Kon tiki report by Preus museum

PREUS MUSEUM â&#x20AC;&#x201C; centre for photograph conservation Pb. 254, N-3192 Horten Tlf: +47 33031637 Fax: +47 33031640 jens.gold@preusmuseum.no

Horten, 11.04.2005

Preservation survey of the photographic collection at the Kon-Tiki Museum and the Institute for Pacific Archaeology and Cultural History

Introduction In autumn 2004 the Norwegian Television, NRK I, reported on the alarming condition of the photographic collection at the Kon-Tiki museum and the acute danger of loosing some of the most important documentation of Norwegian and international research. Subsequently Preus museum, with its conservation department, offered the Kon-Tiki museum its assistance in order to develop a conservation plan that would give detailed information about necessary tasks to preserve the original material for future generations. After the positive response by the director of the Kon-Tiki museum, the conservator of the Preus museum made a three day survey at the museum facilities and collection. This is the background for this paper, providing information about the situation, the materials in the collection and the necessary preservation tasks.

Table of Contents Introduction ---------------------------------------------------------------------------------------------------------------------------------------------------

The photographic collection of the Kon-Tiki Museum and the Institute for Pacific Archaeology and Cultural History

Situation -------------------------------------------------------------------------------------------------------------------------------------------------------- 7 Project Goal ---------------------------------------------------------------------------------------------------------------------------------------------------

Project Steps -------------------------------------------------------------------------------------------------------------------------------------------------

Financial needs ----------------------------------------------------------------------------------------------------------------------------------------------

Different types and formats of photographic materials in the Kon-Tiki Museum (after the frequency of appearance) -----

Chromogenic color material -------------------------------------------------------------------------------------------------------------------------------- 11 Silver gelatin prints (Black and white gelatin DOP prints with Baryta base, Black and white gelatin DOP prints with RC base)

Gelatin glass plate negatives / Glass plate slides ----------------------------------------------------------------------------------------------------

Cellulose acetate negatives / Cellulose-acetate motion picture film -----------------------------------------------------------------------------

Cellulose nitrate negatives / Cellulose-nitrate motion picture film --------------------------------------------------------------------------------

Albumen prints and other 19th and early 20th century photographic processes --------------------------------------------------------------- 16 Others materials (magnetic tapes and CDs) ---------------------------------------------------------------------------------------------------------

Magnetic tapes ------------------------------------------------------------------------------------------------------------------------------------------------

CD-ROMs ------------------------------------------------------------------------------------------------------------------------------------------------------- 19 The condition of the photographic materials [various types of materials / deterioration and damages] ---------------------------

The condition of the magnetic tapes and CD-Râ&#x20AC;&#x2122;s [various types of materials / deterioration and damages] ---------------------

What can be done? Stabilization / Preservation of photographic materials ------------------------------------------------------------

The cold storage room --------------------------------------------------------------------------------------------------------------------------------------

Stabilization / Preservation of motion picture materials --------------------------------------------------------------------------------------

What can be done? Conservation / Restoration of photographic materials ------------------------------------------------------------

Conservation/ Restoration - of objects with glass corrosion, cracked glass supports, silver mirroring, mould damages, insect damages, discoloration and color shift, finger prints and water damages. --------------------------------------------------------------------- 31 Conservation/ Restoration [curling/deformation of the film support] -----------------------------------------------------------------------------

Facsimile production -----------------------------------------------------------------------------------------------------------------------------------------

Enclosure materials ------------------------------------------------------------------------------------------------------------------------------------------

What can be done? Stabilization / Preservation of magnetic tape and CD-R ----------------------------------------------------------- 34 Magnetic tape -------------------------------------------------------------------------------------------------------------------------------------------------- 34 CDs and DVDs ------------------------------------------------------------------------------------------------------------------------------------------------

Registration and Digitization of the photographic collection (under conservation aspects) ----------------------------------------- 36 The importance of registration and digitization in the museum environment and the need of trained staff ---------------------------- 36 4

Handling of the photographic materials during registration and digitization -------------------------------------------------------------------

Information sources for preservation, registration and digitization of photographic images -----------------------------------

Sources for storage and preservation material --------------------------------------------------------------------------------------------------

Illustrations/ Reproductions ----------------------------------------------------------------------------------------------------------------------------

Bibliography --------------------------------------------------------------------------------------------------------------------------------------------------

The photographic collection of the Kon-Tiki Museum and the Institute for Pacific Archaeology and Cultural History:1 Thor Heyerdahl collection This collection is the main part of the photographic collection (Fig. 1, 2, title page, page 2) with black-andwhite and color photographic prints, slides (glass and film), negatives (glass and film), motion picture material, CD-ROM as well as recorded sound on magnetic tape. Almost all photographs are made during Heyerdahls several expeditions (Fatuhiva, Kon-Tiki, Galapagos, Påskeøya, RA I, RA II, and Fig. 1: Heyerdahl collection. Tigris). A smaller part of this collection consists of documentation photographs from other journeys, museums, objects and historic architecture. The approximate amount of photographic objects is 40.000. Bengt and Marie-Therese Danielsson collection

Fig. 2: Heyerdahl collection.

Since 1999 the Kon-Tiki Museum houses the Danielsson collection (Fig. 3 - 5). This collection is of high ethnological importance and consists mainly of slide material (40.000 slides), but includes also a more or less unknown amount of prints and recorded sound on magnetic tape. Collection of contemporary research This collection consists of all documentation / research photographs connected to ongoing research work of the Institute for Pacific Archaeology and Cultural History (examples Fig. 6 – 8, page 7). It is a very important part of the museum collection. The amount of mainly photographic objects is about 20.000.

Information: Kon-Tiki museum 2004.

Fig. 3: Slide and magnetic tape in the Danielsson collection. 6

Situation The photographic collection of the Kon-Tiki museum is stored under such conditions that a large part of it, in a relatively short amount of time, will deteriorate drastically. The levels of temperature, relative humidity and air pollution, as well as the used enclosure material, does in the most cases not meet todayâ&#x20AC;&#x2122;s standards2 for long term storage of photographic material, motion picture, magnetic tape and digital media (see table page 8, 29, 34, 36 and Fig. 4 - 14). The largest part of the photographic collection consists additionally of color material which, with one exception3, deteriorates much faster than traditional black and white material. Many of the important color materials already exhibit serious fading because of the mentioned situation. The circumstances necessitate a preservation project in the nearest future.

Fig. 4, 5: Parts of the Danielsson collection in the old library.

Fig. 6 â&#x20AC;&#x201C; 8: Contemporary research and Prof. Arne SkjĂ¸lsvold collection.

The American National Standards Institute, Inc. (ANSI) and the International Organization for Standardization (ISO), offer recommendations for print enclosures, storage housing, storage rooms, print handling, and environmental conditions (see chapter: What can be done? Stabilization /Preservation of photographic materials).

Kodachrome material

Environmental conditions at the current storage places winter 2004/2005 Current storage places Basement room / “Motion picture archive” Old library

Temperatures in C° 18 (± 1 C° between two visits) 24 (± 4 C° between two visits)

Relative humidity RH in % 40 (± 3 % between two visits) 31 (± 11 % between two visits)

New library and Working Room of Prof. Arne Skjølsvold Danielsson slide and magnetic tape collection archive

20 (± 2 C° between two visits) 20 (± 3 C° between two visits)

23 (± 4 % between two visits) 34 (± 5 % between two visits)

Air pollution dirt, dust, insects, etc. … dust, pollution from electronic equipment dust, dirt, insects, etc. …

Fig. 9 – 11: Slides and prints in the Heyerdahl collection Fig. 12 – 14: motion picture archive.

