Mariana - Planck - Preserving B

Preserving B&W Negatives From Physical Damage:
Handling Methods and Enclosure Design

by Mariana Planck

Andrew W. Mellon Fellow, Third Cycle
Advanced Residency Program
in Photograph Conservation

Project Supervisor:
Grant B. Romer, ARP Director

August, 2005

George Eastman House
International Museum of Photography and Film
& Image Permanence Institute,
Rochester Institute of Technology
Preserving B&W Negatives From Physical Damage: Handling Methods and Enclosure Design

TABLE OF CONTENTS

ACKNOWLEDGEMENTS.................................................................................................3
RESOURCES......................................................................................................................5
ABSTRACT.........................................................................................................................6
LIST OF ILLUSTRATIONS...............................................................................................7
PROJ ECT DEVELOPMENTPREVIOUS STUDYA COMPARATIVE STUDY OF
PAPERS FOR ENCLOSURES OF B&W PHOTOGRAPHS IN MEXICO..............8
CURRENT STUDYPRESERVING B&W NEGATIVES FROM PHYSICAL DAMAGE:
HANDLING METHODS AND ENCLOSURE DESIGN........................................15
ANNOTATED BIBLIOGRAPHYPATENTS FOR GLASS PLATE NEGATIVES...30
ANNOTATED BIBLIOGRAPHYPHOTOGRAPHIC J OURNALSARTICLES ON
GLASS PLATE AND FILM NEGATIVES.........................................................31
A REVIEW OF PHOTOGRAPHIC CATALOGS............................................................46
A REVIEW OF ARCHIVAL SUPPLIES CATALOGUES..............................................48
A REVIEW OF CONSERVATION PUBLICATIONS....................................................52
ISO STANDARDS............................................................................................................56
SUMMARY OF BIBLIOGRAPHY ..................................................................................59
CONCLUSIONS................................................................................................................62
WORKS CITED................................................................................................................63
APPENDIX APROJ ECT TIMETABLE.......................................................................64
APPENDIX BGLOSSARY ...........................................................................................65
APPENDIX CREFERENCE CATALOG.....................................................................72
APPENDIX DADDITIONAL RECOMMENDED READINGS.................................73


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ACKNOWLEDGEMENTS

Several people have made this project possible, and I am indebted to them for their
guidance and assistance. I would like to thank and to acknowledge each of them:

ANDREW W. MELLON FOUNDATION
Mrs. Angelica Zander Rudenstine

ARP STAFF AND FACULTY
Grant B. Romer, Director and Project Supervisor
J iuan-J iuan Chen, Assistant Director
Mark Osterman, Process Historian
Stacey Van Denburgh, Program Manager

ARP ASSOCIATES
Dan Kushel, Professor Buffalo State College
Franziska Frey, Professor Rochester Institute of Technology and Project
Advisor

ARP ANDREW W. MELLON FELLOWS
2
rd
and 3
rd
Cycle ARP Andrew W. Mellon Fellows

IMAGE PERMANENCE INSTITUTE
Daniel Burge, Research Scientist and Project Advisor
Douglas Nishimura, Research Scientist
J ames M. Reilly, Director

THE GEORGE EASTMAN HOUSE
David Wooters, Head Archivist
Debra Hamel, Archivist for the Kodak Advertisement Collection
J oseph R. Struble, Assistant Archivist
Kathy Connor, Curator George Eastman Collection
Rachel Stuhlman, Librarian

VISUAL STUDIES WORKSHOP RESEARCH CENTER
Sally Petty, Librarian

ARCHIVAL SUPPLIES
Dennis Inch, Archival Methods (President)
William D. Edwards, Lumiere Photo (President)


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COLLECTORS
Charles Kamerman, Kodak Collector
Eaton S. Lothrop, Private Collector
Frank T. Storey, Private Collector
Nicholas M. Graver, Photographic Antiquarian

TECHNICAL WRITING AND EDITING
Carmel Priore-Garlock

OTHER
Cathleen A. Baker, The Legacy Press
Gary E. Albright, Art Conservator
Ina J ochumsen, Graduate Student Academy of Art and Design, Stuttgart
Loren C. Pignolo, Researcher, San J ose State University, School of
Library and Information Science
Martin L. Scott, Scientific Imaging
Mogens S. Koch, Photographer and Conservator, The Royal Danish
Academy of Fine Arts School of Conservation
Nicholas Klimaszewski, Associate Professor Tompkins Cortland
Community College
Randy Silverman, Preservation Librarian

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RESOURCES

The following resources were used to develop this project:

INSTITUTIONS
Image Permanence Institute (IPI):
- Library and Study Collection

The George Eastman House (GEH):
- The George Eastman Collection Library
- The George Eastman House Conservation Library and Study Collection
- The George Eastman House Library
- The George Eastman House Photographic Collection

Tompkins Cortland Community College (TCCC)

Visual Studies Workshop (VSW):
- Research Center

COLLECTORS
Charles Kamerman, Kodak Collector
Eaton S. Lothrop, Private Collector
Frank T. Storey, Private Collector
Grant B. Romer, ARP Director
Nicholas M. Graver, Photographic Antiquarian
Mark Osterman, ARP Process Historian

