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rack systems, airfl ow, and desiccants. Secondarily are
the issues like photographic identifi cation, repairs and
consolidation, compensating for loss, surface cleaning,
humidifi cation, and fl attening of the image.
Important also in conservation and preservation of
are the contemporary photographers who have revived
the nineteenth century photography processes in trying
to make photographs like them. Many of these alterna-
tive processes are historical methods of photographic
printing based on the light-sensitivity of certain salts of
iron, rather than silver which is the industry standard.
Iron based processes are named according to the sub-
stance of the image, which may be a noble metal such
as platinum (platinotype), palladium (palladiotype),
gold (chrysotype) or silver (argentotype), or a pigment
such as Prussian Blue (cyanotype). These alternative
processes require hand-sensitized papers instead of any
commercial photographic product, and are noted for
their tonal beauty, individuality, and archival perma-
nence. Their practice is therefore now of value chiefl y
to fi ne artists using photography, who through the use
of these processes gain aesthetic control over important
visual characteristics like color and texture of the paper
surface. These photographers who revived these pro-
cesses in the 1970s were obliged to use formulae from
the nineteenth century, as there had been little progress
in improving them since their invention. Michael John
Ware is representative as an independent researcher,
author and photographic artist who has been research-
ing, teaching and improving these processes whenever
possible to understand their underlying photochemical
science, to improve their technology with modern ma-
terials, to publish his fi ndings, to impart skills through
practical workshops and to assemble a body of work
for exhibition in order to highlight the special qualities
of these early media for a wider public. The updating
of the analogue photochemical science of the historic
iron-based processes and re-creation of photographic
methods establishes this vital art as contemporary and
keeps its rich heritage from being lost or forgotten. Such
innovative work also helps the professional restorers
with their work in museums and other facilities.
One of the nineteenth entury’s approaches is char-
acterized by a departure from reality that renders an
alternative reality from a very specifi c angle/perspective
as a result of the photographic technique and design it
employed. For instance there are myriad photographs
from the nineteenth century of people with stern expres-
sions, however to discern a historical reality from these
images would be in fact a mere a assumption based
upon the circumstances of photography. In particular,
the processes that are typical of the medium of photog-
raphy such as repetition, paradox and the gap between
actual reality and its representation often reoccur. This
emphatically visually oriented photography is charac-
terized by a certain degree of alienation from reality as
the latter can be perceived and often stands out by its
markedly illusory character.
A photograph may be historical, academic, research,
curatorial or administrative, but does not function ex-
clusively as one or another. We tend to overlook the fact
that photographs, which support scientifi c experimenta-
tion, may also be historically important images, or may
represent the fi rst use of an innovative photographic
technique. If presented in a manner, which strips away
prejudice for an exclusive use and function, photographs
can provide a rich resource for all kinds of users with
all types of needs.
Another goal, which digitisation and the development
of comprehensive illustrated catalogues are designed to
establish, is the widening of access to early photographs.
One of the most pressing issues in photographic collec-
tions management is the paradoxical desire for increased
use on one hand, and preservation of the objects on the
other. Every reference aid reduces the need to handle
multiple images and acts to preserve individual items
and collections. Directories assist researchers in their
assessment of a collection before locating the images
themselves, and thus to preserve those unneeded pho-
tographs from unnecessary handling.
Directories also provide the information gathered
about each collection details its purpose, organization,
storage facilities, procedures, and current use and al-
lows a thorough, easy and effi cient investigation of the
collection function.
There is perhaps another basic reason that the wide
spread of conservation and preservation (imaging tech-
nology) have been delayed. In addition to the needed
scientifi c knowledge in chemistry and optics, preserva-
tionists and conservationists need an understanding of
commercial and business practices of the times in order
to fully understand the importance of certain images.
Needed as well is an ability to sift through and evaluate
patent information for signifi cant details that are not
specifi cally referred to, but only suggested. Research as
well may be diffi cult and require pairs or teams of work-
ers to complete. Without a comprehensive understanding
and appreciation for nineteenth century photography, not
only as an art, an artifact, but also as a science critically
limits its potential for growth.
Those interested in creating unifi ed collections of
nineteenth century images are doing more than protect-
ing photographs. Conservationists and preservationists
all attempt to:- keep together the original collection with a inter-
national value, making it available to the public by
means of commercial and non-commercial use; - expand its contents by collecting documentary photo
collections which otherwise would not be kept in