Archival Considerations

"Photographers deal in things which are continually vanishing
and when they have vanished there is no contrivance on earth
which can make them come back again."
-- Henri Cartier-Bresson

The Volatile Photograph
© 2001 Rebecca Baucus

Photography, according to Webster's Dictionary, is the art or process of producing images of objects upon a photosensitive surface (as film in a camera) by the chemical action of light or other radiant energy. In the many years since the first image was created in the late 1830's, many of the processes and techniques of obtaining an image have changed but the basic principle of producing images remains. Perhaps it is best illustrated by a simple definition found on a t-shirt at www.betterphoto.com, Photography is Writing with Light. When we photograph, we are in essence documenting what we see. The resulting image provides an amazingly detailed and perhaps artistic visual record to our musing. At family gatherings and in our personal lives, most everyone has taken or has been a subject in photographs. I would even venture to say that many families purposely designate a photographer, someone who enjoys the documenting and seems to always have a camera at hand. Many of these appointed photographic historians do not realize that the very nature of the document they create is chemically unstable. Each component used to create images from the negative to processing to the actual print is prone to degradation. Even the latest photographic techniques regarding digital photography are prone to their own set of archival problems regarding storage and forms of image capture and quality. The focus of this paper is on the traditional 35mm color negative and print and ways to preserve today's photographs for tomorrow's memories.

To understand the transient chemical nature of a photograph and to properly provide for your photographic collection, it is necessary to understand the composition of both film and prints. There are two general classes of emulsions, the characteristics of which are determined by the end use. Emulsions are the suspension of a salt of silver suspended in gelatin used to coat film and photosensitive papers. The two classes are "negative" emulsions used for exposure in cameras and produce a reversed or negative image, and "positive" images that produce the final photograph. (Meyers)

Photographs are made up of several layers. The top layer contains the image suspended in gelatin (purified animal protein). It is called the emulsion layer. This layer is coated onto a base layer of photographic paper or film. A middle layer of adhesive is used to make the emulsion stick to the base. Color photographs and slides are made up of dyes instead of silver deposits. Like all dyes, those used in photography fade and/or change color over time. Since most of the photographs taken today are made in color, researchers continue to work on dye stability. With proper care you can expect your color prints to last for decades, but in general, they do not preserve as well as black and white silver halide images (www.geneaology.com). In the safe care and handling of photographic emulsions we must be concerned with all aspects that create the final image; the unprocessed film, the latent (unprocessed image), the negative (processed image) and of course the prints created from the negative.
THE UNPROCESSED FILM-

35mm color photography negative emulsions must exhibit a relatively wide flexibility in terms of sensitivity since they are used and stored under conditions that are beyond the control of the casual photographer. Many factors concerning image quality are present even before the roll is inserted into the camera. Unprocessed photographic films are perishable products that can be damaged by high temperatures and high relative humidities. Some photographic characteristics--speed, contrast, color balance, and fog level--change gradually after manufacture. Adverse storage conditions accelerate these changes. Color materials are more seriously affected than black-and-white materials because adverse conditions usually affect the emulsion layers to different degrees. (Kodak)

Kodak, a leading manufacturer of photographic materials, suggests the following general principles in regards to safeguarding unprocessed film against environmental hazards.

-Use film promptly. For best results, always use film before the "Develop Before" date printed on the package.

-Do not open original protective packaging until you are ready to use product.

-Keep the temperature low. You can store Kodak films intended for general picture taking at temperatures up to 75°F (24°C). However, you must keep all films away from places where they are subject to excessive heat, such as a car parked in the sun, or an attic during the summer.

-Store opened packages carefully. After you have opened the original sealed packaging, the material is no longer protected from the damaging effects of high relative humidity and atmospheric contaminants such as chemical fumes. Chemical fumes that can harm photographic products may come from industrial emissions, motor exhausts, paints, solvents, cleaners, mothballs, chipboard, glues, mildew and fungus preventives, foam-injected insulation, fabric treatments such as permanent press and stain inhibitors, and insecticides. These may contain formaldehyde or aldehyde derivatives, sulfides, or other agents that can harm either unprocessed or processed photographic materials.