INTERNET SOURCES
http://aic.stanford.edu/library/online/brochures/photos.html
http://www.superiorarchivalmats.com/sam/Article.html
http://www.royalenvelope.com/history/
http://www.ghh.com/elf
http://www.ephemerasociety.org/
http://www.google.com.search?hl=es&ie=ISO-8859-
1&q=negative+collections+&lr


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ABSTRACT

While completing requirements for a B.A. in Conservation at the National School
for Conservation in Mexico City during the years 1996-2001, the researchers degree
project was A Comparative Study of Papers for Enclosures of B&W Photographs in
Mexico (Estudio Comparativo de Papeles para Guarda de Fotografas B&N en Mxico),
coordinated by 2
nd
Cycle Andrew W. Mellon Fellow, Ma. Fernanda Valverde. The
project was developed at the National School for Conservation in Mexico City, during
2001-03 and also at The George Eastman House and Image Permanence Institute in
Rochester, NY, during a three-month internship in August 2002.
Under the supervision of Grant B. Romer, Advanced Residency Program (ARP)
Director and Project Supervisor, the current research project is Preserving B&W
Negatives From Physical Damage: Handling Methods and Enclosure Design. The study
is part of the researchers current fellowship in the 3
rd
Cycle Advanced Residency
Program in Photograph Conservation (2003-05), offered by the Image Permanence
Institute and The George Eastman House and funded by the Andrew W. Mellon
Foundation. The main resources were accessed at the Image Permanence Institute and
The George Eastman House. Information sources were patents, photographic journals,
photographic catalogs, archival supplies catalogs, conservation publications, ISO
standards, and collections.

Preserving B&W Negatives FromPhysical Damage: Handling Methods and Enclosure Design

7
LIST OF ILLUSTRATIONS

FIGURE 1: PREVIOUS STUDY DIAGRAM....................................................................9
FIGURE 2: PREVIOUS STUDY CHARACTERIZATION FORM................................13
FIGURE 3: PROJ ECT STAGES AND TOPICS...............................................................16
FIGURE 4: FOCUS OF STUDY.......................................................................................17
FIGURE 5: PROJ ECT DIAGRAM...................................................................................19
FIGURE 6: LIMITING PROJ ECT TO INDIVIDUAL ENCLOSURES..........................21
FIGURE 7: TIMELINE: ENCLOSURE DESIGNS FOR B&W NEGATIVES...............23
FIGURE 8: PROJ ECT CHARACTERIZATION FORM.................................................25


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PROJECT DEVELOPMENTPREVIOUS STUDYA
COMPARATIVE STUDY OF PAPERS FOR ENCLOSURES OF B&W
PHOTOGRAPHS IN MEXICO

The idea of developing a project related to the preservation of B&W negatives,
focusing specifically on handling methods and enclosure design, evolved while working
on the degree project, A Comparative Study of Papers for Enclosures of B&W
Photographs in Mexico (Estudio Comparativo de Papeles para Guarda de Fotografas
B&N en Mxico).
The project consisted in the development of a testing method or procedure to
evaluate the physical and chemical properties of papers used in the manufacturing of
enclosures for B&W photographs. While investigating the History and Evolution of the
Housing Materials Used in Conservation (a component of the degree project), it became
clear this was a project in itself and for that reason, it needed to be approached separately.
Thus, what began as a study on the History and Evolution of the Housing Materials
Used in Conservation, evolved into A History of Paper Enclosures and their Impact in
the Preservation of Negative Collections as the first project proposal for the 3
rd
Cycle of
the Advanced Residency Program in Photograph Conservation. Figure 1 shows an
overview of the degree project and its components.
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A COMPARATIVE STUDY OF PAPERS FOR ENCLOSURES
OF B&W PHOTOGRAPHS IN MEXICO
(Degree Project)
Requirements for Photographic
Enclosures (According to the
International Standards)
Tests Used to Evaluate the
Physical and Chemical Properties
of Papers
Application of Tests and
Interpretation of Results
Characterization Forms Showing
Test Results
Conclusions

FIG 1PREVIOUS STUDY DIAGRAM

HISTORY AND EVOLUTION OF THE HOUSING
MATERIALS USED IN CONSERVATION
(Component that evolved into current project)

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PREVIOUS STUDY CONTENT

PHASE 1: List of tests used to evaluate the physical and chemical properties of papers
used in the manufacturing of photographic enclosures, according to ISO 18902, 2001
Imaging materials Processed photographic films, plates and papersFiling enclosures
and storage containers. Requirements:
Physical & chemical stability
Acid free
Peroxide free
Pass PAT
Pulp: rag or wood bleached, sulphite or wood bleached Kraft
Alpha cellulose content higher or greater than 87%
Neutral size (No alum)
Lignin free
No metals, waxes, plasticizers or free surface fibers
Glassine papers should be avoided

PHASE 2: The application of what were considered to be the most relevant tests to a
selection of thirty-three papers (all of them available in Mexico and some already used in
the re-housing of some photographic collections).

PHASE 3: Test results and interpretation.
CHEMICAL TESTS, based on the following test methods or standards:
ISO 14523: 1999 PhotographyProcessed photographic
materialsPhotographic activity test for enclosure materials


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TAPPI 401 om-93 Fiber analysis of paper and paperboard: F.1.1 and F.1.2
Phloroglucinol (29). Test method used to determine the presence of
groundwood and/or other ligneous fibers.