Project Goal In a time were the digitization of large parts of our photographic cultural heritage is seen and misinterpreted as a way of preserving such material, it is important to point out that there still exists the unsolved problem of secure storage and permanence of digital information (SEPIA Conference 2003, Helsinki). In a responsible museum environment, the preservation of the original material has top priority besides producing digital files for registration/ cataloguing and publication. The planned preservation project at the KonTiki Museum is designed to use the digital tool together with the traditional archive, achieving maximum benefit for the original museum objects. The proposed preservation plan and the planned project can also be seen and used by other museums as a guide for future preservation activities. The action of the Preus museum should be seen as a natural way of support between museums in cases of emergency where the preservation of important originals is the major goal.

Project Steps The first step of this project should be the building of a cold storage facility designed for photographic materials. The storage room should be equipped with a compact shelf system to efficiently use precious space. Secondly, a professional registrar/ archivist with thorough knowledge and experience in archiving, cataloguing and digitalizing of museum collections, should be engaged. This person should execute professional archiving, cataloging, scanning and packing/storage of the collection from this stage. All materials coming in and going out from the collection should be documented and organized by this professional. The acquisition of a data system (computer, server, scanner/digital camera and cataloguing program) to document, catalog and digitize the original materials should be done in cooperation with the mentioned professional registrar/ archivist to optimize the working situation and to avoid loss of financial resources. For the safety of the photographic materials and for optimal working conditions, the person working on this project should have a workroom which is suitable in terms of air condition and space.

Financial needs After visiting the Kon-Tiki Museum the photograph conservator of the Preus museum estimates the following tasks and costs to start a preservation project: -

building of a small cold storage room (15 â&#x20AC;&#x201C; 25 mÂ˛) for photographic material in the museum (approximately costs: 120.000 â&#x20AC;&#x201C; 150.000 NOK) 9

acquisition of storage furniture / compact shelf system (approximately costs: 180.000 – 200.000 NOK) acquisition of enclosure materials for photographic material and magnetic tape (approximately costs: 200.000 – 250.000 NOK) acquisition of a data system (computer, server, scanner/digital camera and cataloguing program for example PRIMUS) to document and catalog the original material in the collection (approximately costs: 90.000 – 100.000 NOK) at least one, better two, permanent and/or temporary archivist positions to work with the cataloguing and archiving of the collection, this personnel should have professional museum background. (approximately costs per position: 250.000 NOK)

Jens Gold Conservator of photography, motion picture and data carrier Fotokonservator Preus museum

The different types and formats of photographic materials in the Kon-tiki Museum (listed after the frequency of their appearance) Chromogenic color material Chromogenic slide material, Kodachrome slide material, Color negatives, Color prints Rudolf Fischer, who patented the use of color couplers in 1912/1914, coined the term chromogenic which can be translated as ”give birth to color”. In chromogenic development a dye image is produced in the emulsion as an exposed silver image (the latent image) is developed. The dyes are formed by color couplers, which are colorless until they react with the developer oxidation products of their associated silver halide crystals to a visible dye. After the dyes are developed the silver image in the emulsion is bleached away so that only the dyes and unused color couplers remain. Almost all photographic color materials today use chromogenic development to produce cyan, magenta and yellow dyes in a multilayer emulsion (Fig. 15 emulsion on a chromogenic paper print). The stability of today’s material has gained a great deal compared to earlier examples. The major problems in the past were Fig. 15 the instability of the dyes and that dyes and the unused color couplers could start to wander and deteriorate in the emulsion. This would depend also on the storage and display conditions, but if occurring, some dyes may fade or new dyes may develop (with the help of unused color couplers remaining in the emulsion). The typical color shift and fading of earlier slide, motion picture and print material can be observed (Fig. page 1 & 2 and Fig. 16, 38, 39, 4 40). The only exception is the Kodachrome material where even early examples often are in excellent condition. In the case of Kodachrome, the color couplers are in the color developer instead of in the emulsion. The advantage of this is Fig. 16 that after processing, only the color image (the dye image) remains in the gelatin emulsion.5 4

ICP, Encyclopedia of Photography 1984.

MUTTER 1967, 88 – 92. WILHELM 1993, 1 – 60.

Chromogenic prints, Chromogenic color prints, Type C-prints, Dye coupler print, Light jet/Lamda print … Chromogenic prints have been on the market since 1942. The first prints had a baryta base and since the end of the 1960’s, resin coated paper with a polyethylene/titan dioxide base is in use (Fig. 17). Today’s paper consists of a paper carrier like the black and white RC-paper, with a three-color emulsion and a super coating. Most of today’s color materials use the chromogenic development to produce cyan, magenta and yellow dyes in their three-layer emulsion. The chromogenic printing process is today’s most used color printing process. Prints are made mostly with the help of printer/processor machines (or by hand in professional labs). Prints can be glossy or mat and sizes vary from a few centimeters to meters. Their permanence can vary between 15 and 75 years before significant color change occur. This depends on the stability and structure of the used dye molecules in the emulsion, and of course on the storage and display conditions.6

SX 70, single sheet Polaroid color film, Diffusion transfer process Fig. 17

In 1963, the first POLACOLOR appeared on the market, this was the start for instant color photography. In 1972 followed the introduction of SX 70 and later the improved version SX 70 SUPER COLOR 1978/79. Today this material still exists in many modified forms and under other names and brands. An SX 70 instant color film (Fig. 18) consists of two multilayer layer complexes (negative and positive) all together 17 different layers. The SX 70 system is based on the phenomenon that silver in solution is diffusing from one emulsion to another. This fact was first noted in the 1850’s but did not come into practical use until 1939/40 for reflex copying of documents (A. Rott/ E. Weyde). True photographic use of the diffusion transfer process in order to produce continuous tone images was first investigated by Edwin Land and the Polaroid Co. in the 1940’s. In 1948 the first generation of Polaroid film (black and white) became available on the market. The basic ideas for the color instant film stemmed from Howard G. Rogers at the Polaroid Co. in the 1950’s. Two sets of emulsion layers are build in a SX 70, a negative and a positive. The diffusion transfer color films have three silver halide negative layers individually sensitive to red, green or Fig. 18 6

WILHELM 1993, 1 – 60 and WILHELM RESEARCH 2005.

blue light in one layer set, and three associated cyan, magenta and yellow dye developer/releaser in the other (receiving) layer set. The receiving layers are on top of the negative layers; they are completely transparent so that they do not interfere with the image during exposure. In the camera the lens image is reflected onto the face of the film by a mirror so that the final image will have the proper orientation. When the film is transported out of the camera it passes through a set of rollers, which rupture a back with a viscous developing agent and spread it evenly between the two emulsion sets. The developing agent also contains an opaque substance to protect the negative from further exposure. The image processes now below the opaque substance and the positive dye forms diffuse up through this and to the top. During the developing process the black opaque substance bleaches itself to a clean white background for the final color image.7

Silver gelatin prints (Black and white gelatin DOP prints with Baryta base, Black and white gelatin DOP prints with RC base) Gelatin developing out paper (DOP), Baryta prints, Baryta paper, Fiber based paper Gelatin developing out paper (DOP) (Fig. 19) came in use in the 1890’s and still exists today. It consists of four layers: paper base, baryta layer, gelatin emulsion and protective super coat. The emulsion of the paper is sensitive to a larger part of the spectrum of light. With its introduction photographers could expose the image from negative on to the paper with the help of an artificial light source and were so independent from sunlight. This photographic paper was the most used black and white paper until the 1970’s. Compared to a lot of today’s photographic materials, this photographic paper is one of the most permanent printing materials we know. When properly processed and toned, it is very resistant against high levels of light and chemical substances in the environment. It has been used by press photographers, in the advertisement business for art photography, and also for the everyday printing work in all types of photo studios. Until the end of the 1960’s this photo paper was available in an immense amount of different surface Fig. 19 structures and paper tonalities, and it could be purchased from many manufactures. Its popularity ended with the introduction of the resin coated paper, RC-paper (Norsk: plastpapir), which needs just a ¼ of the printing time. Today the baryta paper is mainly used by photographers in the art sector and by photo amateurs who appreciate its outstanding qualities and brilliance. 7

ICP, Encyclopedia of Photography 1984.

