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4–5.CONSERVATION
Since its invention in 1839, photography has been
practiced using numerous techniques and proc-
esses, some of which lasted for many decades and
some that survived only for a brief period. Photo-
graphy has become so commonplace that it is easy
to take it for granted and treat photographs
casually and with little respect. Whether one is
looking after holiday snaps, caring for professional
photographs, or working as a professional conser-
vator in charge of historical material there are
important considerations for prolonging the life
of images and preventing unnecessary deteriora-
tion. Some of the most basic and effective methods
of preserving images are often the most obvious
and the most often overlooked: namely correct
handling, good housekeeping, and proper storage.
Photographic materials consist of complex phy-
sical and chemical structures, each of which reacts
differently to temperature, humidity, environment,
and handling. Conservation procedures must take
into account all these factors, and knowledge of the
image type—platinum print, silver gelatin, and so
on—and its particular physical and chemical make-
up is essential.
In general terms the conservation of photographs,
whether amateur or professional, is problematic and
conservation treatment should only be undertaken
by a qualified conservator. While some companies
offer restoration services for old photographs, these
services are generally pointed at the amateur market
and should be engaged with caution. Restoration is
not conservation. Restoration techniques often use
powerful oxidizing agents and extremes of pH in the
form of reprocessing, refixing, bleaching, and rede-
velopment. These processes are irreversible, intro-
duce contaminants, and can permanently damage
the image.
Photographs are made up of three main layers:
the base; the light sensitive image forming material;
and the medium or matrix used to bind the light
sensitive material to the base. Together, the light
sensitive material and binder make up the emul-
sion, named after the fluid nineteenth century
photographers used to coat glass and metal plates.
The most common bases in use in the twentieth
century are glass, plastic, and paper, with paper
being standard for prints. For negatives glass was
in widespread usage from 1851 until the 1950s,
although flexible bases for film were introduced as
early as the 1880s.
Today the most usual emulsion consists of gela-
tin with silver as the basis for the most common
light sensitive compound, including dyes and filters
for color materials, but others include platinum,
iron, and carbon. Some processes are identifiable
with the naked eye or under a microscope, but
professional advice from a trained conservator is
the safest course of action. Incorrect identification
and treatment can make the problem worse and
even destroy the object being conserved.Common Conservation Problems
Exposure to Light
The processes of developing and fixing have a
direct effect on the permanence and durability of
the finished image, whether in the form of a nega-
tive or the finished print. As inadequate fixing will
leave the image prone to deterioration from expo-
sure to light, correct processing is the first step in
good conservation practice. Even so nearly all
photographs continue to be light sensitive to some
degree and prolonged exposure will eventually fade
or selectively darken the image (some color pro-CONSERVATION