TAPPI 509 om-02 Hydrogen ion concentration (pH) of paper extracts
(cold extraction method)

PHYSICAL TESTS, based on the following test methods or standards:
TAPPI 410 om-98 Grammage of paper and paperboard (weight per unit
area)
TAPPI 411 om-97 Thickness (caliper) of paper, paperboard, and
combined board
TAPPI 511 om-02 Folding endurance of paper (MIT tester)
TAPPI 535 UM-91 Smoothness of paper and paperboard (Bendsten-type
tester)

VISUAL ANALYSIS, based on the following test method or standard:
TAPPI 401 om-93 Fiber analysis of paper and paperboard

PHASE 4: A characterization form for each of the paper samples. Figure 2 shows the
characterization form developed to describe each one of the papers tested or analyzed.
The original form includes an actual paper sample and an image of the paper fibers, as

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viewed under magnification. This format was used to develop the characterization forms
included in this project.


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Brand Name

Manufacturer and/or Distributor

Dimensions or Sheet Size

Grammage or Weight

Tint

Paper Sample

Surface Texture

Fiber Composition

Product Specifications

Applications

Cost

Visual Analysis

Photographic Activity Test
(PAT)

Observations Other

FIG 2PREVIOUS STUDY CHARACTERIZATION FORM

4x4cm

10x

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RESULTS: Among the thirty-three papers analyzed, only eleven seemed to be suitable
for the manufacture of photographic enclosures. Only these papers fulfilled the standards
requirements.


15
CURRENT STUDYPRESERVING B&W NEGATIVES FROM
PHYSICAL DAMAGE: HANDLING METHODS AND ENCLOSURE
DESIGN

BACKGROUND
As mentioned before, what began as a study on the History And Evolution of the
Housing Materials Used in Conservation, evolved into A History Of Paper Enclosures
And Their Impact In The Preservation Of Negative Collections.
Although paper enclosures play an important role in the preservation of negative
collections, the project needed to be re-addressed. Instead of studying the history and
evolution of paper enclosures, the project now focuses on the preservation of B&W
negatives. The projects current title is Preserving B&W Negatives From Physical
Damage: Handling Methods And Enclosure Design.

PROJECT STAGES AND TOPICS
Each stage of the project focused on different topics. Figure 3 shows the stages of
research and the topics they encompassed.


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TOPICS COVERED
STAGE OF
PROJECT
TITLE OF
RESEARCH
Housing Materials Enclosure Design Handling Methods
Stage 1:
Continuation of
Degree Project

History and
Evolution of the
Housing Materials
Used in
Conservation

Stage 1

Stage 2:
First Project
Proposal

A History of Paper
Enclosures and their
Impact in the
Preservation of
Negative Collections

Stage 2
Stage 3:
Current Research

Preserving B&W
Negatives from
Physical Damage:
Handling Methods
and Enclosure
Design
Stage 3
Stage 4:
Future Project

A Users Guide for
the Handler

Stage 4

FIG 3: PROJECT STAGES AND TOPICS

PROJECT AIMS

Refining the Focus of Study

The focus of the study is on B&W glass plate and film negatives; the period
covered is 1851- present. The aspects studied are: the vulnerability of negatives to
physical deterioration, and its prevention through safe handling methods and adequate
enclosure designs.

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Initially, the research covered enclosure designs for almost all B&W negatives. In
order to narrow down its scope, it now focuses on the most common negative processes:
glass plate and film negatives. These processes were selected according to the number of
years they were used. As seen in the table below, paper negatives did not last a long
period of time, nor were they very commonly used. Therefore, paper negatives were
excluded from this study. Figure 4 shows the focus of study, according to the type of
negatives and period they were in use.

Type of B&W
Negative

Period
in Use
Years

1840 1850 1860 1870 1880 1890 1900 1910 1920 1930 1940 1950
Paper Negatives (1841-1865) 24 years
Collodion Glass
Plates
(1851-1925) 32 years
Gelatin Glass
Plates
(1878-1925) 43 years
Cellulose Nitrate
Film
(1889-1950) 59 years
Cellulose Acetate
Film
(1925-today) 79+ years
Polyester Film 1955-today)
49+
years

FIGURE 4: FOCUS OF STUDY

Source: Valverde, Ma. Fernanda. Photographic Negatives: Nature and Evolution of Processes ARP,
Rochester, NY, 2003


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The Objectives of the Study
Consider physical damage and its effects after the negative has been processed,
specifically, during storage and access (3rd historicity of the artifact).

Analyze the connection between handling methods and enclosure designs (the
moment when the hand meets the object, per Grant B. Romer, ARP Director
and Project Supervisor, 2005).

As shown in Figure 5, the projects aim is to understand the vulnerability of B&W
negatives to physical deterioration and the use of safe handling methods and
adequate enclosure design as preventive measures.


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FIG 5: PROJECT DIAGRAM

Users Guide for the Handler
(Future Project)
Collodion &
Gelatin Glass Plate
Negatives

Cellulose Nitrate
& Acetate

Polyester

1851-1925 &
1878-1925
1889-1950 &
1925-today
1955-today

Most Common B&W Negatives


Vulnerability to Physical Deterioration

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Focus on individual enclosures (envelopes, sleeves, folders and mats), rather than
on housings or containers. (See Figure 6: Limiting Project to Individual
Enclosures). Although negative storage systems cover three levels, this research
will only focus on individual enclosures, as opposed to containers and housings
which are designed for multiple plate/film storage. As shown in Figure 6,
individual enclosures include envelopes, sleeves, folders and mats. Drawers,
racks, shelves, cabinets, boxes, cans, or albums will not be included in this
project.

