Examination Records What kind of reports do you need? Condition
report Record of condition New acquisitions and backlog, high risk
first Subsequently, changes noted Inspection Report Carried out at
regular intervals Notes damage caused by environment, age etc.
Cumulative Condition report Travelling exhibitions Calvin College
Centre Art Gallery
Slide 3
Condition Reports Why do condition reports? Track effects of
use on collections objects. Monitor effect of museum environment on
objects. Insurance. Identify conservation issues as early as
possible. Ensure loans are being properly cared for. Protect the
institution, legally. Hunter Museum of Art
Slide 4
Condition Reports When are condition reports done? Prior to
acquisition of objects: to identify any conservation issues that
may impact the decision. Prior to any loans or exhibitions: To
ensure any degradation or damage caused by light exposure, visitors
etc. During valuations Condition may impact monetary or research
value Royal Institute of British Architects
Slide 5
Condition Reports Who Does Condition Reports Conservators
Registrar/assistant registrar Collections manager Preparators Other
museum professionals Calvin College Centre Art Gallery
Slide 6
Condition Reports Tools of Condition Reporting Cotton or
Nitrile gloves Microspatula Magnifying goggles/magnifying glass
Raking light HB pencils Japanese brushes Clean, large, padded work
surface Magnifier
Slide 7
Condition Reporting : Damage Vocabulary Physical
damageBiological Damage Damage to the structure of the object
Caused by physical stress to the object (usually through handling)
Ex. creases caused by folding Damage produces by micro organisms,
insects, rodents Can be a chemical reaction or physical damage Ex:
mold Damage caused by chemical reactions in the object Often a
byproduct of the specific photographic process Can be due to poor
processing Ex. Yellow stains caused by residual silver (bad fixing)
Chemical damage
Damage Decomposition can be very rapid Deterioration is
generally categorized in six progressive stages: Level 1 No
deterioration Level 2 The negatives begin to yellow and mirror.
Level 3 The film becomes sticky and emits a strong noxious odor
(nitric acid). Level 4 The film can become an amber color and the
image begins to fade. Level 5 The film is soft and can weld to
adjacent negatives, enclosures and photographs. Level 6 The film
can degenerate into a brownish acid powder. Cellulose Nitrate
Northeast Document Conservation Centre:
http://www.nedcc.org/resources/leaflets/5Photograp
hs/01ShortGuide.php,
http://www.nedcc.org/resources/leaflets/5Photograp
hs/01ShortGuide.php Preservation 101: 3, Inherent Vice, Film
Supports http://unfacilitated.preservation101.org/session3/ex
pl_iv_fb-img_mat.asp
Slide 10
Damage Cellulose Nitrate Preservation 101: 3, Inherent Vice,
Film Supports
http://unfacilitated.preservation101.org/session3/expl_i
v_fb-nitrate.asp http://youtu.be/DYYYAeSWOlI Niles Film Museum:
http://www.nilesfilmmuseum.org/nitrate.htm
http://www.nilesfilmmuseum.org/nitrate.htm
Slide 11
Damage Bubbling Buckling Warping Channeling Indicative of
Vinegar syndrome Acetate Negatives (Estar, Safety film) Vancouver
Archives: http://www.vancouverarchives.ca/2011/07/vinegar-the-
scent-of-self-destruction/
http://www.vancouverarchives.ca/2011/07/vinegar-the-
scent-of-self-destruction/
Slide 12
Damage Level 1-- No deterioration; flat negative. Level
2--Negative exhibits slight or moderate edge curl with smooth
surfaces on both emulsion and base sides. Edge curl is always
symmetrical on the two or four sides affected. Level _3--Smell; the
negative smells distinctly of acetic or butyric acid. This
determination is difficult to make if there are large numbers of
degraded negatives in a confined area such as a box or drawer where
the acid odor permeates. Usually in these cases there is level 4-6
degradation evident as well. Levels of deterioration Horvath, David
G., THE ACETATE NEGATIVE SURVEY : FINAL REPORT THE UNIVERSITY OF
LOUISVILLE, Louisville, 1987 Vancouver Archives:
http://www.vancouverarchives.ca/2011/07/vinegar-the-
scent-of-self-destruction/
http://www.vancouverarchives.ca/2011/07/vinegar-the-
scent-of-self-destruction/
Slide 13
Damage Level 4--Warpage; wavy portions in edges and surface of
the negative; not symmetrical; no separation of emulsion or base.