Resin coated paper / RC-paper prints Resin coated paper was introduced in the end of 1960’s and is still in use today. It consists of five to six layers: polyethylene layer (sometimes with an anti static coating), paper base, polyethylene/ titan dioxide layer, gelatin emulsion, and protective super coat. When introduced in the 1960/70’s, this photographic material became very popular among many photographers and commercial labs where time efficiency was essential. Since the paper base is sealed from processing chemicals and water between the polyethylene layers, long processing and washing times are not necessary. With this black and white paper it is possible to produce very even, glossy or mat prints in about 10 to 20 minutes in a printer unit or by hand. Unfortunately the titan dioxide layer plays a negative role in terms of light stability and permanence of RC-paper. Even the improved papers from today need special care (such as toning, limited and UV-filtered exhibition light) if they are to last for a longer period of time. Because of the introduction of digital imaging and black-and-white printing on color material (chromogenic prints) the popularity of RC-paper has decreased since the mid 1990’s.

Gelatin glass plate negatives / Glass plate slides The first gelatin dry plates (Fig. 20, 21) came into use in the late 1870’s after several improvements of the gelatin silver halide emulsion first described by R. L. Maddox in 1971. A liquid gelatin emulsion can stick on many surfaces and also to a prepared glass surface. After drying, it builds a very thin film on this surface. Such a prepared plate is usable for a very much longer time than a wet collodion plate and can also be processed a much longer time after exposure. For the photographer in the beginning of 1880’s this was a great advantage since it was no longer necessary to use a (portable) darkroom instantly after exposure. The disadvantage of the glass plate negative or positive is the fragility of this material and the weight. In addition, exfoliation of the emulsion easily occurs under bad storage and processing conditions.8 Fig. 20, 21: Glass plate negatives and positive.

ICP, Encyclopedia of Photography 1984.

Cellulose acetate negatives / Cellulose-acetate motion picture film9 In France 1901 a new plastic film carrier was invented in order to gradually, by the 1950`s, replace the extremely flammable cellulose nitrate material. The correct term for the material is cellulose acetate or cellulose triacetate; many companies also call it safety film (Fig. 22) to distinguish it from the dangerous cellulose nitrate material. After several improvements it became the most used plastic film support in photography and motion picture and is so still today. But the material has its problems. Under the deterioration process the plastic dimensions changes, it shrinks and acetic acid sets free supporting further damage of the plastic and the gelatin emulsion (this form of deterioration is also called vinegar syndrome). The structure of the processed film material depends of the production time and brand. A cellulose acetate negative for example, consists of a film base, a preparation layer and a gelatin emulsion with a protective gelatin layer on top. Many films have also a gelatin coating on the back of base which serves as an antihalation, antistatic and anticurl layer. Fig. 22: Safety film.

Cellulose nitrate negatives / Cellulose-nitrate motion picture film In 1888 the first plastic film carrier, Celluloid (cellulose nitrate) sheet film was produced by J. Carputt, and in 1889 the Eastman Kodak company started production of the first roll film in the history of photography. The introduction of a plastic film base started the replacement of the glass plate negative. However, cellulose nitrate which is chemically related to gun cotton, is extremely flammable and tends under extreme conditions to self ignition (when kept under pressure, higher temperature and humidity, in closed containers over a long period of time). During deterioration of cellulose nitrate, nitric acid is produced and this may damage material nearby and is also leading to further deterioration of the original film base and emulsion. Because of its dangers the production of film material with cellulose nitrate base (Fig. 36 page 24) was stopped in 1951 and completely replaced by safer acetate material (safety film). The structure of the processed film material depends on the production time and brand. For example, a cellulose nitrate negative consists of a film base, a preparation layer and a gelatin emulsion with a protective gelatin layer on top. Many films have also a gelatin coating on the back of base which serves as an antihalation, antistatic and anticurl layer. 9

POLLAKOWSKI 1998, personal communication. Eastman Kodak 1990. 15

Albumen prints and other 19th and early 20th century photographic processes10 Albumen Process The Albumen process was the first photographic process which had a coating similar to modern photographic papers. Albumen is a liquid protein and part of the egg white; it was used as a coating for the printing paper. This material adheres to almost any surface upon drying. It was first used by Abel NiĂŠpce de Saint-Victor to make glass plate negatives before Louis Blanquart-Evrard in 1850 used albumen to coat paper in order to make paper prints. Albumen coating of the paper keeps the image silver on the surface of the paper support and improves the visual quality like sharpness and depth etc. to a high degree. When making albumen for albumen paper, a small amount of potassium- or ammonium chloride is added to the egg white. The egg white is then beaten to froth and allowed to settle and clear. After being decanted and filtered, the albumen solution is coated on the paper by floating the paper face down in a tray with the solution. After drying, the paper can be kept for a very long time. The papers are sensitized just before use by brushing the surface with a silver nitrate solution. After brief drying the paper is placed in direct contact with a negative in a printing frame and exposed to daylight (definition printing out paper: see page 17). After fixing, the image may be gold toned to enhance the image quality and stability. Following the washing and drying, the surface may be burnished to give it a glossy sheen. The albumen paper was an extremely successful photographic material for making black and white prints, and they could also be hand colored. The process was used almost till the end of the 19th century.

Collodion Process The early negative/positive processes used paper as a carrier for the negative. This had some disadvantages, for instance that the paper fiber structure was more or less disturbing the printing of the image. The big advantage with the process described here is the use of glass as a carrier for the light sensitive medium. In 1851 Frederick Scott Archer invented the wet Fig. 23 collodion process which found multiple use for making glass plate negatives, Ambrotype and tintype/ferrotype positives. This process uses a mixture of nitrocellulose dissolved in ether 10

ICP Encyclopedia of Photography 1984.

and alcohol; collodion (based on the Greek word for glue), as a carrier for coating potassium iodide on glass. Light sensitive silver iodide is formed by bathing the plate in silver nitrate. Collodion is water proof when it dries, so the collodion plates have to be used and processed while they are wet and sticky. Scott Archer used pyrogallic acid as a developer and fixed the plate in sodium thiosulfate (fixing salt). To make direct positives on tinted or varnished glass (Ambrotypes) or metal coated with a black varnish (Tintypes/Ferrotypes) or other materials, the light sensitive collodion is slightly underexposed. The whitish image silver will appear as highlights of the image while the black background supplies the shadows. Ambrotypes, rarely tintypes, were often hand-colored, using pigments in gum arabic, to enhance their beauty. To protect the image silver from deterioration the collodion layer was mostly coated with a shellac varnish. The Ambrotype was presented like a Daguerreotype in a frame or case. Ambrotypes were cheaper and less toxic to make, compared to Daguerreotypes, but the cheapest way to make a picture (beginning in the 1850’s to the 1880’s) was the tintype which were presented only in a paper envelop with a cutout.