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(Levels of Storage)

(Main Enclosure Designs)

FIGURE 6: LIMITING PROJECT TO INDIVIDUAL ENCLOSURES

Source: ISO 18918 , 2000 Imaging materialsProcessed photographic platesStorage practices

Housing (Drawer, Rack, Shelf, Cabinet)
Container (Box, Can, Album)
Enclosure
(Envelope, Sleeve,
Folder, Mat)
Sleeve

*Personal Collection

Folder

*Collection Nick Graver

Mat

*Collection Gary E.
Albright

Envelope

* Collection Nick Graver


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Include a Timeline that will not only illustrate the evolution of negative
enclosures, but also serve as a guideline or precedent for future re-housing. This
timeline will serve as a didactic tool to explain how negatives have been stored
throughout time. (See Figure 7: Timeline: Enclosure Designs For B&W
Negatives.) Briefly mention which materials have been used. Understand their
fundamentals, purpose, functionality, and efficiency. Be able to discuss their
permanence and explain why negative enclosures were not meant to last. Know
which options have been given for long-term storage.

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FIGURE 7: TIMELINE: ENCLOSURE DESIGNS FOR B&W NEGATIVES
(Arrows signify more examples will be added.)
Enclosure Design:
Paper Sleeve with
Thumbcut

*Image Grant B. Romer

Enclosure Design:
Lined Paperboard
Four Flap Enclosure

*Image Hanako Murata

Enclosure Design:
Paper Sleeve with
Thumbcut

*Collection Mark
Osterman

Enclosure Design:

*No example available

B&W Negatives
Paper Negatives

1841-1865
Collodion
& Gelatin Glass
Plate Negatives

1851-1925 &
1878-1925
Cellulose Nitrate
& Acetate Film
Negatives

1889-1950 &
1925-today
Polyester
Film Negatives

1955-today

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Create a Glossary to help establish a common terminology and to facilitate the
understanding of this text. (The Glossary should be revised and expanded.)

Create a Reference Catalog with examples of negative enclosures found in the
collections. Figure 8 is an example of the characterization form/layout developed
for this project. All forms/layouts are included in the projects Appendix and
show a selection of the most relevant negative enclosures found in the collections.
(The Reference Catalog may should be revised and expanded.)


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Source/Owner: Frank T. Storey,
Private Collector

Type of Negative: Film Negative

Period: (1889-today)

Enclosure Format: 4x5

Negative Enclosure (Front)

Type of Enclosure: Sewn Paper
Wallet

Brand/Manufacturer: Kodak

Support: Paper

Adhesives: None

Printing Material: Ink

Negative Enclosure (Back)

Inscriptions: Ink and Graphite

Observations
1. Advantages: Adhesive-free enclosures are
preferred.
2. Disadvantages: There is no interleaving between
the negatives.

Other:
Photofinishing Store: Maison
G.F. Stainier, Namur

FIG 8: PROJECT CHARACTERIZATION FORM

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As a future project, create a Users Guide for the Handler to provide
photographers and caretakers a list of recommendations for the safe handling and
proper care of their negative collections. Develop a critical review of the existent
literature and provide a synthesis of the different points of view.

PROJECT RATIONALE

General Aspects

According to the List of Topics from the Coordinated Research Possibilities
Meeting held at the Image Permanence Institute on August 2, 2000, Handling Methods
& Enclosure Design for Photographic Materials, is a topic of high priority and requires
further research. Topic advocators were Mogens S. Koch, Andrew Robb, Gary E.
Albright, Alexandra Botelho, and Franoise Ploye.
In order to generate new preservation strategies or to improve the existent ones, it
is necessary to review what has been done in the past; in that way, it will be possible to
avoid previous mistakes and to pick up efficient measures otherwise forgotten or ignored.
Such research has not been done before.
The research will help promote ideal storage systems and safe handling for
negative collections. The information gathered will be of great value for professionals
involved in the development and implementation of preservation strategies, for well-
informed professionals are able to make better decisions. The project is feasible, and can
be of great value not only for conservators, but also for photographers, curators,
archivists, researchers, and collectors (any caretaker of a negative collections.)

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Extensive literature is available at The George Eastman House and Image
Permanence Institute Libraries. Knowledgeable specialists in both institutions have
already made important contributions to the topic, for it will be very useful to bring
together all this information and further on, compare it, and make a synthesis of the
different points of view.

Determining the Negatives Value

It is the photographer, curator, archivist, researcher, or the collector who can and
should determine the value of a negative. After that, it is the conservators task to provide
the tools and methods and procedures to preserve them. (In some cases, the conservators
judgement can also contribute to re-valuing or increasing the value of a negative or
negative collection according to its condition).

On Handling Methods
Since most damage to photographs results from poor handling, the goal of this
research is to create a useful tool that will help promote the safe handling of negative
collections and to reduce the risks of physical deterioration. It is for the conservator to
share this information with the caretaker or the handler.

