeformat every 4years,hascopiedallofitsanalogvideotapesonto mount Pictures,whichinspectsallofitsvideotapesabout Film andTapeArchiveinHollywood,California.Para- of thevideotapelibrarystoredinParamountPictures are instoragearoundtheworld.Shownaboveisasection Vast quantitiesofvideotapefromtelevisionproductions the standard525-line analogtelevisionformat. of Canada.TheMavicacamera producescolorimagesin director ofconservationresearch attheNationalArchives Las Vegas,NevadainFebruary 1982isKlausB.Hendriks, a demonstrationattheSPSEPhotofinishing Symposiumin in Japanlate1981.Shownhere holdingaMavicaduring The SonyMavica,thefirststillvideo camera,wasannounced When theSonyMavicastillvideocamerawasintroduced For avarietyofreasons,electronicimagingsystemshave field toabandontraditionalsilver-halide-basedphotography. newspaper photographywillbethefirstmajorbranchof proved digitalcamerasbecomeavailableinthemid-1990’s, offer acompellingadvantage.Itisexpectedthatwhenim- cameras willcontinuetoincreaseinapplicationswherethey nomic benefits.Atthesametime,useofdigitalstill where digitalimagingoffersthegreatestpracticalandeco- publishing-related businesses(seepage46)andphotolabs and transmissionsystemswillrapidlyexpand,especiallyin tional photographywithdigitalimageprocessing,storage, cessing hasbecomethedefinitionof“digitalimaging.” combination oftraditionalphotographyanddigitalimagepro- with traditionalcolorfilms.Tomanypeople,infact,this image processingandtransmissiontophotographsoriginated Photoshop hasservedtobringthemanybenefitsofdigital nent example—seepage56),andsoftwaresuchasAdobe ity datastoragesystems(theKodakPhotoCDbeingapromi- ingly powerfulandaffordabledesktopcomputers,highcapac- cost iswellbeyondthecapabilityofcurrenttechnology.) image qualitywithanall-electroniccameraatreasonable formatted textofthisentirebook—andtoequallevel more ofdigitaldata—whichisthanthefully ISO 100colornegativeframemaycontain18megabytesor tained withtraditionalcamerasandfilms.(Asingle35mm photography, buttheystillfallshortoftheimagequalityob- that maybeadequateforapplicationssuchasnewspaper the $10,000KodakDCS200DigitalCameraproduceimages tory enlargementsfordisplaypurposes.Camerassuchas of theimagesmeantthatitwasimpossibletomakesatisfac- that weresuitableforsomeapplications,thepoorresolution Photo CDsystemintheamateursnapshotmarket. vision set—afactthatKodakfacesinitsefforttosellthe little interestinviewingsilentstill-cameraimagesonatele- was muchlessthanSonyhadexpected.Mostpeoplehave traditional photography,andmarketacceptanceoftheMavica duced withtheexpensivecamerawasfarinferiortothatof realize thatthepictorialqualityof525-lineimagespro- trade showinGermany. camera isshownherebeingdemonstrated atthePhotokina the baseofcamera.Introduced in1992,the$10,000 sensor; theimagesarerecorded onasmallharddiskdrivein film, thecamerausesaCCD(charge-coupled device)image around aNikon35mmautofocus camerabody.Insteadof The KodakProfessionalDCS 200 DigitalCameraisbuilt During theremainderof1990’s,mergingtradi- The availabilityofhigh-resolutionfilmscanners,increas- Although theMavicacameracouldproducesmallprints Chapter 1

September 1992 42

This document originated at on June 6, 2003 under file name: 43 The PermanenceandCareofColorPhotographs camera andcomputer systemfornearly90percent oftheirstudiowork. who operateacommercialstudio inWeston,Massachusetts,usethedigital system canbeusedonlyforstill-life colorphotographs.BobandLoisSchlowsky, sequential exposuresthroughred, green,andbluefilters.Becauseofthis,the used intheLeafDigitalCamera back;colorphotographsareproducedwith removable harddisk.Toachieve maximumresolution,amonochromeCCDis made directlyfromacopyof the originaldigitalfilesuppliedonaSyQuest after eachexposure.Theseparations usedtoprinttheimageonthispagewere computer with64MBofRAM;theimagefilesaredown-loaded tothecomputer 12.6 megabytecolorfile.Thecameraisconnectedbycable toaMacintosh 2048pixelsproducinga x CCD (charge-coupleddevice)areaarraywith2048 1.2-inch x digital backcostsabout$36,000.Theimageiscapturedwith a1.2 back. MadebyLeafSystems,Inc.(asubsidiaryofScitexCorporation, Ltd.),the with aHasselblad553ELXcameraequippedLeafDigital StudioCamera This high-resolution,all-electronicphotographwasmadebyBoband LoisSchlowsky 41 Lois andBobSchlowsky intheirdigitalstudio. Chapter 1

Matthew R. Elman 1992 by Bob and Lois Schlowsky — Schlowsky Photography and Computer Imagery, Weston, Massachusetts

This document originated at on June 6, 2003 under file name: December 1979 be do notqualifyasphotographs.Rather,theyareconsideredto as the175-linescreenillustrationsinthisbook,forexample, definition, imagesthatareprintedbyoffsetlithography,such light andb)hasacontinuous-toneimagestructure.Bythis formed onamaterialasdirectconsequenceofexposureto been acceptedthataphotograph:a)hasanimageis what is—andnotaphotograph,ithastraditionally image wasmadeshouldbeasecondaryconsideration. Printmaking, WhatConstitutesa“Photograph”? In anAgeofDigitalImagingandElectronic Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? terms of UltraStableandIriscolorprintsarenot. beautiful 20x20-inch are legitimatephotographswhiletheexquisitelysharpand Ektacolorprints to maintainthatblurryDisccamera8x10-inch processes (seepages49–54),itbecomesverydifficultindeed printed bytheextremelysharpUltraStableandIrisinkjet the highresolutionimagesfromaLeafDigitalcameraand and grainycolorprintsfroma1980’sKodakDisccamerawith ture.) Tociteanextremeexample,ifonecomparestheunsharp is oftenmuchlessnoticeablethananirregulargrainstruc- irregular grainstructure.(Infact,anorderedscreenpattern not truly“continuoustone.”Instead,theyhavearandom, accepted asbeingamongthehighest-qualitycolorphotographs. room illumination).YetDyeTransferprintshavelongbeen is notlight-sensitive,andtheprintsaremadeunderbright consequence ofdirectexposuretolight(DyeTransferpaper Kodak DyeTransferprints,forexample,are consti Upon closeexamination,thetraditionaldefinitionsofwhat era discussedonthepreviouspage,furthercloudissue. lution electronicstillcameras,suchastheLeafDigitalcam- the traditionalconceptsofwhataphotographis.High-reso- “photorealistic” digitalcolorprintingmethodshaschallenged prints (e.g.,KodakEktathermprints)andotherhigh-quality, are generallymadefromaspecificnegativeortransparency. usually aone- color slide,ablack-and-whitenegative,ornegativeis also enterintopeople’sthinkingaboutthesubject:a35mm the gelatin,more dyeitcarriesandtransfers totheprint. varies inthicknessaccordingto imagedensity—thethicker the printsurface.Thematrixfilms haveagelatinlayerthat cyan, magenta,andyellowdye solutions)intocontactwith three “matrixfilms”(whichhave beensoakedinacidified Kodak DyeTransferprintsaremade bysuccessivelyrolling reproductions While therehasneverbeenatrulyprecisedefinitionof It istimetosetthewholeissueasideandinsteadthinkin Traditional silver-halide-basedphotographicimagesare The introductioninrecentyearsofthermaldye-transfer tutes aphotographwereactuallyneververyadequate. visual of-a-kind object,andonlyasmallnumberofprints

image ofphotographs.Notionslimitedquantity

quality and image

permanence not madeasa . Howan played formany yearsoutdoorsinsunlightand rain. Fuji claimsthephotographsare permanent,evenwhendis- high temperaturestofusethe pigment imagetothebase. with aceramicsupport,Photocera photographsarefiredat pattern thatcanbeobserved under magnification.Made The imagesofFuji-InaxPhotocera photographshaveascreen and othermanufacturerscostbetween$10,000$25,000. dye-transfer (dye-sublimation)printerssuppliedbyKodak dye-transfer colorprintsfromdigitalimagefiles.Thermal 1992, produce“continuous-tone”200dpi“photorealistic”thermal is shownhereatthePhotokinatradeshowinGermany Kodak Ektatherm “continuous-tone” printswithtraditional Metrum FotoPrintdigitalcolorprintersproduce300dpi XL 7700-series digitalprinters,oneofwhich RA -4 colorpapers. Chapter 1

1992 – Courtesy of Fuji Photo Film Co., Ltd. September 1992 (2) 44

This document originated at on June 6, 2003 under file name: 45 ylene sleevesthatLinnhadsuppliedforanumberofyears. returning negativesintheprotective,high-densitypolyeth- change mostcustomersnoticedwasthatQualexstopped promptly replacedwithEktacolorpaper.Theonlyother Qualex acquiredLinnPhotoin1992,Agfacolorpaperwas dustries Inc.,isnowtheworld’slargestphotofinisher.When kets. QualexInc.,ajointventureofKodakandFuquaIn- acquiring independentlabstoprotecttheircolorpapermar- traditional photographywillcontinuetobepopular. friends andrelatives,todisplayinhomesoffices, as longpeoplewanttohaveprintslookat,send which couldevenapproachthelowcostofthissystem.For made with35mmautofocuscamerasandcolornegativefilms horizon —thatcanprovidetheimagequalityofcolorprints Color FilmsandPapersWillContinueToBeUsed Will ProbablyChangeVeryLittle,andTraditional At LeastUntiltheYear2010,AmateurPhotography The PermanenceandCareofColorPhotographs morning. LinnPhotowasacquiredbyQualexInc.in1992. begin intheafternoonandcontinueuntilearlynext processing anddeliveryforallofIowa,thelab’soperations receiving itsfirstbatchoffilmthenight.Withovernight The LinnPhotowholesalelabnearCedarRapids,Iowa lab forremakes andreprintorders. locations areusedinthiswholesale mon inshoppingmallsand other The self-containedminilabsnow com- In recentyears,Kodak,Fuji,andKonicahaveallbeen There isnotechnologyonthehorizon—evendistant hundreds ofrolls ofAgfacolorpaper. of paperisused.Thesepallets contain duced eachyear,atremendous amount With manymillionsofcolorprints pro- long rollsforprocessinginthemachinesshownabove. disappeared fromthemarket).Thefilmissplicedtogetherin extent, 110and126formats(KodakDiscfilmhasalmost patible colornegativefilmsinthe35mmand,toamuchlesser night, about95percentareKodak,Fuji,andotherC-41com- Of thethousandsofrollsfilmreceivedbylabeach can exposebetween15,000and20,000printsperhour. determined bythecomputerizedprinters,eachofwhich Agfa MSPprinters.Densityandcolor-balancesettingsare After processing,thesplicedrollsoffilmareprintedwith tives areputincustomers’ envelopes. After cutting,theprintsandtheir nega- in asix-strandAgfaRA-4processor. Rolls ofexposedpaperareprocessed Chapter 1

October 1991 (6)