Printing out paper (POP) During most of the 19th century, photographers made positive photographic prints just by the action of exposure (photolysis) without the use of a chemical developer. In order to do so, sunlight and a printing frame was required. The photographic paper (salted paper, albumen paper, collodion paper, gelatin paper etc.) was placed in a printing frame in contact with a negative and exposed to daylight. Exposure times were so long that the progress of “development” could be inspected by opening the printing frame partly. Because of the structure of the image silver (round particles of photolytic silver) the image color was red brownish. The print could however be toned after fixing, producing a warm black image.

Aristotype/ Aristopaper (Collodion Printing Out Paper (POP), Gelatin Printing Out Paper (POP)) The term Aristotype was first a trade name for various non-albumen printing out papers (Fig. 23 & 24), later it became a general term for a print made on such paper. The name was first used for a collodion silver chloride POP invented by George W. Simpson in 1868 and produced by the German firm

Fig. 24

Obernetter in München. This paper had a collodion emulsion on a baryta coated paper support. Prints made with this paper are often glossy and show an extraordinary brilliance. The name Aristotype or Aristopaper was later also applied to a gelatin chloride paper invented by Sir W. Abney in 1886 and first produced by Paul Liesegang in Düsseldorf. This paper had a gelatin emulsion usually coated on a baryta based paper support similar to the collodion paper. Many companies followed to produce these types of papers and they became a strong competition for the albumen paper which by the 1890’s was obsolete. Others materials (magnetic tapes and CDs) Magnetic tape The Kon-Tiki museum has a relatively large collection of magnetic tapes used for sound and video recordings. Magnetic tapes (Fig. 25 & 26) consist usually of a base and a magnetically responsive coating. The very thin base is made of cellulose acetate or for the more recent ones from polyester. The base is coated with a binder such as cellulose nitrate, vinyl acrylic, epoxy resin, or polyurethane, which holds the magnetic layer being iron-, chrome- or cobalt oxides. The back of the tapes has often also a binder, an antistatic and an antifriction coating.11 Factors like handling and storage are crucial for the life expectancy of magnetic tape but the materials used in the production also play a key role. The knowledge of appropriate storage and the use of better materials in the production of magnetic tape (change of base material from acetate to polyester, better binder etc.) has increased the average life expectancy of the medium.

Fig. 25

11 11

Fig. 26

The Focal Encyclopedia of Photography 1993. LAVÉDRINE 2003, 197 -200.

CD-R CD-R’s (compact disk recordable, marketed for the first time in 1985) (Fig. 27) are media for storage of all kinds of digital information, also scanned images of the photograph collection at the Kon-Tiki museum. CD-R’s are built in a multilayer structure. The carrier or substrate is made from a clear polycarbonate which is coated with a fine layer of an organic dye like azo-, cyanine-, or phthalocyanine-dye. The dye layer is covered with a metal layer made mostly from silver and/or gold. The metal layer is coated with one or several layers of a protective varnish. The recording takes place when the writing laser beam passes through the clear polycarbonate on to the dye. The light energy is transformed into heat (about 250 °C) and this heat changes the physical properties of the affected area in the dye layer (micro degradation of the dye polymer).12 During reading, a laser beam with much lower power reads the different properties in the dye layer which from the computer can be identified as a binary code (0 or 1). Contrary to the expectations during the introduction time of the CD-R, the permanence of this medium is quite limited in relation to traditional analog photographic media. Factors like handling and storage plays a significant role for the life expectancy of CD-R’s but the materials used in the production, the used CD-burner, the burner/CD-R combination, the burning speed etc. can also be of great influence. Today’s CD-R has an average life expectancy of about five years, making it a very unsafe long-term storage place for digital information.13

Fig. 27

12 13

LAVÉDRINE 2003, 200 – 209. TROCK 1999. SEPIA Conference Helsinki 2003.

The condition of the photographic materials [various types of materials / deterioration and damages] Every thing has its time, also the most valuable objects in public and private collections. The reason for this is aging or in conservation term deterioration, which is part of the history of every (museum) object. In this case we have, despite the various signs of deterioration, a collection of photographic objects in relative good condition in relation to its age and previous bad storage conditions. OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

delaminating of image layers

There are several factors that can contribute to a delaminating problem on a single or multilayer photographic material. The main reason is the use of materials with different rations of dimensional change/ different physical properties in the photography (gelatin, shellac, collodion, glass â&#x20AC;Ś) together with difficult processing and storage conditions such as swelling and drying of the emulsion during processing, bad processing, aggressive changes in temperature and relative humidity under storage, etc. In the collection of the Kon-Tiki museum there are glass plate negative material and positive glass plates/ slides that suffer from the whole range of such factors. Fortunately most of the glass plate negatives and positive glass plates reveal generally just minor delaminating on the edges (Fig. 28).

Fig. 28

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

mould and insect damages

Mould is a general problem in collections containing organic materials. There is almost no way to get rid of mould but the improvement of storage conditions will prevent further growth. The condition for a mould attack must have been good on a certain point because the gelatin emulsions on some types of processes show minor but typical signs of mould damage (Fig. 30 & 31). Mould growth is promoted above 60 % relative humidity (RH). Some photographs of the Bengt and Marie-Therese Danielsson collection suffer from this problem, but in a larger scale from insect damages (Fig. 29). Many of the slides in this collection show typical traces of such damage.

Fig. 29

Fig. 30

Fig. 31

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

dust, dirt, finger prints

Fingerprints are one of the most common problems in a photograph collection, so also here. In most cases they are caused by the photographer himself or other people working with the material. In the collection of the Kon-Tiki museum several very obvious damages are caused by fingerprints. They are especially visible on silver gelatin emulsions (Fig. 32), but also on color material. The lack of (Fig. 33), or not appropriate, enclosure material and improper handling (damp fingers and no use of gloves) has probably caused the fingerprints and dust contamination.

Fig. 32

Fig. 33

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

cracked glass supports silver mirroring and print fading

Only a very few plates were observed with a cracked glass support (Fig. 34).

Fig. 34

Silver mirroring can be observed on most of the black and white negatives (Fig. 32 & 35) but also on many prints. In some cases the silver mirroring is visible all over the emulsion surface. Fading of the silver image is observed especially on the older prints like 19th century printing out paper prints (Bengt and MarieTherese Danielsson collection Fig. 23 & 24 page 16 & 17) or prints from the 1950`s (Heyerdahl collection). This type of deterioration can be caused by one or several factors like aggressive chemicals in the storage atmosphere, processing residues in the print, severe light exposure, high relative humidity and temperature with a high rate of fluctuation etc.

Fig. 35 23

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

curling film supports [deterioration of cellulose nitrate/acetate]

Some of the color slides and black-and-white negative material on film support exhibit a curling problem. There can be several reasons for that. The deterioration of cellulose nitrate or acetate starts with a deformation (Fig. 36) (shrinkage) of the plastic material. The change of dimension can cause such curling. A very hardened gelatin emulsion in addition to bad storage conditions (very low relative humidity and tight rolled storage), can also be a reason or contribute to the curling and deformation of the film support.14

water damages

Fortunately there are only a few photographic materials in this collection which are damaged by water (Fig. 37). Since the most damages are very old and often also connected to mould damage and glass corrosion, there is not much hope of improvement except stabilization achieved through better storage and careful handling.

Fig. 36

Fig. 37

POLLAKOWSKI 1998, personal communication.