Level _5--Bubbling; occasionally when an acetate negative degrades,
bubbles may form between the emulsion and base or between the base
and the anti-curl backing of the film. These bubbles vary in size
and may appear in a circular pattern from the center of the
negative out to the edges. Occasionally these bubbles are filled
with a volatile liquid. Level 6--Separation of the emulsion, base,
and anticurl layers. This can be evident in varying degrees, from
slight localized separation to massive separation. A white
crystalline exudate is often seen under the separated portions of
the base material. This substance is most likely to be the
plasticizer used to manufacture the film base such as triphenol
phosphate Levels of deterioration Horvath, David G., THE ACETATE
NEGATIVE SURVEY : FINAL REPORT THE UNIVERSITY OF LOUISVILLE,
Louisville, 1987 National Film Preservation Foundation:
http://www.filmpreservation.org/preservation-
basics/vinegar-syndrome
http://www.filmpreservation.org/preservation-
basics/vinegar-syndrome
Slide 14
Damage Silver ions migrate to the surface Silvering out Silver
mirroring Silver based images University Libraries, University of
South Dakota, Special Collections:
http://archivesandspecialcollections.wordpress.com
/2012/01/17/forms-of-photographic-degradation- silver-mirroring/
http://archivesandspecialcollections.wordpress.com
/2012/01/17/forms-of-photographic-degradation-
silver-mirroring/
Slide 15
Damage Image loss All photographic images Codex Sinaiticus:
http://codexsinaiticus.org/en/project/conservation_p hysDesc.aspx
http://codexsinaiticus.org/en/project/conservation_p
hysDesc.aspx
Slide 16
Damage Accretion Any foreign object that appears to be stuck to
the surface. Not always dirt Codex Sinaiticus:
http://codexsinaiticus.org/en/project/conservation_p hysDesc.aspx
http://codexsinaiticus.org/en/project/conservation_p
hysDesc.aspx
Slide 17
All paper based images Damage Foxing Reddish brown spots Visual
Heritage: http://www.visualheritage.co m.au/caredamage.htm World of
Stereo Views: http://www.worldofstereoviews.com/autypage.htm Books
tell you why: http://blog.bookstellyouwhy.com/
news/201108568/collecting-how- to-prevent-and-reverse-foxing-in-
rare-books/
Slide 18
Damage Used in the 19 th & early 20 th century to add a
sheen & smooth surface to albumen photographs Can happen when
pressure and friction is applied to photographs Burnishing
(Glazing) George Eastman House:
http://notesonphotographs.org/index.php?title=Osterman,_Mark._%22Rolling
_and_Burnishing_of_Nineteenth-Century_Photographic_Prints%22
Slide 19
Damage a set of small parallel waves in a sheet of paper, in
which the surface is not creased. Can occur in flexible film as
well. Cockling Attingham Park:
http://attinghamparkmansion.wordpress.com/20
12/06/23/conservation-issues-for-historic- photographs/
Slide 20
Damage A moon-shaped indentation in the sheet caused by
improper holding. Occurs most frequently with larger, un-mounted
photographs or those with thin supports Crescent Dent, Handling
dent
Slide 21
Fingerprint Durova, the Wiki witch of the west:
http://durova.blogspot.ca/2009/09/lifting-fingerprints.html Damage
Self-explanatory; Grime in the form of a specific kind of Smear Can
also appear in the negative
Slide 22
Damage Emulsion rising off of the base Can occur with any
photographic image that uses an emulsion and support (ie, not
salted paper prints) Flaking Jeff Griffin:
http://www.flickr.com/photos/30484128@N03/6770951685/
Slide 23
Damage rising of print from mount Can occur in flexible film as
well. Lifting (delamination, Frilling) IDS Special Operations -
Photography: http://hw-expert.com/PhotoArt/index.html
Slide 24
Damage Damage caused by a bend or fold in the image or base Can
run horizontally or vertically Usually qualified with a length
Crease Source: Live Auctioneers:
http://www.liveauctioneers.com/item/11262292_cabinet-card-photograph-of-
john-y-nelson
Slide 25
Damage Injury to the surface of the object, with material
removed Gouge (dig, puncture) Elite Photography:
http://www.hdelitephotography.com/Portfolio/Commercial/7552456_SZ9tT
v/555507507_GP7NV#!i=555507507&k=GP7NV
Slide 26
Damage Original retouching can appear as dark spots as the
photograph around it fades Modern retouching is sometimes visible
as paint or ink on the surface of the image Retouching The
Photographic Historical Society of Canada:
http://phsc.ca/one-cloth.html
Slide 27
Damage Yellowing & Fading Smithsonian Institute
http://www.si.edu/oahp/cbking/CB%20King%20 Exhibit.htm Source:
http://ricardoarmasphotography.blogspot.ca/2007/09/da
guerreotype-fade-out.html Yellow discolouration of image or sheet
Often accompanied by fading, or loss of density in the image, often
mostly in mid tones and darker tones.