On Enclosure Design
Enclosures play a decisive role in the preservation of negative collections, yet
they have not been fully appreciated or recognized. Since many have been already
replaced or discarded, there might not be other opportunities to develop such study or
gather such examples. The research will provide useful information to know better when

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and why should original enclosures be discarded. It should be considered that well-
designed enclosures promote safe handling and so, help reduce physical damage.

PROJECT METHODOLOGY
STEP 1: Review the existent literature and select the most relevant references. Gather
information from the following sources: patents, photographic journals, photographic
catalogs, archival supplies catalogs, conservation publications and ISO standards. Use the
following resources: GEH Libraries, IPI Library, VSW Research Center and internet
resources.

STEP 2: Create and include an annotated bibliography of such references.

STEP 3: Look into private and institutional study collections and relate these examples
with the information gathered from the existent literature.

STEP 4: List the international standards and requirements for enclosures and handling of
B&W negatives. Discuss the benefits of ideal enclosures. Provide elements to select, to
improve, and to create adequate negative enclosures.

STEP 5: Write a summary of the information gathered.

STEP 6: Point out DOs and DONTs (advantages and disadvantages). Understand how
enclosures and handling have (or have not) contributed to preserve negatives from

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physical damage. Address the vulnerability of B&W negatives to physical deterioration
according to their support. Identify most common effects of physical damage.

CONSIDERATIONS
Although not included in this project, consider varnishes and coatings as a
primary protective measure (in collodion glass plate negatives, also applied to provide
enough tooth for retouching).


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ANNOTATED BIBLIOGRAPHYPATENTS FOR
GLASS PLATE NEGATIVES

Houghtons, Ltd., and Spratt, A.S. Plate and like boxes and receptacles; envelopes for
storing plates and the like. Great Britain Patent Number 20,114. September 19, 1904.

A box for storing negatives is described. It includes clearance pieces to prevent the
envelopes containing the negatives from being injured as the lid is closed. The tabs
provided stand erect and carry reference numbers. (Includes illustrations)

Source: Patents for Inventions, Abridgments of Specifications, Class 98, Photography. Period A.D. 1901-
1904. Patent Office, London, 1907, p. 231


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ANNOTATED BIBLIOGRAPHYPHOTOGRAPHIC JOURNALS
ARTICLES ON GLASS PLATE AND FILM NEGATIVES

ARTICLES ON GLASS PLATE NEGATIVES (arranged in chronological order)

Sutton, Thomas, ed. How To Pack A Glass Negative. Photographic Notes
(1856): xviii.

A method for sending glass negatives safely by post is described. Includes
a smooth paper on the varnished side, a thick flannel or smooth blotting
paper and a box at least 3/8 thick for the smallest negative.

Simpson, G. Wharton, ed. To Protect A Collodion Negative From Scratching. The
Photographic News I (1858): 192.

A plan for packing up glass plates is described. A sheet of fine smooth
paper is cut an inch larger than the glass. The negative is faced
downwards, and the edges of the paper are folded over the back and
pasted down.

Buxton, C. Preservation Of Dry Collodion Plates. The Photographic News II (1859):
216.

It is suggested to use good tin boxes instead of wood boxes for storing
dry plates.

Simpson, G. Wharton, ed. A New Method Of Protecting Valuable Negatives. The
Photographic News II (1859): 212.

A simple plan is described to protect collodion negatives from injury. The
plate is first varnished, then covered with a very thin talc, or fine glass
made for covering microscopic objects. It is then secured using gummed
paper.

Simpson, G. Wharton, ed. Preserving Negatives With Talc Or Gelatin Paper. The

A method for transferring a collodion negative onto talc is described.


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Simpson, G. Wharton, ed. Improved Plate Box. The Photographic News II (1859): 22.

An improvement in the
form of plate-box is
described. (Illustration
shown left.)

Simpson, G. Wharton, ed. Shelves For Holding Negatives By A Beginner. The

A convenient and secure receptacle for glass negatives is described.

Sutton, Thomas, ed. A Hint On Plate Boxes. Photographic Notes (1862): 12.

An adaptation of a box for dry collodion glass plates is described, so that
an old style box of the size necessary to hold twenty-four plates, can then
contain forty-two. When introduced, the plate is no so apt to cut the
glazed cardboard partitions, as it invariably does when the sides are of
wood. (Extract from Humphreys Journal)

Sutton, Thomas, ed. J ohn Stocks Dry Plate Box. Photographic Notes VII (1862): 13.

A new dry plate box invented by Thomas and presented by Dr. S. P.
Leeds is mentioned. The box is not described.

Thomas, R.W. The Packing And Storing Away Of Negatives. The British Journal
Photographic Almanac and Photographers Daily Companion (1870): 146.

The best way to store away negatives is not in plate boxes, but wrapped in
paper. When placed in grooved boxes, any sudden change in the
temperature may cause a deposition of moisture on the surface. The
simplest and probably the best way is to keep the negatives packed in
batches, having one or two sheets of blotting paper interposed between
each of them.


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Simpson, G. Wharton, ed. Save The Negatives. The Photographic News XV (1870):
233.

A plan to prevent scratches from fingernails or sharp corners of the
albumen paper is described.
England, W. M. Practical Hints On The Preservation Of Negatives. The Photographic
News XV (1871): 136.

Causes of splitting of the film in collodion negatives are discussed.

Hughes, J abez. Preserving And Storing Negatives. The British Journal Photographic
Almanac and Photographers Daily Companion (1871): 110.