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

discoloration and color shift on chromogenic materials

All chromogenic materials in the museum collection are in different states of fading (Fig. 16 page 11, Fig. 38, 39, 40 fading c-prints, color slides), but many of these materials are in relatively good condition for their age. The dyes in chromogenic materials are in general known for their instability and fading behavior under long-term storage and display. Unfortunately the dyes in a chromogenic emulsion fade in different speeds so that a change in color balance is often soon visible in different color shifts. In addition to the fading of the dyes comes, in some cases, the deterioration of the unused color couplers which can cause a staining of the complete emulsion. The only chromogenic material in this collection that has a very good dark stability is the Kodachrome material. In the Kodachrome material are no dye couplers incorporated in the emulsion layers, a dye coupler staining will therefore not happen in the future.15

Fig. 38: Faded large format AGFA-color slides from the 50’s and a 35 mm Kodak EKTACHROME slide from the 80’s in good condition. 15

Fig. 39 & 40: Color shift and Print fading.

WILHELM 1993, 20 – 27.

OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

broken or complete missing paper seal on glass slides

A damaged or missing sealing on glass plate slides will give air access to the emulsion and can thereby cause faster deterioration of the image silver, in addition will mechanical damages and pollution of the emulsion happen more easily. About 30 % of the glass slides (Fig. 41) have a broken sealing tape (Fig. 42), are sealed with inappropriate materials or have no seal at all (Fig. 43). The resealing of this type of slides by a conservator should be done in the nearest future.

Fig. 42: Inappropriate sealing with â&#x20AC;&#x153;electric tapeâ&#x20AC;?.

Fig. 43: Missing sealing.

Fig. 41: Glass slides.

The condition of the magnetic tapes and CD-Râ&#x20AC;&#x2122;s [various types of materials / deterioration and damages] Magnetic tape OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

deterioration of binder and base

Varying with the age of the material, the quality of the signal differs from very poor to surprisingly good (magnetic tapes in the Danielsson collection). Very poor examples exist probably in the motion picture archive because of the dimensional changes in the base material under the inappropriate storage as seen in Fig. 25 page 18.

signal degradation

The magnetic tape collection in the Kon-Tiki museum did for a long period of time not get the care that could prevent damages, especially of the recorded information. Surprisingly, the typical range of signal damage such as demagnification and echo effect was found only to a small degree.

CD-R OBSERVED DAMAGE OR DETERIORATION TYPE

CONDITION INFORMATION

signal degradation physical damages

not tested

chemical deterioration

not observed

Scratches and fingerprints could be observed.

What can be done? Stabilization / Preservation of photographic materials Exercising care in handling and storage can extend the life of photographs. The American National Standards Institute, Inc. (ANSI) [Standards ANSI/NAPM IT 9.2, 9.11, 9.18, 9.20] and the International Organization for Standardization (ISO) [Standards ISO 10356, 18902, 18911, 18918, 18920], offer recommendations for print enclosures, storage housing, storage rooms, print handling, and environmental conditions. Their suggestions on temperature, humidity, and light, etc. are worthy of review:16

1. The storage temperature for black and white photographic material should not be higher than 18 °C with a daily fluctuation not greater than +/- 2 °C. For color material a cold storage of about 5 – 10 °C with a daily fluctuation not greater than +/- 2 °C would be suggested for maximum life expectancy. The photographic collection of the Kon-Tiki museum consists mainly of chromogenic color material. Therefore the building and use of a cold storage room in the museum is highly recommended. To be prepared for the future expansion of the photographic collection, the size of the cold storage room should be 30 - 50 % above the present needs. The recommended cold storage room at the Kon-Tiki museum The conditions in a future cold storage facility of the Kon-Tiki museum will be a compromise between optimal storage conditions for the different material groups in the collection. Because of the majority and importance of the color photographic materials, this compromise will favor this material. However, the storage conditions for all the materials in this cold storage facility will improve significantly from today’s situation. 15 – 25 m² Size An enameled or powder coated metal shelf system is recommend to avoid dangerous offShelf system gassing of solvents coming from the varnish. A compact shelving system, standard in the most museums and archives today, helps to save valuable space. 10 °C with a daily fluctuation not greater than +/- 2 °C Temperature conditions Relative humidity conditions 40 % daily fluctuation not over +/- 5 % RH Instead of an acclimatization room the acclimatization of the materials when they are taken out from, or being in the cold storage, will be secured by proper packing material (boxes and isolating materials) This version was chosen because of lack of space and financial resources.

NISHIMURA, ROCHESTER INSTITUTE OF TECHNOLOGY - IMAGE PERMANENCE INSTITUTE 2001, personal communication.

2. Emulsion layers become brittle below 30 % RH and mould growth is promoted above 60 % RH. The optimum range is: 30 – 40 % RH, a daily fluctuation over +/- 5 % RH should be avoided. Recommended temperature and relative humidity [RH] for color and black and white materials [ISO 18911:2000, ISO 18918: 2000, ISO 18920:2000]17 Material Temperature in °C ± 2 ºC fluctuation in 24 h Relative humidity RH in % ± 5 % fluctuation in 24 h glass plate negatives ≤ 18 30 - 40 black and white film ≤ 21 20 - 30 black and white paper ≤ 18 30 - 50 chromogenic color film (Acetate) ≤ - 10 20 - 50 chromogenic color paper ≤2 30 - 40 dye destruction process ≤ 18 30 - 50 If a cold storage facility is used, it is absolute vital to use the necessary acclimatization time in an acclimatization room to avoid damages caused by condensation water and different ratios of material extension (delamination damages). If no acclimatization room is available the photographic material can also be packed in an isolating container/ box and placed in the working room 24 h before use. Note: the acclimatization time prolongs with greater volume of the objects and larger temperature difference between cold storage and working room. 3. Exposure to direct sunlight or light sources containing high levels of ultraviolet radiation should be avoided. Tungsten and ultraviolet-free fluorescent lamps are recommended for viewing and exhibiting. The material in the Museum collection contains mostly photographic objects, which are very sensitive to light. The amount of light for viewing and exhibition should be limited to the absolute minimum necessary. To avoid delaminating damages when viewing, it is important to protect the sensitive (often multilayered) color material from heat coming from light boards or viewing lamps. Special designed or modified “cold” light boards, which protect the emulsion layer from heat damage, are recommended for viewing or duplicating. 4. The storage environment should be free of mould, pests, cigarette smoke, exhaust fumes, vapors of cleaning agents, and of peroxides, ozone, sulfur gases and other harmful gases originating from sources like scanners, copy machines, computers, etc. Working rooms with computers, scanners and copy machines are not appropriate storage rooms for image material (nor any other museum objects). The storage room should be exclusively designed for the storage of the photographic material (Fig. 44). 17

DOBRUSSKIN/ HESSE/ JÜRGENS/ POLLMEIER/ SCHMIDT 2001, 76-77.

5. For storage materials apply the same recommendations as for most other enclosures for photographic materials, namely that they should fulfill the ISO 18902:2001 and if possible they should have passed a P.A.T. [Photographic Activity Test]. In general this means that the enclosure material with direct contact to the print should have a neutral pH, the best materials are made from alpha-cellulose (lignin free cellulose fiber). Paper enclosures (but no glassine paper) are recommended for this purpose, polyester enclosures should if possible not be used because of the danger of ferro-typing. Exterior box-material should be made from buffered board. Prints should not be stored for long time in frames because of the harmful microclimate produced within the frame. Additionally, the framing material will in many cases not be an appropriate storage material [buffered boards in direct contact with the prints, wooden frames, tapes, etc.]. 6. All personnel should use cotton gloves while handling photographic materials.