- Protect film from x-rays. X-rays can fog unprocessed film when the level of radiation is high or when the film receives several low-level doses, because the effects of x-ray exposure are cumulative. Once film has been processed, however, x-rays do not affect it. Minimal x-ray exposure is usually acceptable, effects are cumulative, excessive amounts may produce fog and shadow images on film. High-speed films are especially susceptible to x-ray exposure. You can usually avoid this danger to unprocessed film by hand-carrying your supply, including loaded cameras, and requesting a visual inspection of it. The walk-through and hand-held electronic devices used to check passengers are not x-ray devices and do not affect film.

THE LATENT IMAGE-

Once you have exposed your film, paper, or material, it is important to minimize changes in the latent (unprocessed) image. For consistent results, process the film promptly after exposure. Do not deposit film in a metal mailbox where it may be subjected to high temperatures. Sometimes mailed packages are also x-rayed; if you include unprocessed film in a package, label the package "Undeveloped Photographic Film. Please Do Not X-Ray." Film mailed in clearly marked processing mailers sold by photofinishers is usually not subjected to x-ray inspection. (Kodak)
THE PROCESSING-

Now that the latent image has been affixed, he film surface must undergo chemical processing in order to stabilize the light sensitivity factors of the film. Most commercial processing laboratories are aware of the importance that processing has on the photographic quality and archival properties of negatives and prints. The processing time and temperatures of the chemical should be stringently regulated to provide the best in image stability and employees should be well trained to minimize adverse conditions. Color negative materials go through a color developer, bleach and a fixer. Color papers are often processed in a combined solution, a so-called bleach-fix bath. Again, the final stage is a wash or a stabilization bath (AGFA Photo). Defects from incorrect procedures may not be apparent directly after processing. Years later, images poorly processed may fade faster or become brittle. Incorrect processing procedures such as faulty agitation, insufficient or excessive fixing, and inadequate or excessive washing, Other guidelines include avoiding contamination of solutions, using proper replenishment, minimizing oxidation of developers, cleaning the tanks regularly to avoid bacterial growth, and using a stop bath when recommended. (Kodak)
While many photo labs adhere to recommended regulations, it is unfortunate and all too common to find destructive practices and untrained employees in the processing of negatives and prints. If a reputable lab is out of your budget or location, it may be wise to take rolls to be processed at the beginning of the day when chemicals are fresh and less likely to be contaminated by unsafe practices. If you are on vacation or at an event where you have taken more than one roll, it may make it easier for future organizing if each roll of film were numbered as it was shot. When turning the film in for processing, you can have the sequence number put on each processing envelope.

THE NEGATIVE-

Once the processed rolls are back in your possession, the real test of safe photo handling comes into play. For many reasons, an organized collection kept in photo-safe, archival storage is desirable. Depending on your processor, your negatives may be returned in a variety of ways, many of them unsafe. The worst, in my opinion, would be negatives loosely stuffed in the envelope with the prints, this leaves negatives vulnerable to scratches and adhesion to the envelope or neighboring strips. For the most part fortunately, processed negatives are return encased in sleeves that may be actually be appropriate for long-term storage. I would still recommend a quick check with the sleeve supplier as many lab negative sleeves are created with short term storage plastics that emit harmful vapors. If the sleeves are not considered safe due to materials such as polyvinyl chloride (PVC), the best bet for the photo archiver would be transferring the negatives to safe storage sleeves.

One of the most recognized photo storage companies is Light Impressions. In addition to providing safe negative storage solutions, they also offer print boxes, albums and framing supplies. Their recommended storage materials for negatives are polyester, polypropylene, or polyethylene pages (Light Impressions). As with any processed photographic materials, negatives should be handled with the utmost care to prevent damage. Wearing white cotton gloves and handling by the edges provides the best protection from the oils from your skin and fingerprints contaminating the emulsion layer.