Keeping negatives in plate-boxes or grooved shelves where the atmosphere varies
poses risks. There is no better plan than enveloping them with moderately thick,
soft paper. They can be stored in pigeon-holes and can safely be handled. The
cost of the paper is much less than grooves or plate-boxes.

Simpson, G. Wharton, ed. Risks In The Transit Of Negatives. The Photographic News
XX (1873): 54.

Risks to which negatives are subject in transmission from one place to
another are considered.

Simpson, G. Wharton, ed. Packing Negatives. The Photographic News XXVI (1878):
118.

A plan for packing a large quantity of negatives which had to travel a long
distance and endure rough usage is described.

Laws, Thomas M. The Way To Preserve Negatives And Register Them. The
Photographic News XXVI (1881): 292.

It is said the best possible mode of storing plates is valueless, unless
precautions in the removing of destructive agencies in the film are
complied with. A plan of registration is described. Negatives are placed in
envelopes and flaps should be left loose.


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Harmer, J ohn. The Way To Preserve Negatives And Register Them. The Photographic
News XXVI (1881): 307.

It is said, the principal enemies of negatives on glass are dirt, damp, and
any sudden changes of temperature, especially when the glass is of a soft
description or liable to sweat. The negatives should be sorted into
pairs, placed back-to-back, and be wrapped in a piece of close-textured
paper. These packages are then sorted and parcelled up in brown paper to
protect them against moisture and other sources of injury.

Simpson, G. Wharton, ed. The Preservation Of Negatives. The Photographic News
XXVI (1881): 182.

In order to diminish the chance of negative films becoming broken up into
small patches, it is recommended to store them in a dry place, which is not
subject to sudden changes of temperature. Dryness may generally be
ensured by packing the negatives in tin boxes.

Simpson, G. Wharton, ed. Packing Dry Plates. The Photographic News XXVII (1883):
305.

A mode for packing dry
plates for traveling is
described. All plates face
downwards, and a strip of
board is inserted between
each. (Illustration shown
left.)

Simpson, G. Wharton, ed. Packing Plates For Traveling. The Photographic News
XXVII (1883): 334.

A plan for carrying exposed plates when traveling is described. Negatives
are placed in zinc boxes and a Turkey-red twill is folded over.


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Debenham, S.J . Accidental Destruction Of Negative. The Photographic News XXXII
(1888): 273.

A case of accidental damage is discussed. It is said, the damage might
certainly have been avoided by proper care, the negative having been
returned unpacked. The low commercial value of negatives is approached.
The hardship renders it all the more necessary to exercise the greatest care
in preserving a negative from injury. Includes the following principle, A
workman for hire is not only bound to guard the thing bailed (i.e.
entrusted) to him against ordinary hazards, but likewise to exert himself to
preserve it from any unexpected damage to which it may be exposed.

Simpson, G. Wharton, ed. Negatives. The Photographic News XXXII (1890): 461.

An explanation of the terms positive and negative is given. It is said the
negative is to a photographer the same as type and ink to a printer, or bears the
same relation an etched plate has to the finished engraving. The following
accidental defects of plates are mentioned: contamination by dust, finger-
markings or greasiness of film, pinholescuplike depressions, and scratches
(either by careless handling or small fragments of glass in cutting). The way in
which plates are taken out and re-packed is also a source of anxiety. It is alleged
that white paper, although pure, will affect a bromide film, by reason of inherent
luminous property. It is also mentioned that pressure on the film has given as a
cause of insensitiveness.

Simpson, G. Wharton, ed. Some Hints About Negatives. The Photographic News
XXXII (1890): 985.

It is said the most neglected branch of amateur photography is the care and use of
the negatives after we have them.

Huston, T.E. Plate Boxes. Photographic Mosaics (1891): 174.

The use of plate boxes as
containers, vignetting
device, and filing negative
system is described. Not
claimed as an original
idea. (Illustration shown
left.)


36
Burton ,W.K. The Causes Of The Destruction Of Gelatin Negatives Through Time.
Photographic Mosaics (1892): 234.

It is said that gelatine glass plate negatives are less permanent than collodion.
Once varnished, a collodion negative might be considered practically permanent.
By far the greater number of cases of want of permanency is due to insufficient
fixing.

Bacheller, E. F. A Good Negative Envelope. The American Annual of Photography
and Photographic Times Almanac (1892): 137.

A negative envelope is described. It is made from heavy stock (120-
pound) that provides better protection against scratches and breakage.
Because it is not glued, there is no danger of scratching while inserting the
negative. On the back are printed lines for recording information.
(Includes illustrations)

Bain, Robert E.M. To Preserve Negatives, The American Annual of Photography and
Photographic Times Almanac (1892): 53.

A simple plan is described to preserve negatives from damp and scratches. The
boxes used open on the side edge so the negatives do not fall out or get injured.
The boxes stand on the shelves and have the appearance of a set of books. The
negatives are first placed in envelopes or bagged, properly numbered and
labeled. (Includes illustrations)

Estabrooke, E. M. The Preservation Of The Negative. Photographic Mosaics (1896):
168.

The coating of gelatine glass plate negatives with plain collodion instead of
varnish is suggested. It is said that the collodion affords a smooth elastic surface,
totally impervious to dampness or any atmospheric influences, that it is a good
protection for the retouching and can be easily removed.