Damage Area of missing material Lacuna (hole, loss, puncture)
http://www.portraitsbywjw.com/Restoration.html
Slide 31
Damage Binder Loss (collodion) Gawain Weaver
http://gawainweaver.com Cracking and branching of the image
Slide 32
Damage Pack issues (film and magnetic sound) Van Bogart, J.
(1995). 5. How can you prevent macnetic tape form degrading
prematurely? Magnetic tape storage and handling. Retrieved from:
http://www.clir.org/pubs/reports/pub54/5premature_degrade.html
Slide 33
Damage Perforation Damage National Film and Sound Archive
(n.d.). Perforation Damage. Technical Glossary. Retrieved from:
http://www.nfsa.gov.au/preservation/glossary/perforation-damage
NicksHolesBroken Perforations Film Bridge
Slide 34
Damage Scratches National Film and Sound Archive (n.d.).
Perforation Damage. Technical Glossary. Retrieved from:
http://www.nfsa.gov.au/preservation/glossary/perforation-damage
Slide 35
Damage Colour shifting and fading National Film Preservation
Foundation:
http://www.filmpreservation.org/preservation-basics/color-dye-fading
Filmforever.org. Film Specifics: Stocks and soundtracks.
http://www.filmforever.org/
Slide 36
Damage Acetate decomposition (Vinegar Syndrome) Stages of
Decay: Vinegar ordor Shrinkage Cupping (curved film) Crazing
(emulsion cracks) White powder on edges (binder deterioration) Film
becomes square on reel No longer flexible, emulsion flakes off
AMIA. (n.d.) Know your enemy: damage and decomposition. The home
film preservation guide. Retrieved from:
Slide 37
Damage Digital Print Preservation Portal (IPI) Digital Print
Preservation Portal (IPI) Type of degradation depends on the
printing process How to ID process? Digital Print Preservation
Portal: Graphics Atlas http://dp3.graphicsat las.org/ Issues with
digital prints
Slide 38
Sample Condition Report Traditional condition reports rely on a
sketch while modern practice now often use a colour printout of the
work Includes title, artist, accession number, date, medium,
measurements, location of damage. Indicate historic & modern
damage.
Slide 39
Condition Report with photo
Slide 40
Sample Condition report from Ryerson Gallery and Research
Centre For travelling exhibitions in multiple venues, one image may
be used for marking areas of concern (cumulative).