As the appointed photo historian for both my own and husband's side of the family, I have amassed quite a collection of VIP's (very important photos). My personal negatives are stored in Printfileâ binder pages, are labeled at the top of page with the event, date and roll number and stored in hanging file boxes. In my experience, it best to label both negative page and photos with a corresponding date/number to facilitate ease of retrieval when reprinting. Many photo developers print the date and negative number on the back of each photo and some cameras offer this feature directly printed on the photo. I would not recommend setting the camera to this as the date is thereafter permanently affixed to the image. I have seen many stunning images virtually destroyed by that digital date marring. After your negatives are labeled and photos marked with appropriate marking pencil or fade-proof archival pens or even just placed in approved photo box with labeled divider, they are ready for safe storage or to be placed in albums for display.

THE PRINT-

The final element of the inherently unstable photographic process is the actual print. Great strides have been made in stabilizing photographic dyes since the 80's and with proper care of today's color photographs may last for 50 years without noticeable image degradation. One of the most regrettable events I know of are the mass discount portrait studios image fading prints from the 70's. The PAT (Photographic Activity Test) is an accelerated aging test conducted by using a specialized photo-emulsion in contact with a paper sample at elevated temperature and humidity levels to simulate the natural aging process. It is used to check the archival quality of various papers and paper products. The PAT ensures the purchaser of photographic storage and display products of the highest quality of non-damaging materials. Many photographic storage materials are marked with the PAT seal to indicate their archival status.
When you handle your photographs, anything that comes in contact with their surface should be carefully considered. Everyone seems to know about not touching the surface, to handle them by the edges, but years later you may be able to see who didn't as the oils from their fingers can cause visible discoloration to the image. Proper care and storage should attempt to stop or at least delay the inevitable deterioration process. A practical home system should strive to keep photographs dry, cool, protected from dust and fingerprints and of course organized for easy access.

The recently revived hobby of scrapbooking has brought many new products and storage methods to the market and strives to educate consumers of the risks to their photos. One of the most valuable tips I feel is to use appropriate marking tools to label photos with pertinent information such as names, dates, place. When it is necessary to write on photographs, inscriptions should be written along borders or on the back of photographs. It is important to use a hard surface to write on and to press lightly so as to avoid leaving an embossed impression on the print. Ballpoint ink pens contain harmful acid in the ink; a Sharpie or special photo marking pencil is softer and kinder to your prints. My family had a photo-labeling day back in the 70's. Several images bear the scars from uneducated labeling.
Of course, while some photos may never make it out of photo-safe storage boxes: those prints that are elevated to display status on walls deserve special treatment as well. My own advice on displaying photographs is to never display the original without a copy or negative available. Humidity often causes the print to adhere to the glass. With a few precautions and careful attention to the type, quality, mounting technique and the actual frame your images can fare well in their display environment.

The Oakland Library Consortium offers the following advice and considerations for framing photographs:

Mounting- attach photographs only at the corners. A variety of corner tabs enable print to be removed easily from frame.

Matting- acid-free board or museum board should be used for all matting. The colorful decorative mats that are available are usually acidic and will leak a gas, which causes a bum mark (brownish stain) around the edge of the photograph.

Framing-glass with an ultraviolet filter will protect the photograph from sunlight as well as dirt and dust. Be aware that plastic or unfinished wood frames may leak acidic gases. Wood frames can also absorb water and attract small bugs. Metal frames avoid these problems. (Oakland Consortium)
To avoid the perils of sunlight, but still display and protect prized prints, one would do well to consider the many archival photo albums available. Many department stores carry products for this purpose, but all too often they contain harmful chemicals that can hasten the demise of priceless photos. When you buy albums or storage containers, make sure that they are marked "archival," or that they contain no bleaches, wood pulp (the glues can be harmful), acetate, or polyvinyl chloride (PVC). You've seen, and possibly even used, albums with plastic overlay sheets for holding photos in place. Many of these overlays contain photo-damaging PVC. Whether your choice is simple slip-in pockets in a binder or elaborate scrap-booking pages, strap-hinged and decorated with journaling and designs…the safest album choices are labeled on the product.
According to the Henry Ford Museum and Greenfield Village, deterioration to photographs and negatives can be caused by inappropriate light, temperature or humidity levels, poor processing, inappropriate framing, pollution and contaminants, mishandling, pests and mold. Nearly all of these dangers can be eliminated or at least monitored to maintain a pristine collection throughout the years (Henry Ford Museum).