Wilson, Edward L, ed. The Preservation Of The Negative. Photographic Mosaics
(1897): 91.

It is said that negatives (varnished with gum dammar dissolved in benzole, and
tempered with suitable gums and a little castor-oil), best resisted the ravages of
time, handling, damp and dust.


37
Simpson, G. Wharton, ed. Storing Negatives. The Photographic News XLI (1897):
312.

The use of envelopes (commercial size) form excellent bags for keeping
negatives in, and notes can be written on the back.
Simpson, G. Wharton, ed. Storing Negatives. The Photographic News XLI (1897):
316.

An envelope made of tracing-cloth is described.

Simpson, G. Wharton, ed. A Negative Storing Box. The Photographic News XLI
(1897): 828.

A box of thin wood, lined with strips of corrugated cardboard and edged
with white paper, is described.

Simpson, G. Wharton, ed. Negative Envelopes. The Photographic News XLIII (1899):
264.

One of the best ways of
storing negatives is in
envelopes. Easily made by
the amateur. A good,
heavy paper is used for a
quarter-plate. The
envelope is first cut, then
glued up. (Illustration
shown left.)

Ward, Mrs. Catharine Weed. Classifying And Indexing Negatives. Photographic
Mosaics (1901): 128.

A method of arranging and preserving negatives by placing them in envelopes,
plate boxes, and then pigeon holes is described. Transparencies can then be made
from the negatives and arranged in a similar way.


38
Tennant, J ohn A., ed. Defects In Negatives (Scratches). The Photo-Miniature III
(1901): 343.

It is said that scratches are generally due to carelessness, and fingernails
are often responsible, and that plates and negatives should always be
grasped by the edges (holding them between the thumb and finger). Also,
that since most makes of plates are wrapped in black paper (one half
dozen to the package), it is recommended to remove this covering with the
outmost care.

Tennant, J ohn A., ed. Imperial Plates. The Photo-Miniature XI (1912).

The Imperial Plates are advertised. (Includes illustrations)

Tennant, J ohn A., ed. Imperial Lantern-Plates. The Photo-Miniature XI (1914).

The Imperial Lantern-Plates are advertised. (Includes illustrations)

Tennant, J ohn A., ed. How To Develop The Negative: Handling The Plates.
The Photo-Miniature XIV (1918): 497.

A method for handling exposed glass plates is described. Plates are taken with the
right hand and inserted in the grooves of a rack. Also, the surface of each plate is
carefully dusted with a camels hair brush.


39
ARTICLES ON FILM NEGATIVES (arranged in chronological order)

Beck, R. & J . Becks Film-Storing Negative Album. The British Journal of
Photography XLIV (1897): 250.

A handy little album is described. It includes a hundred numbered envelopes
for holding film negatives and a numerical index. The envelopes are made of very
thin transparent paper, so that it is not necessary to remove a negative in order to
identify it. (Includes illustrations)

Simpson, G. Wharton A New Film Negative Album. The Photographic News XLI
(1897): 109.

A storage album is described. Leaves are made of a special kind of
transparent paper, so that it is not necessary to take the negative out of its
case to identify it. (Includes illustrations)

Tennant, J ohn A., ed. Storing Celluloid Films. The Photo-Miniature IV (1902): 32.

It is said that celluloid films should be kept in a dry place, away from gas
fumes, but, above all, not subjected to too much pressure. It has been
pointed out that pressure upon a gelatino-bromide film destroys the
sensitiveness of the parts pressed.

Tennant, J ohn A., ed. Storing Films. The Photo-Miniature IV (1902): 50.

It is said that films can be neatly packed one or two in an envelope, between a
couple of pieces of cardboard. Assures this is as simple and efficient a way as
any, though others may prefer albums or holders specially supplied for the
convenient storage of flexible negatives.

Tennant, J ohn A. and Bedding, Thomas, eds. Photography with Films (Rettigs
Method).
The Photo-Miniature VIII (1908): 204.

A rack for holding the cut films during development, fixing, and washing
is described. (Includes illustrations)

Tennant, J ohn A. and Bedding, Thomas, eds. Photography with Films (Handling Film
Negatives). The Photo-Miniature VIII (1908): 204.

It is said that film negatives should be kept in as cool as possible, and
never allowed to lie loosely about, as if such care be not taken, they may
become unmanageable celluloidal curls and contortions.

40
Tennant, J ohn A. and Bedding, Thomas, eds. Photography with Films (Cut-Film
Envelopes). The Photo-Miniature VIII (1908): 205.

Houghtons, Limited, of London light- tight envelopes are described. It is
a system whereby the use of plate-holders is dispensed.

Tennant, J ohn A. and Bedding, Thomas, eds. Photography with Films (Storing Film
Negatives). The Photo-Miniature VIII (1908): 210.

It is explained that film negatives, whether rolled or flat, should be kept
flat under pressure (in empty plate boxes), under a piece of plate glass
larger than their dimensions, between the leaves of an album or in
negative envelopes or files specially made for the purpose. Two
adaptations of the book-storage idea are mentioned.

Tennant, J ohn A. and Bedding, Thomas, eds. Photography with Films (Defects and
Remedies: Scratches and Markings. The Photo-Miniature VIII (1908): 211.

It is explained that scratches and markings in the film may be due to rough
handling of the films in solution and developing too many at once.