This document originated at on June 6, 2003 under file name: exposed filmarrivesinthe of late-breakingnewsevents inaslittle40minutesafter Tom andJohnKnoll,the that hadbeenwrittenbythenow-legendaryprogrammers,brothers early versionofAdobePhotoshopcolorimage-editingsoftware Examiner the Computers RunningAdobePhotoshopSoftware, Fuji Minilab,aNikonFilmScanner,andSixMacintosh With Its100-Year-OldDarkroomsReplacedbya tion offilmscannersandimage-processingcomputers at the ented individualwhowasresponsiblefortheearlyimplementa- with QuarkXPresssoftware.Colorprintsarenolongerneeded. cally onthenewspaper’smorethan20networkedcomputers with textandgraphicelementsinpagescomposedelectroni- are electronicallysized,cropped,andplacedinpositiontogether screens bythenewspaper’seditors,andselectedphotographs printing platesforthepaper’spresses. are usedinpreparingthecyan,magenta,yellow,and black ration oftheirimages;andtooutputcolorseparationfiles which cated correctionsofthecolorbalance,contrast,andsatu- into thenetworkedMacintoshcomputers;toperformsophisti- scan colornegativestocreatedigitalimagefilesforloading the photographersnotonlytookpicturesbutalsolearnedto first largemetropolitannewspaperintheUnitedStateswhere the worldwide publishingindustry. trate therapidlyexpanding role ofdigitalsystemsthroughout from colornegativesgettothe printedpagedramaticallyillus- Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? In October1989,usingAppleMacintoshcomputersandan The changesatthe According tophotoeditorChrisGulker,atechnology-ori- Pictures andcaptioninformationarereviewedoncomputer graphs initsfivedailyeditions. pictures and40to50B&Wphoto- paper usuallyruns10to20color San FranciscoExaminer The October19,1992issueofthe San FranciscoExaminer , itisnowpossibletogeton press withcolorpictures Examiner . Thenews- San Examiner’s

Francisco EnteredtheDigitalAge since1989inthewayimages photodepartment.

Examiner other metropolitannewspapers,colornegativefilmisusedalmostexclusively. had beenchargedwithbeatingblackmotoristRodneyG.King.Asmost in April1992followingtheacquittaloffourwhiteLosAngelespoliceofficerswho week-long assignmentinLosAngelesforafollow-upstoryontheriotthaterupted Staff photographerKimKomenich(left)andreporterGregLewiseditfilmfroma becamethe total dry-to-dry processing timeisabout12minutes. film withthe Photo editorChrisGulkerprocesses colornegative Examiner’s washlessFujiminilab.The Chapter 1

October 1992 (3) 46

This document originated at on June 6, 2003 under file name: 47 The PermanenceandCareofColorPhotographs computers topreparethemforpublication. responsible forhandlingtheirownphotographsonthe Photoshop software.The contrast andeliminatesdustspotsonanimagewithAdobe while Ortizadjustscolorbalance,density,saturation,and Gulker discussesastorywithphotographerFranOrtiz Once anegativehasbeenscanned,itisputintostorage. Film Scanner.The Examiner’s Photo editorChrisGulkerscanscolornegativesintothe printing platesfor thenewspaper’shigh-speed presses. imagesetters. Thefilmsareused tomakeflexographic are outputtoseparationfilmon LinotronicandAutologic Fully composeddigitalpages with photographsinplace MacintoshcomputernetworkwithaKodak Examiner Examiner’s alsousesNikonscanners. photographersare ever, remote locationsoverphonelinesorwithcellularphones. cameras canbetransmitteddirectlytothenewspaperfrom for colorfilm;inaddition,picturestakenwithelectronic eras eliminatestheprocessingandscanningstepsrequired reluctant togiveuptraditionalcamerasandfilm. Gulker citedanumberofreasonswhyphotographerswere example ofastate-of-the-artdigitalcamera,photoeditor use ofelectroniccameras.UsingtheKodakDCS200asan portable filmscannersandApplePowerBookcomputers.) lications aroundtheworldbyphotographersequippedwith were processedinon-siteminilabsandtransmittedtopub- zines duringthe1992SummerOlympicsinBarcelona,Spain of thephotographspublishedinnewspapersandmaga- images andcaptioninformationtotheirnewspapers.(Many field canprocessfilmlocallyandtransmitscannedcolor with cellulartelephones.Photographersworkinginthe links, fiber-opticnetworks,computerdataandeven resolution colorimagesanywhereintheworldviasatellite tems inplace,itbecomespossibletotransmitpublication- to takepicturesfasterthanonceevery2 conventional camera; d)theresolutionand overallpicture more timeandtroublethan changingrollsoffilmwitha quently bedownloadedtoacomputer, whichrequiresmuch 50 imagesonitsinternalhard disk,thecameramustfre- angle photographydifficult;c) withamaximumcapacityof Nikon lensesbyafactorof 2.5X,whichcanmakewide- creases theeffectivefocallength ofthecamera’sstandard CCD arrayissmallerthana35mmframe,andthisin- is muchtooslowformostnewspaperphotography;b)its era body,providedirectdigitalinputofcolorimagesthat place offilmandisbuiltaroundaconventionalNikoncam- Kodak DCS200digitalcamera,whichhasaCCDsensorin tems alreadyinuse,electronicstillcamerassuchasthe is theoriginationofpictureitself.Withcomputersys- step remainingbeforeanall-electronicsystemisachieved can here. TheLeafdeskismanufacturedbyLeafSystems,Inc. Digital Darkroomimage-processingcomputersystem,shown tographs aredownloadedintotheAssociatedPressLeafdesk photographs fromallovertheworldviasatellite;pho- Like mostothermajornewspapers,the At thetimethisbookwenttopressinlate1992,how- At the With filmscannersanddigitalimage-processingsys- Among thedrawbacksofDCS200are:a)itisunable beofsurprisinglygoodquality.Useelectroniccam- Examiner Examiner photographers werenotmakingregular andatmostothernewspapers,thelast Examiner 1 ⁄ 2 seconds,which receives Chapter 1 42

October 1992 (4)

This document originated at on June 6, 2003 under file name: lines orbirdsin thebackground,maynotbe removed. Distracting elementsinapicture, suchasintrudingpower saturation; andminordodging andburningarepermitted. dust-spotting; correctionof color balance,contrast,and image thataltersitscontent andaccuracy.Onlyroutine mented apolicythatstrictly forbidsdoinganythingtoan 1995 or1996,filmmaywellbedeadatthe and lessexpensive,however,Gulkerpredictsthat“by most casesbesatisfiedwithlower-resolutionimages. the reproductionqualityofnewspaperprintingcould in enlargements oftheirmostimportantphotographseven if tion of35mmfilm,knowingthattheycanmakehigh-quality digital cameraisamajorbudgetitem. is aproblem;andf)atcostofabout$10,000,theDCS200 negative film;e)long-termarchivingofthedigitalimages quality oftheimagesdonotmatchtraditional35mmcolor most othernewspapers,however, the expressed ethicalconcernsaboutthenewtechnology.Like easy itwastomanipulateimageswithPhotoshop,some other majornewspapers.” Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? Kingsport, Tennesseewasentirelydigital;atraditionalcolorprintnevermade. photo department,theentirereproductionchaintopointofexposingprintingplatesforthisbookatprinter in digital filesuppliedbythe broadcast aroundtheworld.Forthisbook,photographabovewasreproducedfrom4-colorseparationsgenerated a captured onvideotapewithaSony8mmcamcorderbyanamateurwhowitnessedtheevent;tapehasbeenrepeatedly the March3,1991arrestofRodneyG.King,ablackmotoristwhohadbeenstoppedforspeeding.Thebrutalbeatingwas acquittal inaCaliforniastatecourtoffourwhiteLosAngelespoliceofficerswhohadbeenaccusedusingexcessiveforce i A photographtakenduringtheLosAngelesriotsinApril1992byKimKomenich.Theviolencebeganimmediatelyafter the Digital camerasarecertaintobecomebetter,faster, Most newspaperphotographersvaluetheimageresolu- In 1989,whenphotographersbecamefamiliarwithhow Examiner . Fromthemomentoriginal35mmcolornegativewasscannedinExaminer’s Examiner Examiner has imple- and the Philippines revolution thatforcedMarcos from office. Komenich wonaPulitzerprize in1987forhiscoverageof optical diskandcaneasilybe printedwhenrequested. with captioninformation,arestored onarewritable600MB spotted andcorrectedwithPhotoshop, theimages,along Fullydust- president FerdinandMarcosand hiswifeImelda. graph fromhispersonalstock fileofformerPhilippines Komenich preparestomakean Ektathermprintofaphoto- Chapter 1 n

October 1992 Kim Komenich – April 1992 (Courtesy of the San Francisco Examiner/Hearst Corporation) 48

This document originated at on June 6, 2003 under file name: 49 image with real colorprintsinthe1870’s, andthatistoformthecolor pioneer ofcolorphotography, didwhenhemadethefirst answer istodowhatLouis Ducos duHauron,theFrench short ofthatfiber-baseprints). displayed black-and-whiteRCprintsmayfallconsiderably cause, forthereasonsdiscussedinChapter17,life of fiber-base printscanbeincludedinthiscomparisonbe- black-and-white photographmadeonfiber-basepaper(only the stabilityofsilverimageacarefullyprocessed current colormaterialwithadyeimagecanevenapproach after relativelyfewyearsofdisplay.Inlong-termdisplay,no when storedinthedark,willfadetoanobjectionabledegree and KodakDyeTransferprints,whichareexceedinglystable gradually fadewhenexposedtolight.EvenIlfordIlfochrome to formtheimagesinconventionalcolorfilmsandprints Making ExtremelyLong-LastingPigmentPrints The UltraStablePermanentColorProcessfor cess tomakehis colorprints.Inthosedays, longbeforethe a three-coloradaptationofthe thenwell-knowncarbonpro- The PermanenceandCareofColorPhotographs officials, aswellforphotographsofwriters,artists,moviestars,andotherculturallyhistoricallyimportantindivid appeal asfamilyheirloomportraitsbutwillalsobeusedforofpresidents,primeministers,andothergovernment are expectedtobecomewidelyusedintheupperendofportrait,wedding,andfineartmarkets.Theprintsnotonlyhave Portraiture inGrandRapids,Michigan.Lastingfarlongerthanconventionalcolorprints,UltraStablePermanentColorprints An UltraStablePermanentColorprintofafamilygroupportraitbythenotedphotographerDavidB.LaClaire So howcanatrulypermanent colorprintbemade?The To agreaterorlesserextent,alloftheorganicdyesused pigments insteadofdyes.DucosduHauron used is thehistorical predecessor oftheUltraStable process. rate pigmented-gelatinlayersto formtheimage,process the firstphotographiccolorprints evermade.Usingsepa- inventor andphotographerLouis DucosduHauronisoneof This 1877photographofAgen, FrancebytheprolificFrench Chapter 1 uals.