The State Library of Victoria in Melbourne Australia offers some sound advice for the private photographer interested in three prime areas of photo conservation.

Environmental monitoring-when choosing storage and display areas in your home it is important to avoid areas that are insulated, such as garages, attics or basements as they are subject to high temperatures and high relative humidity and may also experience severe temperature and humidity fluctuations. Areas with direct sunlight or strong light should also be avoided for storing or displaying your material, as the UV light is very destructive to photographs.

Good housekeeping practices- help to minimize the incidence of pests in your home and therefore minimize the need to use toxic chemicals. Ensure that you vacuum carefully, using the crevice nozzle even in your wardrobe! Recycle piles of unwanted paper and place spacers between your frames and the wall. Make sure food is kept in sealed containers and dirty plates are washed regularly.

Disaster preparedness. - Avoiding disasters in your own home takes only a small amount of planning. Think about what risks you are exposed to. Do you have blocked gutters? Is your roof sound? Is material stored in areas that leave it vulnerable to these risks? Ensure that maintenance in your home is kept up to date and material stored in protected areas. Remember the time you spend now will save you unwanted heart ache in the future! If, however, you are unlucky enough to have material damaged in a disaster, contact a conservator immediately for advice on how to salvage it. This will ensure that you can save as much of your collection as possible. Remember, when you find a problem, investigate it straight away, rectify it and deal with the affected material as so on as possible. (State Library of Victoria)

Photography is an inherently volatile chemical process from the initial purchase of film to the display of prints. When we choose to write with light, we invest considerable amounts of time, money and effort into the production of our images Whether your weapon of choice is a 30-year-old 35mm manual or latest image-capturing gadget, if you have a camera and take images, you are a photographic historian. When we are skilled or lucky enough to control the beast to produce a detailed, specific visual record…. we need to be skilled enough to protect that image. We owe it to the photograph and those captured in it to preserve the image for future generations.

Works Cited

Dr. Drew Myers. "Chemistry of Photography" The Chemical Engineers Resource Page ©2001 <http://www.cheresources.com/photochem.shtml>
"Storage and Care of KODAK Photographic Materials- Before and After Processing"
technical data reference E-30 o September, 1999 Eastman Kodak Company <http://www.kodak.com/global/en/consumer/products/techInfo/e30/e30Contents.shtml>

"Basics of Photography"-Chapter 7, AGFA Photography Library
©1996 by Agfa-Gevaert AG
<http://www.agfaphoto.com/library/basics/basic07.html>

"Protecting Family Memories From Time", genealogy.com staff
December 20, 1996
<http://www.genealogy.com/genealogy/10_prsrv.html?Welcome=994531832>

"FAQ's", © 1997 Light Impressions
<http://www.lightimpressionsdirect.com/lightimpressions/show.icl?show=fatq.htm&orderidentifier=ID99454227567937674E>

"The Care and Preservation of Photographic Prints", Caring for Your Artifacts
compiled by the conservation staff at Henry Ford Museum & Greenfield Village
©1995-2000 <http://www.hfmgv.org/histories/cis/photo.html#2>

"Conservation For Your Private Collections-Notes for the Household Conservator",
Preservation and Storage Division, State Library of Victoria
<http://www.slv.vic.gov.au/slv/conservation/conserve.htm>

"Care of Photographs at Home", Preservation Issues #4,
prepared by the Preservation Working Group, ©1992 Oakland Library Consortium
<http://www.pitt.edu/~olcpwg/Care_of_photos.pdf>