Stabilization / Preservation of motion picture materials

Fig. 44: â&#x20AC;?Blind passengersâ&#x20AC;? in the photographic collection which can attract insects etc.

For black and white and color motion picture material apply the same recommendations as for other similar photographic materials (see standards and recommendations above). However, a certain space in the future cold storage room of the museum should be reserved for the motion picture collection. Film rolls should be stored horizontal in the recommended closed metal or plastic containers (Fig. 45) (already existing in the museum) after ISO standard. Motion picture material with a nitrate base is extremely flammable and, depending on the deterioration state, it tends to self ignition. If film with a nitrate base is discovered it has to be removed from the museum facilities and delivered to the responsible authorities (Norwegian Film Institute or National Library of Norway) for nitrate storage and further copying on safety film (ISO 10356). Fig. 45: Plastic film containers.

What can be done? Conservation / Restoration of photographic materials The objects of the museum collection are in many different quality levels of condition and there are certainly possibilities for improvement. One part of future work in terms of preservation will be preventive conservation work. A lot of the work, such as changing enclosure materials and dry cleaning, can be done by the staff of the Kon-Tiki museum. However, there are objects in need of skilled conservation work - for example restoration/ consolidation of emulsion layers and restoring and sealing of early black and white and color slides. This should be carried out with the aid of a professional photo conservator. Before/ during changing enclosure materials and other preservation efforts, all materials should be checked for mould and dust and maybe cleaned. If any sign of mould is found, a conservator should be contacted. For cleaning it is recommended to use a soft antistatic camelhair brush. Canned/pressured air should not be used because it can cause damage on loose emulsion layers (for example on glass plate negatives). To avoid further loss of image material, plates with loose emulsion layers should not be cleaned. Cleaning of such plates should be part of a future restoration project.

Conservation/ Restoration - of objects with glass corrosion, cracked glass supports, silver mirroring, mould damages, insect damages, discoloration and color shift, finger prints and water damages. Conservation/ restoration of the above mentioned damages will improve the condition of the photographic object only in cases of glass corrosion, cracked glass supports, silver mirroring, and finger prints, but will often have only minor effect. Most of the damages such as mould, insect damages, discoloration and color shift on chromogenic materials and water damages are of a more permanent nature, thus responsible conservation work should aim at the stabilization of the objects. Chemical treatments, which are often recommended in older photo and conservation literature, may improve the visual properties of a few of the photographic images but will not enhance the stability. In addition, such treatments can/ will often cause greater damages and also total loss of the image information and should therefore not be used in a responsible museum environment.

Conservation/ Restoration [curling/deformation of the film support] As already mentioned, there can be several reasons for a curling film support. The deterioration of cellulose nitrate or acetate can cause change of dimension of the plastic material (Fig. 36 page 24). A very hardened gelatin emulsion in addition to bad storage conditions with very low relative humidity and tight rolled storage can also be a reason. Some of the affected material may be treated in a conservation lab to bring back some of the original properties. But many of the early plastic emulsion carriers are 31

certainly suffering from the typical dimensional changes that take place during the deterioration process. To prevent loss of image information it would be a good idea to include this material in a duplication project (facsimile production).18

Facsimile production Photographic color materials are very sensitive materials in terms of light and environmental changes; this collection is a good example of that. To preserve this unique collection also for future generations is a challenge. In order to avoid and limit further deterioration and damages, it is advisable to produce for some of the very important images a set of facsimiles. The production of such facsimiles should be done by a professional photographer who has already extensive knowledge in handling and working with all kinds of photographic materials. For permanence and authenticity reasons, traditional photographic color material should be preferred before digital media. In a later stage the facsimile material can also be very useful for the production of digital files while the originals can remain in cold storage. For duplication work KODAK PROFESSIONAL EKTACHROME Duplicating Film EDUPE is recommended.19 This film material is available in a variety of roll and sheet sizes (see Kodak table) which makes it perfect for the need of making transparency facsimiles. For the production of facsimile prints the very stabile Fuji Crystal Archive paper (best and most permanent chromogenic paper at the time20) should be the chosen material. KODAK PROFESSIONAL EKTACHROME Duplicating Film EDUPE Sizes and catalog numbers may differ from country to country. See your dealer who supplies KODAK PROFESSIONAL Products. EDUPE Film replaced KODAK EKTACHROME Slide Duplicating Film / 5071, EKTACHROME Duplicating Films / 6121, Type K / 7121, and EKTACHROME SE Duplicating Film SO-366.

HENDRIKS 347-350, 1991.

http://www.kodak.com/global/en/professional/products/films/edupe/edupe.jhtml

WILHELM RESEARCH 2001.

Rolls mm x ft

Code/Spec No.

Acetate Base

135 - 36

EDUPE/-

35 x 100

EDUPE/SP663

5 mil (0.13 mm)

35 x 400

Film Code

Acetate Base

EDUPE

8.2-mil (0.21 mm)

Cat No.

Sheets

Size

134 2641

4 x 5 in.

195 2837

4 x 5 in.

EDUPE/SP663

114 7461

8 x 10 in.

133 1941

35 x 1000

EDUPE/SP663

197 5358

8 x 10 in.

163 8444

46 x 100

EDUPE/SP446

122 1985

13 x 18 cm

117 8169

61.5 x 100

EDUPE/SP816

102 3035

70 x 100

EDUPE/SP481

813 7523

120 single (Japan only)

EDUPE/-

139 5268

Cat No. 802 4531 890 6943

Enclosure materials Again, all negatives and positives should be stored in pH neutral alpha cellulose enclosures. Polyester enclosures can also be used provided right acclimatization policies exist. For transport or permanent storage, appropriate amounts of negatives, prints or slides, depending on size and weight, should be stored in closed archival boxes (Fig. 46) to prevent rapid climatic changes during transportation and to Fig. 46 provide protection from air pollution. The already existing enameled/powder coated file magazine system is also a suitable storage place. 35 mm material can, as long as drastic temperature changes is avoided, also be stored in polyester enclosures, which are gathered in closed archival folders made from archival board (Fig. 47). Large color slides and glass plate negatives should be stored in folding envelopes with four flaps (Fig. 48). The four flap envelopes provide a more secure packing and unpacking of especially glass plates with loose or brittle emulsions. The appendix contains information (web-pages) concerning sources for special enclosure materials.

Fig. 47

Fig. 48

What can be done? Stabilization / Preservation of magnetic tape and CD-R Magnetic tape The Kon-Tiki museum has a collection of analog audio and video recordings (audio cassettes, VHS-video, motion picture sound). The current storage places are the old library, the “Danielsson - archive” and the “motion picture archive” in the basement. In the future the collection should have its place in a cold storage room. The estimated permanence of magnetic tapes, depending on storage and handling, is several decades. To minimize deterioration it is suggested to hold temperature and relative humidity (RH) as stable as possible. The RH should not be higher than 50 %, the temperature not higher than 20 °C. The fluctuations for temperature and relative humidity should not exceed ± 2 °C and ± 5 % RH in 24 h (See also table for recommended temperature and RH)*. Temperatures below 8 °C should be avoided because the polyurethane layer in the tape in some cases can exude its lubricant.21 Long term magnetic tape storage*

(ISO 18923)

recommended maximum Temperature

Recommended relative humidity

(± 2 ºC fluctuation in 24 h)

(± 5 % fluctuation in 24 h)