Courtesy of the International Museum of Photography 1987 by David B. LaClaire – LaClaire Portraiture, Grand Rapids, Michigan

This document originated at on June 6, 2003 under file name: 1976 by Charles Berger, courtesy of the photographer the easier-to-manageKodakDyeTransferprocess,andlater pigment processeshaddiedout,firstbeingreplacedwith other institutions.Bythelate1950’s,however,color collections ofGeorgeEastmanHouse,theSmithsonian,and advertising photographsfromthiseracanbefoundinthe ous portraitsofHollywoodstars,andlushtricolorcarbro variation oftricolorcarbon)wasfrequentlyusedforglamor- gelatin colorlayerswastheonlymethodavailable. ganic dyeimage,makingaprintwithseparatepigmented- print (e.g.,Ektacolor)withitslovelybutall-too-fleetingor- development ofthemodern,easy-to-processchromogenic Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? a timetopolyesterorpapersupport. black pigmentlayersareappliedoneat tives, thecyan,magenta,yellow,and After exposurewithseparationnega- work, Bergermade thisprintin1992. inventor whowantedlong-lasting colorprintsforhisown by CharlesBergerin1976.An accomplishedartistand An UltraStableprintofpoppies andazaleasphotographed In the1930’sand1940’s,tricolorcarbroprocess(a Soaking thelaminatedpigmentsheet. removed inawarm-waterbath. Unhardened pigmentedgelatinis relatively complextask—but,moreimportantly,hecame to use—althoughtheprintmakingprocedureremainsa carbon process.Bergernotonlymadetheprocesssimpler pin-registered, high-resolutionversionoftheclassictricolor years ofexperimentation,Bergerhaddevelopedamodern, could makepermanentcolorprints.By1980,afterseveral the lackofanythingavailableonmarketwithwhichhe Modern ArtinNewYorkCity,Bergerwasfrustratedwith work wasinthepermanentcollectionofMuseum who hadpublishedseveralbooksofphotographsandwhose enough tosatisfyCharlesBerger.Afineartphotographer other inexpensiveandconvenientlyprocessedmaterials. with Ektacolor,Cibachrome(nowcalledIlfochrome),and chemist whois director ofresearchatKilborn. Iowa. WorkingwithBergeris JohnDaSilva,anemulsion test coatingatKilbornPhotoProducts Inc.inCedarRapids, Charles Bergermixingapigmented-gelatin emulsionfora But noneofthemoderncolorprintmaterialswerestable finished printisrinsedwithwater. With allfourimagelayersapplied,the Peeling offtheplasticcarriersheet. 45% 50c Chapter 1

March 1991 January 1991 (5) 50

This document originated at on June 6, 2003 under file name: 51 offer UltraStable printsarelistedonpage293. $500 ormore(duplicateprints costmuchless).Labsthat UltraStableprintcosting sive, however,witha16x20-inch (and therequiredseparations) madebyalabcanbeexpen- printtotal lessthan$25.Havingprints als fora16x20-inch of separations,thecostsmaterials arequitelow:materi- rations istheprincipalexpense inmakingaprint.Exclusive tion, screenedseparationnegatives,andthecostofsepa- were notavailableatthetimethisbookwenttopress. troduced inlate1992,buttestresultsforthenewpigment more stable,lead-free,metal-typeyellowpigmentwerein- the pigment’smanufacturer.Newmaterialsmadewith a light fadingteststhanexpected,basedondatasupplied by low pigmentthatprovedtobesignificantlylessstable in materials, introducedin1991,usedanon-toxicorganicyel- Chapter 3,beginningonpage121.TheinitialUltraStable Corporation underthePolaroidPermanent-Colorname. conditions. ThesematerialswereproducedbythePolaroid tolerate yearsofoutdoorsunexposureundertheharshest to thoseusedinautomobilepaints,whichmustbeable extremely goodlightfadingstability.Thepigmentsaresimilar up withcyan,magenta,yellow,andblackpigmentsthathad are theresultofthiscollaboration. outstanding colorreproductionandextraordinarysharpness, Permanent Colormaterials,whichcanproduceprintswith employing non-toxicsensitizersandpigments.UltraStable pany), toworkoneasier-to-use,pre-sensitizedmaterials chairman oftheCalifornia-basedH.S.Crockerprintingcom- rapher, andskilledtricolorcarbroprinter(Kauffmanisthe Richard N.Kauffman,along-timeenvironmentalist,photog- Berger, livinginSantaCruz,California,joinedforceswith page 14,thestabilityoftheseprintsisextremelygood. As shownbytheacceleratedtestexamplesreproducedon The PermanenceandCareofColorPhotographs and otheremulsioncomponents. pigment, achromium-freesensitizer, Charles Bergermixinggelatin,magenta Emulsion technicianSteveHynekand Making UltraStableprintsrequiresfull-size,high-resolu- The imagestabilityofUltraStableprintsisdiscussedin When Polaroiddeclinedtoactivelymarketthematerials, 44 transparent polyestercarriersheet. Coating themagentaemulsionona 43 the RobertMiller GalleryinNewYorkCityOctober 1993. tion of50Eggleston’sUltraStable printsistobeshownat The UltraStableprintwasmade byRobertLiles.Anexhibi- A photographofnovelistEudora WeltybyWilliamEggleston. turers intheworld. of theoldestphotographicmanufac- Cedar Rapids,Iowasince1895,isone producing photographicproductsin a little-knowncompanythathasbeen illumination. KilbornPhotoProducts, can alsobemadeunderUV-filtered under yellowsafelights.Theprints drying operationscanbeconducted to UVradiation,mixing,coating,and UltraStable emulsionsaresensitiveonly ing alleyatKilborn.Becausethe midity- andtemperature-controlleddry- are slowlydriedinthedust-free,hu- The thickgelatinemulsioncoatings Chapter 1

William Eggleston – Courtesy of the photographer and the Robert Miller Gallery March 1991 (3)

This document originated at on June 6, 2003 under file name: is routinelyused priortoprinting,Irisink jetprintsare Photoshop orotherdigitalimage processingsoftwarethat prints. Infact,becauseofthe controlsofferedbyAdobe can havetheappearanceof traditional photographiccolor visual resolutionofapproximately 1,500dpi.” dpi printers.Irisclaimsits printershavean“effective gradation thantheimagesobtainedfromfixed-dot-size300 images thatarefarsharperandhavemuchsmoothertonal sette patternusuallyfoundin4-colorprinting)produces variable-size dotstructure(whichdoesnothavethero- droplets foreachofthefourcolors.Thisunique4-color an Irisprinterarebuiltupwithfrom0to31microscopic cyan, magenta,yellow,andblackimagedotslaiddownby ers andlow-costdesktopinkjetprinters,theoverlapping 300 dpi(dotsperinch).However,unlikemostlaserprint- accept water-baseinks,Irisprintershavearesolution of per, polyester,cloth,andmostothermaterialsthatwill quartered inHerzlia,Israel). a subsidiaryoftheScitexCorporationLtd.,whichishead- Graphics, Inc.ofBedford,Massachusetts(IrisGraphicsis ink jetprintersaretheIrismanufacturedby color inkjetprinting.Thebestofthecurrentgeneration direct digitalcolorprintingtechnologiesishigh-resolution Generated Images,andOtherDigitalSources from ScannedPhotographicOriginals,Computer- High-Resolution InkJetColorPrintsProduced Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? When viewedwithoutmagnification, Irisinkjetimages Capable ofprinting“photorealistic”colorimagesonpa- One ofthemostpromisingrapidlyadvancing here areNashEditionsstaffmembers(lefttoright)JackDuganne,R.MacHolbert,andGrahamNash. means ofprintingimagesthathehadworkedonwithAdobePhotoshopsoftwarehisAppleMacintoshcomputer.Shown Crosby, Stills,Nash&Young.Anaccomplishedphotographerandcollector,wasdrawntotheinkjetprocessas a in ManhattanBeach,California,NashEditionswasfoundedbyBritish-bornGrahamofthelegendary1960’srockgroup A pioneerintheuseofhigh-resolutioncolorinkjetprintersfineartfieldisNashEditions.LocatednearLosAngele often qualitatively saying thatthe companywouldcommitonly toadisplay were availableatthetimethis bookwenttopressin1992, ing stabilityofprintsmadewith thestandardinksetsthat Ilfochrome, Ektacolor,andother traditionalcolorprints. Chapter 3).TheIrisprintsproved tobefarlessstablethan standard testprocedures(see life oflessthan3yearswhenevaluatedwiththisauthor’s cutting ultravioletfilter,theprintshadapredicteddisplay light fadingstability.Evenwhenprotectedwithasharp- late 1992,theinksetsavailablefromIrishadverypoor print canbelessthan$1(printingtimeofabout4minutes). minutes). Thecostoftheinkandpaperforan8.5x11-inch inch printcanbeaslittle$12(printingtimeofabout45 imaging process.Thecostoftheinkandpaperfora34x46- a printarelessthanforanyotherhigh-resolutioncolor inches,sellsfor$123,000—thematerialscosts to 34x46 $39,000 andtheModel3047,whichmakesprintsinsizesup inches,costs 4012, whichmakesprintsinsizesupto10x17 impossible withtraditionaldarkroomcolorprinting.) have scratchesfilledinwithafinessethatisabsolutely images canalsobedodged,burned-in,dust-spotted,and balance isnotpossiblewithtraditionalcolorprinting.Digital sense, alterationofcontrast,colorsaturation,andcurve Curve imbalancesaresimpletocorrect.(Inapractical adjusted forcontrast,colorsaturation,andbalance. images scannedfromphotographicoriginalscaneasilybe Iris Graphicshasnotmadeany claimsforthelightfad- Unfortunately, atthetimethisbookwenttopressin Although theIrisprintersareexpensive—Model better thantraditionalcolorprints.Digital Table 3.3 onpage138in Chapter 1 s

February 1992 52

This document originated at on June 6, 2003 under file name: 53 The PermanenceandCareofColorPhotographs tions areexpectedtobecomeavailablebytheendof1993. High-stability inksforfineartandotherdisplayapplica- standard Irisinkshaveverypoorlightfadingstability. printers. Initiallydesignedforgraphicartsproofing,the Bottles ofthewater-baseinksemployedinIrisinkjet across theimagefromlefttoright,isclearlyvisible. the imageprintedbycyaninkjet,whichslowlymoves attached toarapidlyrotatingdrum.Theleadingbandof and blackimagesinasinglepasswiththeprintmaterial Iris inkjetprinterslaydownthecyan,magenta,yellow, scanner can accommodate originals of up to 4x4 feet. scanner canaccommodate originalsofupto4x4 ages fromcolorprints,paintings, andotherartwork.The Photometrics, Ltd.isusedbyNash Editionstoinputim- A high-resolutionflatbedCCD scannercustom-builtby directly fromavarietyofMacintoshandIBMfileformats. made fromscannedtransparenciesandnegativesor City fashionphotographerGeorgeHolz.Printscanbe running onaMacintoshcomputerwithvisitingNewYork Duganne andHolbertworkonanimagewithPhotoshop when heperformedwithCrosby,Stills,Nash&Young. self-portrait ofNashwhichwasmadeduringtheperiod Nash Editions.Thisparticularimageisablack-and-white chrome printfromoneoftheIris3047inkjetprintersat Graham NashandJackDugannedetachacompletedmono- not farfromthe LosAngelesInternationalAirport. Nash Editionsislocatedinthis picturesquebuilding Chapter 1

February 1992 (6)