Condition Report Location of Damage Location can be done using
a zone system Top and Bottom or Upper and Lower Some use E for Edge
and C for Corner as well. EX: urc = upper right corner, cre =
centre right edge
Slide 46
Condition Report Extent of Damage Indicator of how extensive
the damage is. Directional (ex. horizontal crack) Range (scattered
accretions, fading overall) Amount (some staining, slight fading,
moderate embitterment, extreme yellowing etc.) Image Northeast
Documentation Centre:
http://unfacilitated.preservation101.org/session2/prac_eval-photo.asp
Slide 47
Methods and standards
Slide 48
Object Handling Training is important institutions may have
lengthy training programs prior to allowing employees to handle
objects Small amounts of damage can be cumulative
Slide 49
Basic Tenets Only handle the object when absolutely necessary
Gloves of some kind (nitril, cotton) Give yourself lots of space Go
slowly Be conscious of how you might affect the objects (necklaces,
eyeglasses, pens in pockets, nail varnish etc) Use 2 hands One
object at a time
Slide 50
Specifics Pencil only (non-mechanical) Use plastic measuring
utensils No coffee, no food, no gum, no water Never touch the
surface of the object Avoid talking over prints Only remove prints
from corners or mounts when absolutely necessary, using proper
tools Cover the surface with mylar if need be
Slide 51
Specifics Transport unframed objects in boxes, on boards Use a
cart for transporting materials Ensure all surfaces are cleaned
(with water, not harsh cleaners) Always hold framed by both ends
(not by the top) Use pads or blocks to rest framed works on Use
rests for albums and books
Slide 52
Specifics Use clear plastic rulers or measuring tapes with
metal ends removed Place mylar barrier over objects when measuring
Measure mount, matt, sheet, image, case Measure in the order
height, width, depth Measurements
Slide 53
Specific objects ObjectSpecial Handling Instructions Cased
objects Large, un-mounted prints Matted prints with tissue Large
amounts/piles of objects Motion Picture prints Support fragile
spine and hold both sides of the case do not overuse clasps Use two
hands and lift from opposing corners Open matte, lift tissue from
one corner while holding down opposing corner Lift objects up
individually or in easily handled piles. Do not flip through Use
gloves, training on steinbeck or projector requred
Slide 54
Questions to ask when designing handling & access
guidelines 1. Is an orientation or special training required? 2.
What is the maximum number of objects? 3. What is the condition of
the objects requested? 4. How much time do you allow for the study
of the objects? 5. How much supervision is required? 6. Can
researchers handle the objects themselves? 7. Do you charge? If so,
is it by the object or by the visit? 8. How many visits per year
can a researcher have? 9. Do members get free research? If so, how
long? 10. What do you charge for research done on behalf of a
researcher?
Slide 55
To Wear Gloves or Not to Wear Gloves National Archives
(UK)National Archives (UK) Gloves policy 1. Gloves can dull your
senses. Your bare fingertips are very sensitive. They tell you
exactly how fragile the paper or brittle the parchment of the
document you are handling is. This means that you might damage the
document by inadvertently handling it more roughly than you ought
to. 2. Gloves can make you clumsy. Your hands are very dextrous but
cotton gloves dont always fit very well and can be quite thick,
which means they have a potential to make picking up documents or
separating pages more difficult. There is a greater potential for
damage if you have to fumble with document corners or edges or if
you have to grip harder than normal because of ill-fitting gloves.
3. Gloves can catch on fragile or previously damaged edges. This is
especially true if the paper is brittle. If they do catch, this can
cause tears or flaking of the pages. 4. Gloves get dirty. It is
very easy to wash your hands if you find you have handled a
particularly dusty or dirty document so that you dont transfer the
dirt to the next document you handle, but it is much more
labour-intensive to have a fresh clean pair of gloves at the
ready.
Slide 56
To Wear Gloves or Not to Wear Gloves British LibraryBritish
Library: Video: How not to handle objects while wearing gloves.How
not to handle objects while wearing gloves.
Slide 57
To Wear Gloves or Not to Wear Gloves National Parks Service
Conserve O Gram Wear gloves when handling an object. Gloves protect
the object and the handler. IN rare circumstances, gloves may not
be appropriate. Gloves should not be worn if they can damage the
objet, or if the object requires a sensitivity of handling that is
difficult to achieve while wearing gloves. If gloves arent worn,
make sure that hands are clean and dry, and remain so throughout
the handling process. If multiple objects are being handled without
gloves, wash hands between handling each object.
Slide 58
To Wear Gloves or Not to Wear Gloves Dos Use nitrile gloves to
handle a diverse array of objects Be aware of glove thickness Use
heavy-duty gloves when handing old chemicals or unidentified
liquids. Use gloves specific to hazards Wear clean gloves of the
right size National Parks Service, 2010.