20 °C 15 °C 10 °C

20 – 30 % 20 – 40 % 20 – 50 %

The air quality recommendation for storage of magnetic media is similar to those of photographic collections. The storage environment should be free of aggressive/ corrosive fumes, particles and pests. The magnetic information should be protected from magnetic fields emerging from objects such as computer equipment, mobile phones, magnetic door locks, electric motors, etc. In addition to their - if they have one - original case, tapes should be stored in protective containers which are chemically stable and do not create dust. Such types of materials are already used in photograph conservation. Packing material that protects the magnetic tape from extreme variations of temperature and relative humidity should be used. More detailed standardized recommendation for storage of magnetic tape is documented in ISO 18923. To prevent deformations on the tape edges cassettes should be stored vertically. Tapes should always be stored rewound, and to avoid damage caused by tension, they should be un- and rewound in regular intervals (about all three to five years). If a tape is stored in cold storage or a room with different climatic conditions than the working room, it must be allowed time for acclimatization 21

LAVÉDRINE 2003, 197 -200.

minimum two hours - prior to use. Before playing the tape it should be un- and rewound. Since there are almost no possibilities when it comes to restoring deteriorated magnetic tape, the main focus of preserving the information have to be, like in so many other cases, on preventive conservation. Therefore it is often advisable to make a copy of the original tape on high quality media (new tape and digital media) in good time before the quality of the original is too deteriorated. Before reading/playing and recording, hardware should be cleaned of dust and dirt. Non-magnetic material should be used when transporting magnetic tape.22

CDs and DVDs There are many different brands of CD/DVD media on today’s market and the behavior in terms of permanence is as numerous as the number of brands. Artificial ageing tests on this media have given a general idea about the average permanence of optical disks. For example, after today’s knowledge the average life expectancy of a CD-R is between 5 – 10 years.23 However, this does not mean that some brands will not function over a much longer time. The permanence of an optical disk can already be improved by taking care of several aspects during writing (burning) time. After choosing and using a brand that is tested and found good, factors like the right disk / writer combination, the right burning speed, the appropriate writer program etc. are significant. The labeling method also has a big impact on the stability. Labels, stickers and markers can change the structure of the sensitive laminate on a CD/DVD and thereby, in the worst case, make the data inaccessible. Slightest possible information should therefore be applied directly on the disk and then only in the clear center area. Only tested CD-pens should be used. If a CD already has a label it should not be removed. After the writing, permanence can be increased by maintaining stable temperature and humidity conditions, and ensuring proper packing and handling (ISO 16111). The requirements for an optimal storage environment are very similar to those for photographs (see chapter preservation of photographic materials page 28, see table page 29). If the material is stored in a cold storage facility it should have time for acclimatization - approximately 12 hours - in the working room, prior to use. A CD/DVD should not be exposed to strong light or heat because this can harm the dyes in the laminate, magneto optic disks should additionally not be exposed to strong magnetic fields. The storage environment should be free of aggressive, corrosive fumes, pests and dust. Dust is harmful because it can be a source for abrasion. It is therefore important to eliminate dust as far as possible and not to touch the disks on the reading surface. It is beneficial to use lint free gloves when handling CDs or DVDs. If it is necessary to clean the surface of a CD/DVD, an air jet, a soft brush or a damp cloth can be used. It is recommended to clean gently radially from the center to the edge of the disk. Solvents must not be used for cleaning. The original cases, made from polystyrene, and cases made from polycarbonate or polypropylene are sufficient for long term storage. Cases, jackets and envelops made from PVC, 22 23

LAVÉDRINE 2003, 197 -200. TROCK 1999. SEPIA Conference Helsinki 2003.

paper, board and other soft plastic materials are not suitable for storage. CD/DVDs should be stored in vertical position. Since there in fact is no way to restore deteriorated CD-media the main focus of preserving the information has to be, like in so many other cases, on preventive conservation. The quality of the data on the stored CD/DVDs should be controlled by a specialist in definite intervals - about every fifth year.24 If necessary, the data should be copied on a new media. Then again, a CD-R or DVD is no secure long term storage media for important data. Long term storage conditions for optical digital disks with polymer substrate recommended Temperature 5 - 20 °C ± 1ºC fluctuation in 24 h

(ISO 16111)

recommended relative humidity 20 – 50 % ± 5 % fluctuation in 24 h

Registration and Digitization of the photographic collection (under conservation aspects) The importance of registration and digitization in the museum environment and the need of trained staff The possibility for quick access to an object or a photograph in a collection is key factor for the beneficial use of private and public collections and their preservation today. This is however also a challenge because of the quantity of the objects, the storage conditions which need to be maintained (in this case cold storage), the necessary and available technology for the job and last but not least the need for qualified staff. To ensure that the resources of the photo collection can come into use for the museum (for example: catalogues, publications, research, etc.) professional archivists/registrars should be signed up for the job of registering/cataloguing the collection and the digitizing/scanning of the most important parts of it. The use of professional trained staff guarantees a certain quality in terms of the work product but also in terms of handling the precious original materials. Most of the photographs will be scanned during registration to have a comparable image in the cataloguing software. The registered collection will thereby later give quick access to itself because the need of taking out objects from their storage location is not longer required, that is saving time and helps to preserve the originals. The responsible persons for archiving, cataloguing and scanning of the photographic materials should have extensive knowledge in handling museum objects, using electronic scanning equipment and registration software (for example: PRIMUS). The technology for registration and scanning should if possible be acquired in cooperation with the professionals responsible for the registration/scanning project. Products and service from a reliable dealer with experience in scanning projects should be preferred over “from the shelf products”. Because of the fast moving technological 24

LAVÉDRINE 2003, 200 - 209.

progress it is advisable to purchase the equipment first at the time when it is needed. A computer registration and scanning project is also the birth of a new type of collection, so it should be mentioned that staff working on such projects should keep themselves updated on the newest developments and standards for such projects, the safe storage of the product and the generation of additional storage costs for digital information.

Handling of the photographic materials under registration and digitization The original material of the Kon-Tiki museum will, in most cases, also in the future be a valuable source. The preservation/ conservation of the original material are therefore a very important part of a future digitization project. The costs for preservation/ conservation should from the beginning on be part of the planning of a digitization project, thus additional costs must be kept in mind. If preservation/ conservation costs for things like air conditioned archive, new enclosures, conservation work etc. canâ&#x20AC;&#x2122;t be integrated in a digitization project, then do not start the latter. To avoid risks for photographic objects in the digitization process the following principles should be taken into account: 25

Use a dust free, air conditioned room for your digitization project. Clean your original material in a separate, air conditioned room to protect your digital equipment and your scanning job from dust. Use recommended cleaning equipment (soft antistatic brushes, oil free pressured air, and antistatic cloth). A conservator should supervise the cleaning and handling of original photographic material when the project is started. If you discover damaged or deteriorated material, contact a conservator. For handling of glass plate negatives use cotton gloves with applied rubber, or latex gloves, to get a better grip. Change gloves often. If you discover moulded material, separate this material and contact a conservator before you continue cleaning and scanning. Change your gloves after handling moulded material. Try to be efficient. Sort the objects before scanning, in: photographic technique, size, need for conservation work etc. Use the workflow for changing the enclosure material (PAT-tested!25) if necessary. If you have large originals, use more than one person when handling. Take your time.