This document originated at on June 6, 2003 under file name: ing.” life of“onetotwoyears,withincidental,interiorlight- in thefineart photographyfieldbyNash Editions,Iris printers —couldbeusedin an inkformulation. 10-micron diameterinkjet nozzles employedintheIris tem —andthatcanpassthrough theextremelynarrow, the dielectricpropertiesrequired bytheIrisimagingsys- highly stablecolorprints.In theory,anycolorantthathas however, theinkjetprocesshaspotentialofproducing consideration. Withtheselectionofsuitableinkcolorants, ing, whereimagestabilityisgenerallynotanimportant ers havebeenemployedprimarilyforgraphicartsproof- tecting theimagesfromwaterdamage. water-soluble, anumberofcoatingsareavailableforpro- stain overtime.BecausetheinksusedinIrisprintersare stable material,haveverylittletendencytoformyellowish the prints,whenmadeon100%cottonfiberpaperorother are essentiallypermanent;thisauthor’stestsindicatethat and minimalfading. had brillianthighlights free ofyellowishstain, The image,whichwas this printwasmade. of storage—atthetime tion —after40years still inexcellentcondi- the transparencywas with Kodachromefilm, erated darkfadingtests data obtainedinaccel- expected, basedon system. Aswouldbe a Macintoshcomputer Photoshop softwareon were donewithAdobe elimination ofdustspots trast adjustmentsand for theIrisprinter.Con- to produceadigitalfile high-resolution scanner was scannedwitha ency stereo-pairthat a Kodachrometranspar- made fromonesideof Iris inkjetprintwas by NashEditions,the at theageof36.Printed of sleepingpillsin1962 died fromanoverdose a screentest.Monroe Green Acresestatefor visiting Lloyd’slavish 1952 whileMonroewas picture wastakenin viously unpublished Harold Lloyd,thispre- by silentscreenstar Monroe. Photographed movie actressMarilyn An Irisinkjetprintof Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? After thehighlypublicized1991 introductionofIrisprints Since theirintroductioninthelate1980’s,Irisprint- 45 Whenstoredinthedark,however,colorimages cotton fiberwatercolor papers,for$175 thefirstprint. prints onvariouspapers,including ArchesorRives100% Iris Transform Ltd.ofAnkeny,Iowa produces34x46-inch customer-supplied digitalfiles atmoderatecost:Image are about50%less).Somefirms offerstraightprintsfrom print (additionalprints maximum of$700fora34x46-inch anda with aminimumcostof$400 (upto24x24-inches) went topress,NashEditionscharged$0.70persquareinch and correctionsofthedigitalimage.Attimethisbook amount ofcomputertimerequiredformakingalterations whether aprotectivecoatingisappliedtotheprint,and supplier, the costofprintscanvarygreatlydependingon high-stability inksbytheendof1993. term displayapplications.Irisplanstointroducethenew much longer-lastinginksetforfineartandotherlong- proofing area,andthecompanysetaboutdeveloping a ket fortheirprintersoutsideofthetraditionalgraphicarts Graphics realizedthattherewasapotentiallylargemar- Having Irisprintsmadeisnotinexpensive,although 46 thesizeofprint,typepaperdesired, Chapter 1

The Harold Lloyd Trust (Courtesy of the Harold Lloyd Trust/First Interstate Bank of California) 54

This document originated at on June 6, 2003 under file name: 55 sion ofthemid-1960’s 3MElectrocolorprocess onpage27). toners couldeasilybedeveloped forthesystem(seediscus- permanence wasnotanimportant consideration,high-stability toners wereformulatedtomatch graphicartsprintinginks,and can beoutputmuchmorequickly. Althoughcurrentlyavailable image file(thecostofmaterials foraprintislow).Smallprints dpi onmosttypesofpaperin 30minutesorlessfromadigital $300,000 devicecanproducean18x27-inchcolorprintat 2,540 quality, high-stabilitydigitalcolorprintmakingsystem. The graphic artsproofingsystemprovidesaprototypefor high- are probablymuchlongerlasting. with thespecialtonersetsuppliedbyCactusforoutdoordisplay the printshavefairlygoodlightfadingstability; made Preliminary testswith“standard”Cactusprintsindicate that graphs, theprintsneverthelessaresuitableformanypurposes. these printsalsodoesnotequalthatoftraditionalcolorphoto- display andadvertisingpurposes.Althoughtheimagequality of popular forproducinglarge-formatcolorprintscommercial ics (SaltLakeCity,Utah)digitalprintingsystems,havebecome devices fortheCactus(Fairfield,NewJersey)andOnyxGraph- suitable formanybusinessandcommercialapplications. Canon printsareoftensatisfactoryforproofingandalso Laser copiersdoesnotequalthatoftraditionalcolorprints,the on page137).ACanoncolorprinttypicallycostsonly$3to$5. tests withglass-filteredfluorescentillumination(seeTable3.3 color printsaccordingtothisauthor’sacceleratedlightfading for example,areapproximatelytwiceasstableKodakEkta- tional chromogenicandsilverdye-bleachcolorprintprocesses. erable —ifnotyetfullyrealizedadvantageoverthetradi- with respecttocolorstability,thisgivesthesesystemsaconsid- ers canutilizeawidevarietyofcolorantstoformimagesand, High-Quality ColorPrintsatModerateCost Promising TechnologiesforMakingLong-Lasting, Color ElectrophotographyIsOneoftheMost The PermanenceandCareofColorPhotographs prints insizesupto54incheswideand15feetormorelength. digital printingsystems,theVersatecunitsproducelow-costcolor electrostatic colorprinter.UsedintheCactusandOnyxGraphics A large-formatprintemergingfromaXerox/Versatecliquid-toner The 3MDigitalMatchprintliquid-tonerelectrophotographic Xerox/Versatec colorprinter/plotters,whichserveastheoutput Although theimagequalityofprintsmadewithCanonColor Color printsmadewithCanonLasercopier/printers, Liquid-toner anddry-tonerelectrophotographiccolorprint- long-lasting color printsofexcellentqualityatlow cost. system, thisprocesswouldbe suitableforproducing the 3MDigitalMatchprintgraphic artscolorproofing If high-stabilitycolorantswere to becomeavailablefor Onyx Graphics(notecontainersofliquidtonersinbase). Xerox/Versatec colorprinterinasystemsuppliedby Chapter 1

1992 – Courtesy of 3M Company September 1992 (2)

This document originated at on June 6, 2003 under file name: running Adobe Photoshoporotherimage-processing soft- field. PhotoCDimagescan beimportedintoacomputer for between$2and$5eachis arevolutioninthepublishing resolution scansofcolornegative andtransparencyimages ing imagescompletewithsound), theavailabilityofhigh- far lessexpensivetouseavideo camcorderandenjoymov- television, itisgenerallymuch moresatisfyingandcertainly sive formostpeople,andlookingatfamilyimageson CD’s atacostofmorethan$20rollisprohibitivelyexpen- amateur field(havingnegativesroutinelytransferredtoPhoto siderable doubtthatthePhotoCDwillbesuccessfulin photography, andmedicalimaging.Althoughthereiscon- sional applicationsindesktopandhigh-endpublishing,stock the amateursnapshotmarketandawidevarietyofprofes- manufacturers includingFuji,Konica,andAgfa. tem. KodakhaslicensedthePhotoCDsystemtoother file formatandassociatedsoftwarearetheheartofsys- nents inaunifiedmanner.TheproprietaryKodakPhotoCD but itisthefirstsystemtobringtogetherallofcompo- not theonlywaytorecordimagesonCD’s(orothermedia), Photo CD-compatiblediscplayer.TheCDsystemis and canbeviewedonatelevisionwithKodakorother The discscanbereadbyaCD-ROMXAmulti-sessiondrive dundant dataforeachoftheavailableimageresolutions. ing inmagazinesandbooks)withouttheneedtostorere- on anordinarycolortelevisionandhighresolutionforprint- number ofdifferentresolutions(e.g.,lowresolutionforviewing hierarchical filestructureallowsimagestobeaccessedina of high-resolutioncolorimagedatafiles).Theingenious age mediumavailablethatcanaccommodatethehugesize (at present,theopticalCDisonlyviable,low-coststor- so approximately100imagescanbestoredonasingledisc typically, eachimagerequiresabout4.5Mbytesofdiscspace CD dependsonthemaximumimageresolutionselected; CD formatusingaKodakdiscwriter(about$6,000). ners andcomputerstowriteimagefilesintheKodakPhoto leased in1993willallowindividualsusingavarietyofscan- to aCD(acompleteKodaksystemcosts$100,000ormore). based electronicsgiantPhilipswhichwritestheimagefile and c)alaserdiscwriterdevelopedbytheNetherlands- format anddata-compressionschemedevelopedbyKodak; density, andcreateanimagefileusingahierarchical YCC colorspace,makeadjustmentsinbalanceand stations whichconvertthedigitizeddatatoKodak’sPhoto negative films,transparencies,andprints;b)computerwork- high-speed CCDscannerswhichdigitizeimagesoncolor audio compactdisc(CD),includesseveralcomponents:a) optical discsofthesamephysicalformataspopular which digitizedimagesarestoredonlow-cost,write-once images storedindigitalform.ThePhotoCDsystem, raised questionsaboutthelong-termusabilityofphotographic photography and,forthefirsttimeingeneralmarket, of 1992,markedahistoricturningpointintheevolution CD system,whichwasplacedonthemarketinsummer Preservation of Photographically OriginatedImages Preservation of Systems AreNotRecommendedfortheLong-Term CD-ROM’s, andMagneticDigitalImageStorage Despite TheirGreatPracticalUtility,PhotoCD’s, Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? The PhotoCDsystemisinitiallybeingdirectedatboth The numberofimagesthatcanberecordedonaPhoto Kodak PhotoCDPortfolioauthoringsoftwaretobere- The September1990announcementoftheKodakPhoto ROM’s, andother typesofopticalandmagnetic media. read, decompress,andaccess imagesonPhotoCD’s,CD- future availabilityofhardware andsoftwarenecessaryto and, moreimportantly,thecomplete lackofassurance ited dataaboutthelong-term readabilityofitsPhotoCD’s time thisbookwenttopress, Kodakhadreleasedonlylim- concerns includethestability oftheactualmedia(at ability ofsuchsystemsinthefuture(seepage6).These serious, unresolvedproblemsrelatedtothecontinuedreli- originated imagesmayseemappealing,thereareatpresent media forthelong-termpreservationofphotographically precious photographicoriginals. collections toreduceoreliminatehandlingandshippingof image storagesystemscanenablecommercialandmuseum trophotographic, ortraditionalcolorphotographicpapers. prints withthermaldyetransfer,high-resolutioninkjet,elec- ted toremotelocations,orusedmakehigh-qualitycolor originals,” employedinmultimediaapplications,transmit- output toafilmrecordercreatephotographic“second previously unheard-oflowcost.Theimagescanalsobe an imagesettertoproducefullycorrectedseparationsata retouching arecompleted,separationfilescanbeoutputto ware and,aftercoloranddensitycorrectionsimage collection thatcanserveasamodelforothers. prehensive imageaccessandpreservationprogramforits ment attheSmithsonianInstitutionhasimplementedacom- access totheimages.ThePhotographicServicesdepart- in coldstoragewhileatthesametimemaintainingvisual it possibleforaninstitutiontoplacephotographicoriginals catastrophe. Creatinganelectronicvisualdatabasemakes backup shouldtheoriginalsbedestroyedbyfireorother age filecanbestoredinaseparatelocationtoprovide at 40 the originalsarepreservedinacoldstoragevaultmaintained are scannedfromcolortransparenciesandnegatives; ing theno-costserviceinNovember1990.Thedigitalimages downloads hadoccurredsincethedepartmentbeganoffer- the timethisbookwenttopressin1992,morethan30,000 GEnie, andInterneton-linecomputerinformationservices.At tributes hundredsofimagesonCompuServe,AmericaOnline, of colorimages.ThePhotographicServicesdepartmentdis- ment tovisitorsfromtheANSIsubcommitteeonstability describes thedepartment’scomputeranddigitalimagingequip- Services attheSmithsonianInstitutioninWashington,D.C., James H.Wallace,Jr.,directorandcuratorofPhotographic Although usingPhotoCD’sorotheropticalmagnetic Photo CD’sandothertypesofopticaldiscmagnetic ° F (4.4 ° C) and27%RH(seephotographonpage633). 47 Acopyofthedigitalim- 48 Chapter 1 50–52 49 )