Slide 59
To Wear Gloves or Not to Wear Gloves Donts Dont use dirty or
torn gloves this defeats the purpose! Dont use rubber or latex
gloves National Parks Service, 2010.
Slide 60
Access and Handling (film) Handling and Storage 1. To create a
spotless projected image, good housekeeping in the projection area
is essential. Clean frequently any equipment or surface that may
come in contact with the film. Select new, perfect reels for
storage. House prints so that they will be free of dust. 2. Take-up
reels on reel-to-reel machines should be cleaned at the start of
each day to remove dust and debris, and checked for dirt at the end
of each show. 3. Before screening, inspect the print for physical
damage, handling the film itself as little as possible. When
handling is necessary, hold film by its edges. During thread-up,
handle only the leader and keep finger contact to a minimum. Never
allow the film to touch the floor. 4. Whenever possible, film
should be handled in a work area provided with positive pressure
and with a filtered, temperature- and humidity- controlled air
supply. 5. Clean film only where necessary. Use a commercially
available film cleaner. Generally cleaning and lubrication should
be done at the laboratory. National Film Preservation Board, Public
Access and Educational Use Task Force 2011
Slide 61
Access and Handling (film) Projecting 1. Check that the
projector is fitted with an aperture plate and lens appropriate to
the film's aspect ratio. 2. Set lamphouse output for proper screen
brightness. The brightness recommended by SMPTE is 16 foot lamberts
(FL) in the center and no less that 12 FL at the sides. If the
lamphouse is properly adjusted and installed, light will not damage
the film. 3. Run a black, opaque 35mm film loop through the
projector to test for scratching. 4. Adjust gate pressure to the
"minimum setting" to eliminate jitter and to achieve a steady
picture. 5. Adjust take-up and hold-back tension to the least
amount necessary for proper film handling. 6. Before loading the
film, check all guide rollers for dirt, flat spots, and smooth
rotation. Check the focus using the SMPTE test film. 7. When
threading the film, set the loop sizes according to the
specifications particular to the projector type. Be sure to keep
the loops small enough so that they do not slap against the
machine. Also, be sure the loops are the right size for the
synchronization of picture and sound. 8. Clean the gate frequently.
At the end of each show, check for dirt and clean as necessary.
Clean the lens as necessary. 9. Unless specifically negotiated with
the lender, do not use a platter projection system. With platter
systems, the head and tail leader of each reel of film must be
removed. Platter systems also have more guides and therefore are
more likely to damage film. National Film Preservation Board,
Public Access and Educational Use Task Force 2011
Slide 62
Object Handling Overview Object Handling Basics, Mary Coughlin,
George Washington University Object Handling Basics, Mary Coughlin,
George Washington University Library of Congress: National Film
Preservation Board: Handling and Projecting 35mm Archive and Studio
Prints Library of CongressNational Film Preservation Board:
Handling and Projecting 35mm Archive and Studio Prints Guidelines
for handling archival film prints Resources
Slide 63
E-Tools ArtCT: Portable condition reports via tablet ArtCT:
Portable condition reports via tablet Articheck Articheck PDF
expert/Form expert PDF expert/Form expert
Slide 64
Sample Damage How would you condition report this? Crisp
Graphic Design:
http://www.crispgraphicdesign.com/other_services2.htm
Slide 65
Sample Damage How would you condition report this?
http://www.flickr.com/photos/imagesforthefuture/CC BY 2.0
Slide 66
Sample Damage How would you condition report this? The
Conservation Centre: :
http://www.theconservationcenter.com/conservation-services/photographs/
Slide 67
Sample Damage How would you condition report this? Cineaste: :
http://www.cineaste.com/articles/adoption-archival-style-the-orphans-film-symposium-2010
Slide 68
Sample Damage How would you condition report this? Alains
Panoramics: :
http://www.alainspanoramics.com.au/canvas-printing/handling-damaged-photographs
Slide 69
Sample Damage How would you condition report this? Marilyn
Ferdinand: http://www.ferdyonfilms.com/tag/film-preservation/