PAT = Photographic Activity Test

Prevent big changes in relative humidity (RH) and temperature for your originals. If your material comes from a cold storage facility think on the necessary acclimatization time. Air in rooms with computer and scanning equipment contains harmful vapours for photographic materials. Make the time in the scanning room as short as possible for your originals (the working room is no storage room). Be aware that scanner and copy lights produce heat, which can damage your photographic material. Minimize the time in the scanner or under a copy light. If possible use fluorescent light sources [with UV-filtering]. Let your scanning equipment cool down from time to time. Never expose your original photographic materials longer than necessary to light. If you have very fragile material, make a high quality slide or negative on traditional photographic material, so that you can scan from this material now and in the future. Do not force uneven objects (albums, mounted prints, books etc.) to lay flat on a scanner, use a digital camera in such cases. Make sure you have the right equipment and know-how, so you donâ&#x20AC;&#x2122;t have to go back to your originals too often to do the job again (if possible, use professional help to do the job!). When you are done with the scanning job, put your originals in their new enclosures and bring them back in your air conditioned archive.

Again, digitization is a great tool - giving access to collections and archives - for research, for advertising museums and collections, for the work with images today, but digitization is not a preservation/conservation tool. Your original material will also in the future be your prime asset - if you keep caring about it.

Information sources for preservation, registration and digitization of photographic images -

The Storage Guide for Color Photographic Materials by James M. Reilly, published by the University of the State of New York, New York State Education Department, New York State Library, the New York State Program for the Conservation and Preservation of Library Research Materials.

DOBRUSSKIN/ HESSE/ JÜRGENS/ POLLMEIER/ SCHMIDT 2001: S. Dobrusskin, W. Hesse, M. Jürgens, K. Pollmeier, M. Schmidt, Rundbrief Fotografie, Sonderheft 1, Faustregeln für die Fotoarchivierung, 4. Auflage, 2001.

WILHELM 1993: Henry Wilhelm, The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures, Grinnell - Iowa 1993.

Preventive Conservation of Photograph Collections, B. LAVÉDRINE, 2003.

Digital Imaging for Photographic Collections: Foundations for Technical Standards by Franziska S. Frey and James M. Reilly, published by the Image Permanence Institute.

Introduktion till Bilddigitalisering H. Besser, E Johansson Cowell, Getty Information Institute.

Bildarchiv digital, Kathryn Pfenninger, Rundbrief Fotografie, Sonderheft 7.

ABM-skrift #1: Digitalisering av fotosamlinger. (”I mange bildesamlinger arbeides det med å bygge opp digitale arkiv, og vi har de senere årene fått mange henvendelser om råd og anbefalinger. Det er derfor med glede vi her kan presentere veiledningen Digitalisering av fotosamlinger. Skriftet tar opp konkrete problemstillinger knyttet til møtet mellom ny teknologi og eldre fotografisk materiale. Hovedvekten er lagt på planlegging og praktisk gjennomføring av et digitaliseringsprosjekt. Det er utarbeidet retningslinjer for arbeidet og det foreslås en standard for bildekvalitet.”)

ABM-skrift #5: Vei i vellinga. Håndbok i dokumentasjon av museumsgjenstander. (ABM skrift #5 er en systematisk veileding gjennom de ulike trinnene i dokumentasjonsprosessen. Den tar for seg innsamling, aksesjon, registrering, fotografering og merking, og gir råd på disse ulike områdene.)

ABM-utvikling:

http://www.abm-utvikling.no/publisert/Postlister/index.html

European Commission on Preservation and Access:

http://www.knaw.nl/ecpa/

Image Permanence Institute:

http://www.imagepermanenceinstitute.org/index.html

SEPIA: Safeguarding European Photographic Images for Access: http://www.knaw.nl/ecpa/sepia/ Wilhelm Research:

http://www.wilhelm-research.com/

Sources for storage and preservation material A selection of web sides offering archive materials: Arkivprodukter:

http://www.mamut.com/homepages/Norway/1/9/Kringsjaa/company.htm

Klug Conservation:

http://www.klug-conservation.com/

Museiservice:

http://www.museiservice.se/

Monochrom:

http://www.monochrom.com

Hans Schrรถder GMBH:

http://www.archiv-box.de/

Preservation Equipment Ltd:

http://www.preservationequipment.co.uk

Illustrations/ Reproductions Title, page 2: Reproduction by Jens Gold of images in the collection of the Kon-Tiki Museum. Fig. 1 – 14: Jens Gold Fig. 15 HENDRIKS 1991: K. B. Hendriks, Fundamentals of Photograph Conservation: A Study Guide, Toronto 1991, 176. Fig. 16: Reproduction by Jens Gold of images in the collection of the Kon-Tiki Museum. Fig. 17 – 20: Jens Gold Fig. 21: Reproduction by Jens Gold of images in the collection of the Kon-Tiki Museum. Fig. 22 – 44: Jens Gold Fig. 45 – 48: Klug Conservation Fig. page 43: Reproduction by Jens Gold of images in the collection of the Kon-Tiki Museum. Table page 33: Eastman Kodak Co.

Bibliography DOBRUSSKIN/ HESSE/ JÜRGENS/ POLLMEIER/ SCHMIDT 2001: S. Dobrusskin, W. Hesse, M. Jürgens, K. Pollmeier, M. Schmidt, Rundbrief Fotografie, Sonderheft 1, Faustregeln für die Fotoarchivierung, 4. Auflage, 2001, 32 - 33, 36 - 37, 81 – 83. Eastman Kodak Company, KODAK Professional Black and White Films, Publication No. F 5, page 38, Eastman Kodak Co. 1990. HENDRIKS 1991: K. B. Hendriks, Fundamentals of Photograph Conservation: A Study Guide, Toronto 1991, 347-350. ICP - INTERNATIONAL CENTER OF PHOTOGRAPHY 1984: Encyclopaedia of Photography. LAVÉDRINE 2003: B. Lavédrine, A Guide to the Preventive Conservation of Photograph Collections, Los Angeles 2003, page 159 – 170, 197 – 209. LAVÉDRINE / von WALDTHAUSEN 2002: B. Lavédrine & C. von Waldthausen, An Investigation into a Consolidation Treatment for Flaking Autochrome Plates, ICOM – CC 13th Triennial Meeting, Rio de Janeiro, Sep. 2002, 664 – 669. MUTTER 1967: E. Mutter, Farbfotographie – Theorie und Praxis, Die wissenschaftliche und angewandte Photographie Band IV, Wien/New York 1967, 30 – 92. NISHIMURA 2001: Doug Nishimura works as chemist and research scientist in the IMAGE PERMANENCE INSTITUTE AT THE ROCHESTER INSTITUTE OF TECHNOLOGY. He is internationally known as writer and lecturer in the field of photographic conservation and preservation. POLLAKOWSKI 1998: Dr. Goetz Pollakowski is a chemist, specialized in photochemistry; he has worked for the DEFA – Berlin/Potsdam and the Preservation Commission of the FIAF. He teaches photochemistry at the University for Applied Science in Berlin. SEPIA Conference 2003: An international SEPIA conference at the Finnish Museum of Photography Helsinki18-20 September 2003. The Finnish Museum of Photography hosted this conference as part of the project Safeguarding European Photographic

Images for Access (SEPIA) funded under the European Union’s Culture 2000 Programme. : http://www.knaw.nl/ecpa/sepia/conference.html The Focal Encyclopedia of Photography 1993, Edited by Leslie Stroebel and Richard Zakia, third edition, Boston / London 1993. TROCK 1999: J. Trock, Bevaring af elektroniske documenter på CD-R, konservator avgangsobgave, Konservatorskolen – Det Kongelige Danske Kunstakademi 1999. WILHELM 1993: Henry Wilhelm, The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures, Grinnell - Iowa 1993, 20 – 27. WILHELM RESEARCH 2003: http://www.wilhelm-research.com/

A compete story, a great collection, worth the effort!