November 1991 56

This document originated at on June 6, 2003 under file name: 57 3 GertKoshofer, 13. EastmanKodakCompany, 12. Foraconcisedescriptionofthechromogenic processandother 11. LeslieBennetts,seeNoteNo.9. 10. Notes andReferences The PermanenceandCareofColorPhotographs 2 SusanRoman,“PDNews,” 2. EdwinH.Land,“SelectedLetterstoShareholders,”achapterin 1. 4 Mrs.LloydKarstetter,interviewwiththisauthor,Reedsburg,Wiscon- 4. EastmanKodakCompany,“MerrettT.Smith,” 3. .LeslieBennetts,“‘Colorizing’ FilmClassics:ABoonoraBane?”, 9. .PeterHay, 8. MarkA.Fischetti,“TheSilverScreenBlossomsIntoColor”(Special 7. .JoelMeyerowitz, 6. EastmanKodakCompany, 5. George EastmanHouse in1982).LatershownatEastman Housein April 10,1982(seepage17oftheexhibition cataloguepublishedby that openedattheCorcoranGallery ofArtinWashington,D.C.on the exhibition House thatisreproducedinthisbook onpage25wasincludedin of theInternationalMuseumPhotography atGeorgeEastman encies inChicagoAugust1941. showed sampleAzochromeprintsmade fromKodachrometranspar- scribed theAzochromesilverdye-bleachcolorprintprocessand Munich, Germany,1981,p.171.KoshoferreportsthatKodakde- The NewYorkTimes you areaprogrammer?’” broke, buyingtheRembrandtsofprogrammingbusinesswhen System onceexplainedhisdecisiontoareporter:‘Howcanyougo far toomuchforoldmovies,theownerofTurnerBroadcasting crown jewel, always wanted—therichestfilmlibraryinworld,includingits film library.AccordingtoHay,TedTurner“...endedupwithwhathe for theblack-and-whiteandcolormotionpicturesthatmakeupits of 1990,TurnerBroadcastingSystemhadspentmorethan$1billion One CNNCenter,Atlanta,Georgia30348,1991,p.327.Bytheend 10017; telephone:212-705-7555). Electronic Engineers,Inc.,345East47thStreet,NewYork,York gust 1987,pp.50–55(publishedbytheInstituteofElectricaland Report onVideoProcessing), tion withFloydA.Yearout,NewYork,1985. was thefounderandchairmanofboardPolaroid. Polaroid CorporationAnnualReport Land toPolaroidshareholdersthatoriginallyappearedinthe Massachusetts, 1983,p.27.Thequotationispartofaletterfrom Selected PapersonIndustry February 1985. tion CISNo.50–4,EastmanKodakCompany,Rochester,NewYork, Prints –onKodakEktacolorPlusPaper Reinhold Company,NewYork,1989. John M.Sturge,VivianWalworth,andAllanShepp),VanNostrand cesses andMaterials– Peter Krause,“ColorPhotography,”Chapter4in traditional photographicmethodsofcolorimageformation,see: also: JoelMeyerowitz, Little, BrownandCompany,Boston,Massachusetts,1978.See remained thesame;neitheroriginalnorrevisedversionisdated. For YearsToCome.”TheKodakpublicationnumberfortheadcopy It LastForever,”to“TakeAMomentOutOfTime.AndMake wording inthisadfrom“TakeAMomentOutOfTime.AndMake violation ofWisconsin’sconsumerfraudlaws,Kodakchangedthe that advertisementsandpublicationssuchasthiswereinprobable the WisconsinAttorneyGeneral’soffice,whichhadinformedKodak Kodak PublicationPP10-8H.In1982,respondingtoarequestfrom Kodak. Thelawsuitneverreachedtrial(seeChapter8). consin professionalphotographerfileda$3.7-millionlawsuitagainst ton, D.C.broughtnoresults,FehrenbachStudiosandanotherWis- ney General’sofficeandtheFederalTradeCommissioninWashing- replacement costs.In1982,aftercomplaintstotheWisconsinAttor- every boxofKodakcolorfilmandpaper,refusedtocoverthe Citing thedisclaimerconcerningcolordyefadingthatappearson bore theresponsibilityforcostofreplacingfadedprints. misleading advertisingandpoorproductquality,EastmanKodak the printsatnocost.FehrenbachStudiosbelievedthatbecauseof Fehrenbach StudiosinReedsburgandaskedthestudiotoreplace after shehadreturnedanumberofveryfadedEktacolorprintsto sin, February19,1980.Karstettercametothisauthor’sattention State Street,Rochester,NewYork14650. Issue No.1,1986,p.7.PublishedbyEastmanKodakCompany,343 December 1989,p.18. The 1941AzochromeprintbyAlbert Wittmerfromthecollection MGM: WhentheLionRoars Gone WiththeWind Color AsForm–AHistoryof Photography Farb Fotografie–Book1,VerlagLaternamagica, Cape Light , August5,1986,pp.1and21. A Summer’sDay Gift CertificateProgram—RadioSpots, Evaluating DyeStabilityofKodakColor

Photo DistrictNews Neblette’s EighthEdition , MuseumofFineArts,Boston,and IEEE Spectrum , PolaroidCorporation,Cambridge, . Toldrepeatedlythathehadpaid . Land,whodiedin1991, , TimesBooksinAssocia- , TurnerPublishing,Inc., Kodak StudioLight , Vol.24,No.8,Au- , Vol.IX,IssueXIV, , KodakPublica- Imaging Pro- (edited by 1976 , 0 WilliamS.Allen,generalmanager,ConsumerMarkets Division,Eastman 20. 19. Anon.,“FineArt,ViaPolaroid,” 18. PolaroidCorporation,“ThisSX-70PhotographIsPartofthe 17. 2 WilliamJenkins,assistantcuratorfor20th CenturyPhotography, 22. TheColourGroupoftheRoyalPhotographic Societysponsoreda 21. 16. 4 PaulC.Spehr,“Fading,Fading,Faded–TheColorFilmCrisis,” 14. 15. Democrat andChronicle Show LightFadesColorPhotos—Don’tHangThemontheWall,” New York,June3,1977.Seealso:JohnStewart,“Expert’sTests Instant PrintsFadeMore,” only 4or5yearsofdisplay. See:JohnStewart,“KodakFindsIts most cases,theprintswouldbecomeseverelydeterioratedafter prints wouldfadesignificantlyinlessthanayear’stimeandthat knew that,undertypicaldisplayconditionsinthehomeoroffice, than anyothercolorprintmaterialonthemarket;companyalso data onPR-10andwaswellawarethattheprintswerefarlessstable usual waybyamateurpicture-takers.” tive ofitsperformancewhentheprintisdisplayedorstoredin to directsunlightorhigh-intensityfluorescentlightis home andofficesituations.. such printsarehandled,displayed,orstoredintheusualvarietyof that thestabilityofKodakinstantprintsisentirelysatisfactorywhen these reportstobemisleading.Thecompanyhasstatedrepeatedly prints madewithKodakinstantcamerasandfilm.considers 1976. Theletterstatedinpart: Kodak Company,lettertoDealersinProducts,November9, Reports Consumer Reports 1990, p.C3. the MuseumhadonlyoneortwootherSX-70printsinitscollection. the adfeaturingSamarasSX-70printappeared,itisbelievedthat York advertisingagencythatpreparedthePolaroidad.Attime Museum byanobscureartsfoundationwasfacilitatedtheNew photograph byLucasSamaras;thedonationofprintto The NewYorker Collection oftheMuseumModernArt,”2-pageadvertisementin Munich, Germany,1981,p.173. No. 10,July9,1980,pp.1,28–29. Away –ScorseseHelmsIndustryPleatoKodak,” 11–18. Seealso:HarlanJacobson,“OldPixDon’tDie,TheyFade films in information onthestabilityofcolor transparencyandcolornegative vinced thecompanytoinclude,for thefirsttime,atleastsome graphs.” Participationatthemeeting byKodakapparentlycon- “Colloquium ontheCollectionand PreservationofColorPhoto- letter datedSeptember9,1975toattendees oftheOctober17,1975 International MuseumofPhotographyatGeorgeEastmanHouse, sentations laterappearedasarticlesintheSociety’sjournals. 1974 bytheRoyalPhotographicSociety,andanumberofpre- early conference.Proceedingsofthesymposiumwerepublishedin Corporation]. EastmanKodakdidnottakepartinthisimportant G. Rogers,M.Idelson,R.F.W.Cieciuch,andS.Bloom[Polaroid Ltd.]; and“TheLightStabilityofNewPolaroidColourPrints,”byH. Bleach Transparencies,”byR.Bermane[Ciba-GeigyPhotochemie sity ofStrathclyde];“OntheResistancetoFadingSilver-Dye- Some ColourPhotographs,”byC.H.GilesandR.Haslam[Univer- 1973. Amongthepresentationswere:“TheKeepingPropertiesof at theVictoriaandAlbertMuseum,London,England,September20, symposium on Goldsmith andEd Meyersfrom that tookplaceattheconferenceever becamepublicbecauseArthur tion No.E-30,January1976.Little oftheoften-heateddiscussion granted March9,1965(filedApril18,1960). ing OrganicOniumCation 9, 1965(filedApril18,1960),and Reproductions Fast,” Gone By?ItMaySoonBeOnlyaMemory–ForthePrintsAreFading Bill O’Connell,“FadeOut–RemembertheGloriousColorofFilms American Film with JohnUptonservingasguestcurator. Rochester, theexhibitionwasorganizedbyGeorgeEastmanHouse, Vol. 62,No.8,August1981,pp.792ff. Preservation ofColorFilms–PartII,” Vol. 62,No.7,July1981,pp.694ff;andRichardPatterson,“The Preservation ofColorFilms–PartI,” Gert Koshofer, Vsevolod Tulagin,RobertF.Coles,andRichardMiller, When Allenwrotetheletter,Kodakhadextensivelightfading “It shouldbenotedthattheperformanceofacolorprintexposed “There havebeenpublishedreportscriticalofthestability Film Comment Storage andCareofKodakColor Films , pp.622–625,November1976. The ConservationofColourPhotographicRecords Farb Fotografie–Book1,VerlagLaternamagica, , Vol.V,No.2,November1979,pp.56–61.Seealso: , UnitedStatesPatentNo.3,172,827,grantedMarch , May1977.TheadwasillustratedwithanSX-70 staff,“Instant-PictureCameras,” , Vol.15,No.5,September–October1979,pp. , Rochester,NewYork,March22,1979. Democrat andChronicle , UnitedStatesPatentNo.3,172,826, The NewYorkTimes Popular Photography Seealso:RichardPatterson,“The Photoconductography Employ- American Cinematographer American Cinematographer Variety , KodakPublica- , February15, , EdScullyof Chapter 1 , Rochester, Permanent Consumer not , Vol.299, indica- , ,

This document originated at on June 6, 2003 under file name: 8 Klaus B.Hendriks,togetherwithBrianThurgood,JoeIraci, 28. Henry Wilhelm,“LightFadingCharacteristicsofReflectionColor 27. RobertJ.Tuite[EastmanKodakCompany], “ImageStabilityinColor 26. 5 KlausB.Hendriks,chairperson,sessiononthe 25. PeterZ.Adelstein,C.LorenGraham,andLloydE.West[Eastman 24. DanMeinwald,“ColorPhotographs:MustTheyAlwaysFade?”, 23. Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? 1991. Available from LugusProductionsLtd.,48 Falcon Street, National ArchivesofCanadaandthe CanadaCommunicationGroup, Guide author ofFundamentalsPhotographicConservation: AStudy Lesser, andGregHilloftheNational ArchivesofCanadastaff,isthe Vol. 4,No.2,Spring1978,p.54A. gram [abstracts], Print Materials,”abstractinthe31st SPSEAnnualConferencePro- Vol. 5,No.4,Fall1979,pp.200–207. Photography,” EP-2) introducedin1985. invented byFujiandfirstusedinFujicolorPaperType12(Process This importantpaperdescribedthe“low-stain”magentacouplers Photographic ColorPrintfromtheViewpointofStainFormation.” and YoshioSeoka[FujiPhotoFilmCo.,Ltd.],“DarkStabilityof ference was:KotaroNakamura,MakotoUmemoto,NobuoSakai, Scientists andEngineers.Amongthepaperspresentedatcon- August 25–28,1985,sponsoredbytheSocietyofPhotographic tographic Images ternational Symposium:TheStabilityandPreservationofPho- the ImageStabilityofKodakEktacolorPrints.” Bard andPaulM.Ness,“TheEffectsofPostProcessingHandlingon “Tungsten LightFadingofReflectionColorPrints”;andCharletonC. 2 andPolacolorERImagesItsMaximization”;HenryWilhelm, Polaroid IntegralColorFilmImages”and“LightStabilityofPolacolor Among thepresentationswere:RobertF.W.Cieciuch,“Stabilityof sponsored bytheSocietyofPhotographicScientistsandEngineers. Canada in1987),Ottawa,Ontario,August29—September1,1982, ages posium: TheStabilityandPreservationofPhotographicIm- Clay [Ilford],“LightFadingStabilityofCibachrome.” Fading CharacteristicsofReflectionColorPrintMaterials”;andStanton 2, andSX-70Prints”;HenryWilhelm[EastStreetGallery],“Light Color Photography”;MartinIdelson[Polaroid],“Polacolor,Polacolor Not ToRC”;RobertJ.Tuite[EastmanKodak],“ImageStabilityin graphic Records”;TimothyF.Parsons[EastmanKodak],“ToRCor [Public ArchivesofCanada],“TheChallengePreservingPhoto- D.C., May1,1978.PresentationsweregivenbyKlausB.Hendriks the SocietyofPhotographicScientistsandEngineers,Washington, ervation ofPhotographicMaterials 4900 (Fax:212-398-0023). West 42ndStreet,NewYork,York10036;telephone:212-642- chased fromtheAmericanNationalStandardsInstitute,Inc.,11 New York,1991.CopiesoftheStandardmaybepur- ods forMeasuring aging Media–StabilityofColorPhotographicImagesMeth- tute, Inc., test methodisalsospecifiedinAmericanNationalStandardsInsti- color filmsandprints(seeChapter2).TheArrheniusdarkstorage This wasamajorbreakthroughintheevaluationandpreservationof tures, coldstoragetemperatures,oranyotherdesiredtemperature. color filmsandprintscanbeobtainedfornormalroomtempera- with whichpredictionsfordarkfadingandstainingratesof well-established Arrheniusmultiple-temperatureacceleratedtestmethod first publicacknowledgmentbyKodakthatithaddevelopedthenow stored atawiderangeoftemperatures.Thissmallgraphwasthe two unidentifiedKodakmotionpicturecolornegativeandprintfilms showing predictedtimesfora10%densitylossofthecyandyes November 1970,pp.1011–1018.Thisarticlecontainedagraph ing PermanentValue,” Kodak Company],“PreservationofMotion-PictureColorFilmsHav- shop inRochester,NewYork). terimage alone hasoftenamountedtomorethan$1million. Eastman CharitableTrust.TheyearlycontributionfromtheTrust ing fromtheEastmanKodakCompany,eitherdirectlyorthrough 1947, EastmanHousehasreceivedasubstantialportionofitsfund- conference wasnevercoveredinthepress.Sinceitsfounding were neverpublishedand,asaresult,thisearlyandimportant released byGeorgeEastmanHouse.Thepromised the meetinguntilofficial tended theeventwereaskedtowithholdpublicationofstoriesabout Modern Photography In addition,Hendriksservedaschairpersonofthe Hendriks alsoservedaschairpersonofthe , PublicArchivesofCanada(renamedtheNational , publishedbyLugusPublications incooperationwiththe , November1975(publishedbytheVisualStudiesWork- ANSI IT9.9-1990,AmericanNationalStandardforIm- Journal ofAppliedPhotographicEngineering, Journal ofAppliedPhotographic Engineering , PublicArchivesofCanada,Ottawa,Ontario, , AmericanNationalStandardsInstitute,Inc., , andothermembersofthepresswhoat- Journal oftheSMPTE Proceedings , attheannualconferenceof oftheconferencewere Stability andPres- International Sym- , Vol.79,No.11, Proceedings Second In- Af- , 31. ThePhotographicMaterialsGroupoftheAmericanInstituteforCon- 30. KlausB.Hendriks,“TheStabilityandPreservationofRecordedIm- 29. 32. 4 OnJuly22,1980HerbertPhillips,directoroftheGraphicArtsRe- 34. DavidLitschel,editor, 33. phone: 202-232-6636. Suite 340,140016thStreet,N.W.,Washington,D.C.20036;tele- For furtherinformationcontact:AmericanInstituteforConservation, Siegfried Rempel,JamesReilly,HenryWilhelm,andChrisYoung. Gary E.Albright,DavidKolody,JoseOrraca,MaryKayPorter, Delaware, August20,1979;thechartermembersofgroupwere by JoseOrraca,washeldattheUniversityofDelawareinNewark, servation (AIC)wasfoundedin1979.Thefirstmeeting,organized York, 1989. Allan Shepp),VanNostrandReinholdCompany,NewYork, Eighth Edition ages,” Chapter20in 416-484-9512. Toronto, Ontario,CanadaM4S2P5;telephone:416-322-5113;Fax: They’re JustFadingAway,” 1C, 2C.Seealso:RichardHarrington,“OldMoviesNeverDie– Democrat andChronicle Garner, “FilmsFade–DirectorProtests;Kodak’s‘WorkingonIt’,” under varioustitlesinmanyothernewspapers.Seealso:Jack San FranciscoChronicle News Service],“Movies(andSnapshots)AreLosingTheirColor,” Times Scorsese’s CampaigntoSaveaFilmHeritage,” 299, No.10,July9,1980,p.29.Seealso:RobertLindsey,“Martin of NoFadePetitiontoKodakSpanAllIndustryRanks,” sure Kodakintoproducingimprovedfilmstocks.Seealso:“Signers writer describedfilmdirectorMartinScorsese’scampaigntopres- stability ofKodakmotionpicturecolornegativeandprintfilms;the 9, 1980,pp.1,28–29.Thiswasamajorarticleonthepoorimage sese HelmsIndustryPleatoKodak,” Library ofCongress,Washington,D.C.,April21–23,1980. Storage ofMotionPictureFilms, See: HarlanJacobson,“OldPixDon’tDie,TheyFadeAway—Scor- appeared intheJuly 29,1980editionofRochester’s at nocosttoRIT.Afront-pagestory byRichardWhitmirewhich In theAugustseminar,Kodaksupplied sevenoutofthe19speakers, that wedon’twantournameassociated withapoorlyrunseminar.” have noalternativebuttowithdraw anyKodaksupportonthebasis seminar] doesn’tcomeoffbetterthan thepreviousoneIthinkwe without Mr.Wilhelm,hewillbedropped.” Archives ofCanada]willbeinvited, but,ifhechoosesnottocome future seminars.Mr.Hendrix[Dr.KlausB.HendriksofthePublic memorandum statedinpart: Englemann, deanofGraphicArtsandPhotographyatRIT.The the SocietyofPhotographicScientistsandEngineers),LotharK. the EastmanKodakCompany,Peedwasalsoservingaspresidentof Professional andFinishingMarketsDivision(atthetime,onbehalfof tor ofPublicationsandPhotoInformationinKodak’sConsumer/ which describedasecretmeetingbetweenAllieC.Peed,Jr.,direc- Rochester, aninternalKodakmemorandumdatedMay13,1980 discussed. Thisauthorhadobtained,fromananonymoussourcein leading claimsweremadeaboutcolorimagestabilityalso print film;andadvertisementsbyKodakPolaroidinwhichmis- cisms wereleveledatKodak’sextremelyunstablePR-10instant policy ofkeepingimagestabilitydatasecretwascriticized;criti- image stabilityattheprevioussixRITseminarsinwhichKodak’s to speakwasKodak’sdispleasurewithhispresentationsoncolor Atlanta, Georgia. 12, 1980attheProfessionalPhotographersofAmericaconventionin presentation similartothetalkKodakplannedpresentonAugust some newmaterial”fortheprogramandhadaskedKodaktogivea August 1980seminar.PhillipsinformedthisauthorthatRIT“wanted ervation andwaslistedasaspeakerintheRITbrochurefor speaker oncolorphotographyatsixpreviousRITseminarspres- uled totakeplaceAugust25–27,1980.Thisauthorhadbeena “Preservation andRestorationofPhotographicImages”seminarsched- this authortoretractapreviouslyextendedinvitationspeakatthe search CenterattheRochesterInstituteofTechnology,telephoned of Michigan,AnnArbor,Michigan48109. Ektacolor PrintSystem.”PublishedbytheSchoolofArt,University 1982. Thisauthor’sessaywasentitled“TheProblemsoftheKodak by DavidLitschel),UniversityofMichigan,AnnArbor, essays byDianeKirkpatrickandHenryWilhelm,withanintroduction Lawrence F.Karr,ed., Peed concludedhismemorandum by saying“..ifthisone[the “. .Mr.Wilhelmwillnotbeinvitedtoaprogramparticipantin The actualreasonforthecancellationofthisauthor’sinvitation , October5,1980,pp.19ff.Seealso:PatriciaO’Brian[Knight (edited byJohnM.Sturge,VivianWalworth,and Imaging ProcessesandMaterials– Proceedings –ConferenceontheCold Fugitive Color , May11,1980.Thisarticlealsoappeared , Rochester,NewYork,May13,1980,pp. The WashingtonPost Variety AmericanFilmInstituteand (exhibitioncataloguewith , Vol.299,No.10,July , July20,1980. The NewYork Times-Union Variety Chapter 1

Neblette’s , Vol. 58

This document originated at on June 6, 2003 under file name: 59 The PermanenceandCareofColorPhotographs “Wilhelm toSpeak,” Kodak Critic,” New York,August8,1980,p.B1.RichardWhitmire,“RITRe-Invites Demands ReinstatementasRITSpeaker,” 1980, p.A6;RichardWhitmire,“KodakFightWon’tFade—Wilhelm Freedom,” editorial, ester, NewYork,July30,1980,p.D8;“Kodak,RITandAcademic Legal ActionAfterCanceledTalk,” 1980, p.A1;AnneTannerandDickMitchell,“KodakCriticPonders Seminar Speaker,” Kodak SilenceCritic?—RITDeniesPressureLedtoCancellationof products. be makingcolorstabilityinformationpublicforitscurrentandfuture after KodakannouncedinAtlanta,Georgiathatthecompanywould author tospeakattheseminar.Theagreementwasreached3days the speakinginvitation,RITagreed—outofcourttopermitthis addition toseekinganinjunctionwhichwouldforceRITreinstate tained anattorneywiththeintentionofsuingbothRITandKodakin role oftheother.” academic independence.Bothoughttounderstandandrespectthe ought toservestudentsasbestitcan,andjealouslyguardits an academicseminar. not thesameasinterestsofphotospecialistswhoaredrawnto wise ofRITtoseekKodak’sadvice.ButtheinterestsKodakare venly. Rochester InstituteofTechnologyseemstohavesubmittedcra- Co. seemstohavechallengedtheconceptofacademicfreedomand issue ofthe RIT andAcademicFreedom”thatwaspublishedintheJuly31,1980 in Rochesterthefollowingweeks.Aneditorialentitled“Kodak, sation withPeed.‘Thatisnobody’sbusiness,’hesaid.” ceptable.’ were justbeingpragmaticindescribingaconditionwefindunac- ‘Well, Iguessitdependsonyourdefinitionofpressure.thinkwe When questionedaboutthelastparagraphofhisletter,Peedsaid, an activitybeingusedbysomeonetoattackus.’ said. critic ofEastmanKodakproducts,forreasonsunknowntous,’he ‘Our difficultywithhimisthathehasassignedtohimselfaroleof hard toputafingerinthedike.’ internal investigationgoingonheretofindout.We’retryingvery and I’dbegladtopayyouifcouldtellme.Wehaveabitofan the situation: Led toCancellationofSeminarSpeaker,”includedthisaccount newspaper, entitled“DidKodakSilenceCritic?RITDeniesPressure Institute ofTechnology Seminaronthepreservationof photographs. cancellation andlaterreinstatement asaspeakerattheRochester cerning Kodak’sinvolvementinthecontroversy surroundingWilhelm’s New York),October1980,p.3. Afterimage Miracle —WilhelmReinstatedatRIT Seminar,KodakShiftsonColor,” nell, Iowa,August28,1980,p.1. Feuds withKodakoverSeminar,”GrinnellHerald-Register New York,August31,1980,p.A9.Seealso:JohnBremer,“Wilhelm gram onColorFadingIsAnnounced,” Buffalo, NewYork,August19,1980;AnthonyBannon,“KodakPro- Darkness AreNecessarytoPreservePhotos,” Buffalo, NewYork,August18,1980;AnthonyBannon,“PartIV:Cold, “Part III:KodakDefendsStabilityofItsFilm,” Buffalo News Bannon, “PartII:Photography‘Nader’FightingFilmIndustry,” The BuffaloNews less PrintsDeteriorating—‘LivingColor’DyingOutinOldPhotos,” Union “Fade Out,FadeIn,”partof“TheYearThatWas:1980,” and Chronicle York, August19,1980;“RITMakesAmends,”editorial,Democrat For anaccountoftheRITincident,see:RichardWhitmire,“Did On August15,afterthisauthortraveledtoRochesterandre- “Kodak oughttoansweritscritics,nottrysilencethem.RIT “. .It’sgoodofKodaktointerestitselfinRIT’sseminars,and “In thematterofdisinvitedseminarspeaker,EastmanKodak The matterreceivedconsiderablepressandtelevisioncoverage “Contacted yesterday,Englemannrefusedtodiscusshisconver- “But PeeddeniedKodakwaspressuringRITtodropWilhelm. questionwaswhetherwecouldcontinuetogivesupport “‘The “Peed didnothesitatetodescribehisunhappinesswithWilhelm. “Asked ifheknewwhosentthelettertoWilhelm,Peedsaid,‘No, See also:JohnThompson,interview withHenryWilhelmcon- See also:CindyFurlongandAdam Weinberg,“TheImperfect See alsoaseriesofarticlesbyAnthonyBannon:“PartI:Price- , Rochester,NewYork,January3,1981,p.5. Times-Union (publishedbytheVisualStudiesWorkshop, Rochester, , Buffalo,NewYork,August17,1980;AnthonyBannon, Times-Union , Rochester,NewYork,August20,1980,p.A18; , Buffalo,NewYork,August16,1980;Anthony Times-Union Times-Union Democrat andChronicle said,inpart: , Rochester,NewYork,August18,1980; , Rochester,NewYork,July29, Democrat andChronicle , Rochester,NewYork,July31, The BuffaloNews Times-Union The BuffaloNews The BuffaloNews , Rochester,New , Rochester, , Buffalo, Times- , Roch- , Grin- The , , 42. 1 LoisSchlowsky,“DigitalVision:Birthofa Filmless Photography 41. RichardS.O’BrienandRobertB.Monroe, withcontributionsby 38. HiroshiSugaya,“ThePastQuarter-Century andtheNextDecadeof 37. 0 NoraLee,“HDTV:TheArtistsSpeak”(Electronic Imagery), 40. RichardS.O’BrienandRobertB.Monroe, withcontributionsby 39. JamesM.Reilly, 36. 3 43. 5. 5110; Fax:617-647-1608.) 73 OldRoad,Weston,Massachusetts02193;telephone:617-899- 1992, pp.31–33.(SchlowskyPhotographyandComputerImagery, Studio,” can Cinematographer Journal sion Technology,” Charles E.AndersonandStevenC.Runyon,“101YearsofTelevi- 1992, pp.10–13. Videotape Recording,” 0940, 1980. 439 MonroeAvenue,P.O.Box940,Rochester,NewYork14603- Furor atInstitute,” (June 30,1991).Seealso:“CIAReportonJapanEconomyCreates Grow WaryofSchool”(June30,1991);“TheRIT-CIAConnection” Feel CIATiesTaintRIT’sInternationalEfforts–ForeignEducators Agency RanItsOwnShadowManagement”(June11,1991);“Many Formal Ties”(June2,1991);“CIAHadaFreeHand:RITOfficial– 1991); “CIAVeinRunsDeepInsideRIT–‘85MemoSpelledOut (May 19,1991);“SecretRITStudyBashestheJapanese”24, CIA toPlanforFuture–ReportEspousesEconomicEspionage” Among the that ranthroughtheremainderof1991andcontinuedinto1992. entitled “RITStudentsProtestPresident’sCIAWork,”(p.1B–2B)and and Chronicle articles byJenniferHymanthatappearedinRochester’s Albert J.Simone,formerlypresidentoftheUniversityHawaii. Rochester, NewYork,May19,1992,page1).RIT’snewpresidentis fer Hyman,“RITPicksItsNextPresident, links withtheCentralIntelligenceAgency.”(fromanarticlebyJenni- “. .inthewakeofcontroversylastyearoverhis,andschool’s, was servingaspresidentofRIT.Rosetookearlyretirementin1992 projects andotherrevenue-producingservices. school’s often-stateddesiretoobtainlucrativecontractsforresearch driving forcebehindtheseintertwiningrelationshipshasbeenthe a zealthatwouldembarrassmostcollegesanduniversities.The graphic andartsindustriesgovernmentalagencieswith Issue I,Sec.II,November1982,p.66. description ofhowthe views withthisauthorduringAugust–November 1992.Foradetailed 610–611. Charles E.AndersonandStevenC.Runyon,seeNoteNo.38,pp. Photographic Printing1840–1895 Albumen &SaltedPaperBook—TheHistoryandPracticeof pany, Rochester,NewYork,1986.Seealso:JamesM.Reilly, graphic Prints York 14623-0887;telephone:716-475-5199(Fax:716-475-7230). E. GannettMemorialBuilding,PostOfficeBox9887,Rochester,New ber 23,1992,pp.1B–2B. Forum,” also: M.KathleenWagner,“WarinessoftheCIALingersatRIT Links,” also: WilliamGlaberson,“Soul-SearchingataUniversityOverC.I.A. dak,” nel 21),Rochester,NewYork,August28,1980. How LongIsForever?”, November 1982,pp.1ff;andThomO’Connor,“PrintPermanence— photographs. Thesegmentairedon Rochester InstituteofTechnologyseminaronthepreservation Wilhelm’s beingdroppedandlaterreinstatedasaspeakeratthe problems offadingcolorprintsandthecontroversysurrounding Marty Bucksbaum,interviewwithHenryWilhelmconcerningthe Channel 10),Rochester,NewYork,August26,1980.Seealso: Segment airedontheeveningnewsof “Picture Success,” scanned colornegativeimagesforpublication, see:JaneHundertmark, Image PermanenceInstitute,RochesterInstituteofTechnology,Frank that year(see:Polaroid Corporation,“ColorforCenturies,” early 1985,andpigmentfilmswere successfullycoatedinMarchof Chris Gulker,photoeditorofthe The PolaroidCorporationbegan working withCharlesBergerin For anaccountoftheRIT-CIAcontroversy,seelongseries In 1980,atthetimeofcancellationincident,M.RichardRose RIT haslongcultivatedtiesbetweentheschoolandphoto- See also:ThomO’Connor,“WhyHenryWilhelmTookOnKo- New YorkPhotoDistrictNews The NewYorkTimes , Vol.100,No.8,August1991,pp.606–629). Democrat andChronicle Photo-Electronic Imaging Democrat andChronicle newspaperbeginningonApril27,1991,withastory , KodakPublicationNo.G-2S,EastmanCom- Care andIdentificationof19th-CenturyPhoto- SMPTE Journal The NewYorkTimes Publish Examiner , Vol.68,No.9,September1987,pp.85–90. SMPTE Journal New YorkPhotoDistrictNews , Vol.7,No.July1992,pp.52–58. , June20,1991,p.A1andA11.See uses AdobePhotoshoptoprepare , July1976(reprintedinthe San FranciscoExaminer , Rochester,NewYork,Septem- ,

Light ImpressionsCorporation, WXXI , Vol.35,No.11,November articleswere:“RITAdvises , June5,1991,p.B10.See , Vol.101,No.1,January Democrat andChronicle , Vol.III,IssueI,Sec.II, WHEC television(PBS—Chan- television(CBS— Chapter 1 Democrat Instants , Vol.III, SMPTE Ameri- , inter- The , ,

This document originated at on June 6, 2003 under file name: 6 Firmsofferinghigh-resolutionIrisinkjetprintsproducedfromdigital 46. JoeMatazzoni,“OutputtingFineColorFromtheDesktop–In 45. 52. JohnC.Mallinson,“ArchivingHumanandMachineReadableRecords 51. NationalArchivesandRecordsService, 50. ChristineHeap,“PhotoNegativeDatabaseattheU.K.’sNational 47. 4 AnumberofarticleshavebeenwrittenabouttheUltraStablepro- 44. 9 EastmanKodakCompany, 49. JimWallace,“ConsiderationsRegardingtheLong-TermStorageof 48. Traditional andDigitalColorPrints,Negatives,Slides:WhichProductsLastLongest? commercial displaymarketsinclude: image files(andfromphotographicoriginals)forthefineartand article concerningthelightfadingstabilityofIrisprints. Ink andMediamanageratIrisGraphics,Inc.,wasquotedinthe Graphics ducing LimitedEditionIrisPrintsFromDigitalFiles,” Tradition ofFineArtsPrinters,AHandfulColorHousesArePro- No. 2159,April1992,p.36. ogy andLibraries Human- andMachine-ReadableRecords,” 147–152. Seealso:JohnC.Mallinson,“OnthePreservationof val RecordsfortheMillenia,” See also:JohnC.Mallinson,“PreservingMachine-ReadableArchi- August 25–28,1985inOttawaattheNationalArchivesofCanada.) Springfield, Virginia,pp.388–403,1985.(Thesymposiumwasheld Summaries), theSocietyofPhotographicScientistsandEngineers, and PreservationofPhotographicImages for theMillenia,” Committee onPreservation),July1984. National ArchivesandRecordsServicebySubcommitteeCofthe and MachineReadableRecords siderations RelativetothePreservationandStorageofHuman and PublicAffairs,December18,1991. tions andAnswers Railway Museum,” ington 98109(telephone:206-284-2198;Fax:206-285-9664). 281-2920); and Anaheim Hills,California92807(telephone:714-281-0844;Fax:714- Fax: 515-964-3914); 515-964-0436; Ankeny, Iowa50021(telephone: West FirstStreet, 310-545-4352; Fax:310-545-8565); 1201 OakAvenue,ManhattanBeach,California90266(telephone: Be True,” cess. See,forexample:JohnDurniak,“ColorAlmostTooGoodTo were notavailableforimagestabilityandphysicaltesting. prints atAtaraxiaStudiohadnotbegun,andproductionprintsamples book wenttopressin1992,however,commercialproductionof Association International,March1992,pp.1and4).Atthetimethis UltraStable PortraitPrints,” 2159, April1992,pp.34–36;and:DavidB.LaClaire,“Marketing Color Photographs,” Nordstrom, “InSearchofPermanence:500-Year-LifeUltraStable News beth Forst,“CarbroPrinting:BacktotheFuture,” Sunday Globe Mark Wilson,“AColorProcessThatWon’tFadeAway,” Francs-Bourgeois, 75003Paris,France. available fromtheInternationalCouncil onArchives,60ruedes tional ArchivesofCanada,1989. Copiesoftheproceedingsare Council onArchives.Theproceedings werepublishedbytheNa- sored bytheNationalArchivesof CanadaandtheInternational The symposiumwasheldMay10–12, 1988inOttawaandwasspon- national Symposium:Conservation inArchives and ArchivalConsiderations,”chapter in January 1993,pp.35–37. Electronic Images, pp. 36–39. Time,” sions –AtAtaraxiaStudio,ImagesAreMadetoStandtheTestof Polaroid-manufactured materials(see:LindaTien,“LastingImpres- phone: 215-343-3214)wasestablishedtomakeprintsusingthe 3448 ProgressDrive–SuiteE,Bensalem,Pennsylvania19020(tele- ther developmentwouldnotbeundertaken.AtaraxiaStudio,Inc., tract basis,underthePolaroidPermanent-Colorname,butthatfur- announced itwouldmaketheexistingmaterialsavailableonacon- cided nottomarkettheArchivalColormaterials.Later,Polaroid that developmentworkhadceasedandthecompanyde- worldwide. InJune1987,however,Polaroidabruptlyannounced ary 1987,Polaroidannouncedthatitwouldmarketthematerials ArchivalColor materials.DevelopmentworkcontinuedandinFebru- p. 4).Atthetime,Berger’sprintmakingmaterialswereknownas Vol. 4,No.2,PolaroidCorporation,Cambridge,Massachusetts,1986, John C.Mallinson,“MagneticTape Recording:History,Evolution , Vol.XII,IssueII,February1992,pp.98–100;and:William Specialty LabUpdate , Vol.8,No.5,September–October1992.DonaldR.Allred, The NewYorkTimes DiGiColor , May17,1992.Seealso:SpencerGrantandEliza- Second InternationalSymposium:TheStability Advanced Imaging , Vol.7,No.1,March1988,pp.19–23. Journal ofElectronicImaging , EastmanKodakCompany,Communications Harvest Productions Professional Photographer , 1300DexterAvenueNorth,Seattle,Wash- Kodak PhotoCDPermanenceQues- Professional Photographer Archivaria , publishedbythePhotoMarketing , December6,1992,p.Y27;and: (WhitePaperpreparedforthe Image TransformLtd. Nash Editions , Vol.8,No.2,February1993, Strategic TechnologyCon- , No.22,Summer1986,pp. Proceedings oftheInter- , 911ChamplainCircle, Information Technol- (Printing ofTranscript , Vol.119,No. Photo District , P.O.Box637, , Vol.2,No.1, , pp.181–190. Step-By-Step The Boston , Vol.119, , 2309 Bob Schwalberg,withHenryWilhelmandCarolBrower,“Going!Going!! R. W.G.Hunt, Robert Hirsch, Henry Wilhelm,“ColorPhotographs andColorMotionPicturesinthe Henry Wilhelm,“ColorPrintInstability,” Edward J.Wall, Gail Fisher-Taylor,“Colour–AFadingMemory?” John M.Sturge, Louis WaltonSipley, Ellen RuppelShell,“MemoriesThatLoseTheirColor,” Bob Schwalberg,“ColorPreservationUpdate,” Paul Outerbridge, Luis Nadeau,EncyclopediaofPrinting,Photographic,andPhotome- Edwin Mutter, Stephen R.Milanowski,“NotesontheStabilityofColorMaterials,” C. E.KennethMees, Gert Koshofer, Gert Koshofer, Judith Kahn,“FleetingImages,” David Kach,“PhotographicDilemma:StabilityandStorageofColor Grant Haist, Gail Fisher-Taylor,“Interview:HenryWilhelm,” Joseph S.Friedman, Harvey V.Fondiller,“WillYourColorLiveLongerThanYouDo?” Ralph M.Evans, Eastman KodakCompany, Jacob Deschin,“ColorPrintPermanence:20ExpertsTestifyonWhere Brian Coe, American NationalStandardsInstitute,Inc., General References Volker SpiessGmbH,Berlin,Germany,1988. Processes andMaterials– Ones YouUseStackUp?,” Gone!!! –WhichColorFilmsandPapersLastLongest?HowDothe Vol. 89,No.1,January1982,pp.81–85,131. and Television & BenchmarkPublishers,Madison,Wisconsin,1993. Wiley andSons,NewYork,1979. Illinois, pp.105–111, 1991. Graduate SchoolofLibraryandInformation Science,Urbana-Champaign, Henderson andWilliamT.Henderson, editors),UniversityofIllinois and PreservingMaterialsinNonbook Formats Library: ForPreservationorDestruction?”, chapterin magazine, assistedwithpreparation ofthearticle.) No. 1,February1979,pp.92ff.(Peter Moore,thesenioreditorof published in1925),FocalPress,Ltd.,London,England,1970. Vol. 3,No.1,Spring1981,pp.2–21. phy Reinhold Company,NewYork,1989. New York,1951. Association fortheAdvancementofScience,Washington,D.C.). 5, No.7,September1984,pp.40–47(publishedbytheAmerican editorial directorJasonSchneiderassistedwiththearticle.) June 1990,pp.37–49,60.(PublishingdirectorHerbertKepplerand New York,1940. Canada E3B5G2. Luis Nadeau,P.O.Box1570,StationA,Fredericton,NewBrunswick, chanical Processes(Volumes1and2),1989.PublishedbyAtelier Vienna, AustriaandNewYork,1967. Color Materials,” reprinted in1982:StephenR.Milanowski,“NotesontheStabilityof Massachusetts InstituteofTechnology,Cambridge,Massachusetts); tive York, New1961. of PhotographicResearch Magica, Munich,Germany,1981. land Museum,Vol.6,No.May–June1983,pp.16–18. pp. 28ff. Materials,” lished in1944),FocalPress,Ltd.,London,England,1968. York, 1973,pp.82–87,128. Photography 1973 Wiley andSons,NewYork,1959. pany, 343StateStreet,Rochester,NewYork14650,March1985. Eaton, editor),KodakPublicationNo.F-40,EastmanCom- pany, NewYork,York),Summer1975,pp.4–10and114–120. It’s AtToday,” 1940 tional StandardsInstitute,Inc.,NewYork,1991. Photographic Images–MethodsforMeasuring can NationalStandardforImagingMedia–StabilityofColor , January1979,pp.10–11. , 1980–81(publishedbytheCreativePhotographyLaboratory, , Ash&GrantLtd,London,England,1978. Colour Photography–TheFirstHundredYears,1840– Modern PhotographicProcessing–Volume2 Farbphotographie –TheorieundPraxis The ReproductionofColourinPhotography,Printing Exploring ColorPhotography Industrial Photography Color —DieFarbenDesFilms Farb Fotografie

The HistoryofThree-ColorPhotography Eye, Film,andCamerainColorPhotography Vivian Walworth,andAllanShepp,editors, Photographing inColor , Thirdedition,FountainPress,London,1975. 35-mm Photography A HalfCenturyofColor From DryPlatestoEktachromeFilm—AStory Exposure History ofColorPhotography , Ziff-DavisPublishingCompany,NewYork, Conservation ofPhotographs

, Vol.20,No.3,Fall1982,pp.38–51. Neblette’s EighthEdition Popular Photography The MuseumofCalifornia , Ziff-DavisPublishingCompany,New , (Books1,2,and3),VerlagLaterna Modern Photography , Vol.27,No.8,August1978, (Ziff-DavisPublishingCom- , RandomHouse,NewYork, , TheMacmillanCompany, ANSI IT9.9-1990,Ameri- , SecondEdition,Brown Popular Photography Photo Communique Canadian Photogra- , Wissenschaftverlag , Springer-Verlag, Science 84 (KathrynLuther (originallypub- , Vol.97,No.6, , AmericanNa- , VanNostrand Conserving Chapter 1 (GeorgeT. (originally , TheOak- Imaging , Vol.43, , John , John Color Posi- , Vol. , , 60

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