Tennant, J ohn A. & Bedding, Thomas, eds. Film Negatives. The Photo-Miniature VIII
(1908): 93.

A transparent enclosure is described. It is made out of two pieces of glass bound
together on one side. It is used for enlarging film negatives.

The American Paper Goods Co. Kensington Film Book. The American Annual of
Photography and Photographic Times Almanac XXIII (1909).

The Kensington Film Book for amateur photographers is advertised. It
consists of fifty pockets numbered and indexed. It is bound with a string
and button fastener. It keeps films in a compact and orderly fashion for
quick reference. (Includes illustrations)

The American Paper Goods Co. The APG Mailing Envelope. The American Annual of
Photography and Photographic Times Almanac XXIII (1909).

The APG Mailing Envelope is advertised. It is made in one piece and
includes a single corrugated reinforcement. (Includes illustrations)


41
Tennant, J ohn A. ed. Eastman Negative Film Album. The Photo-Miniature X
(1910- 1912)

The Eastman Negative Film Album is advertised. Each album consists
of one hundred pockets made of good strong paper. (Includes
illustrations)

Tennant, J ohn A., ed. Eastmans Film Negative Albums. The Photo-Miniature,
Vol. X, Ed. J ohn A. Tennant, Tennant and Ward, NY, J une 1910-J uly
1912, p. N/A

The Eastmans Film Negative Albums are advertised. Each album
contains one hundred pockets made of strong paper and consecutively
numbered. (Includes illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XI
(1912).

The Eastman Negative Film Album is advertised. It is said to obviate
the danger of dust, scratches, and finger-marks. The strong, transparent
pockets which hold them permit of their being examined without
removing them from the pocket. (Includes illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XI (1913)

The Eastman Film Negative Album is advertised. (Includes
illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XI
(1914).

The Eastman Film Negative Album is advertised. Once used, there is no
occasion for lost, scratched, or finger-marked negatives. The albums are
bound in strong cloth covers (Includes illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XII
(1915).

The Eastman Film Negative Album is advertised. It is said to keep
negatives in good condition. The album is particularly adapted for filing
autographic negatives. (Includes illustrations)


42
Tennant, J ohn A., ed. The Eastman Film Negative Album. The Photo-Miniature XII
(1915).

The Eastman Film Negative Album is advertised. It is said to preserve
negatives against injury or loss and provide the handiest kind of a
reference book. Includes the following sentence: You want to keep your
negatives, of course, and you want to keep them where you can lay your
hands on them without delayparticularly those containing autographic
records. (Includes illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XII (1915).

The Eastman Film Negative Album is advertised. It is said to insure
negatives against loss and protects them from becoming scratched, torn, or
soiled (Includes illustrations)

Tennant, J ohn A., ed. Eastman Film Negative Album. The Photo-Miniature XIII
(1916).

The Eastman Film Negative Album is advertised. (Includes
Illustrations)

Eggen, C. An improved Print and Film Wallet. The British Journal of Photography
LXXXVIII (1941): 106.

The storing of many negatives together in one pocket of a film wallet is said to
pose a serious danger. A wallet that overcomes this risk and the danger of finger-
prints when handled by providing a separate pocket for each negative, is
described. The pockets fold in concertina fashion and are made of transparent
material, so that individual films can be viewed. The pockets may have flaps to
prevent negatives from falling out. It provides the possibility of storing negatives
in a clean, safe and properly arranged manner. (Patent No. 511,235, of September
8, 1937, by of 2, Sommerfelder Strasse, Sorau, Germany.) (Includes illustrations)


43
ARTICLES ON BOTH GLASS PLATE & FILM NEGATIVES (arranged in
chronological order)

Tennant, J ohn A. & Bedding, Thomas, eds. Defective Negatives with Practical
Remedies: Packing Stains. The Photo-Miniature VIII (1908): 141.

It is said that negatives kept in paper envelopes, sometimes show spots
and marks, due to action by the paste used in making the envelopes.

Remedies: Dust. The Photo-Miniature VIII (1908): 158.

Dust is one of the most insidious enemies the photographer can have and
that it is, at all times, to be guarded against.

Remedies (Pinholes). The Photo-Miniature VIII (1908): 159.

It is mentioned that pinholes are caused by dust on the plates during
exposure.

Remedies (Bacterial or Fungoid Growths). The Photo-Miniature VIII
(1908):160.

It is said, the finished negative, if it be valued, should be stored in pure,
dry surroundings.

Remedies (Thumb Marks). The Photo-Miniature VIII (1908): 160.

It is said the contact of ones fingers with the thumbs in dark-room work
makes the film liable to be stained with any chemicals in contact with the
fingers. The importance of care and cleanliness in handling the chemicals
is very great.

Remedies (Printed Matter on Negatives). The Photo-Miniature VIII (1908): 161

It is mentioned that the wrapping of the finished negative in paper is
attended by many risks, especially if newspaper be used for the purpose.
The printed matter, if dampness is present, is liable to set off, and an
impression can be made on the gelatine.


44
Remedies (Scratches in Negatives). The Photo-Miniature VIII, (1908): 162.

It is explained, the life of the negative is constantly menaced by breakage,
either of the film or its support. Since glass is a brittle substance and is
consequently liable to breakages (partial or complete), the breakage may
seem irremediable, but seldom is.

Remedies (Cracked Negatives). The Photo-Miniature VIII (1908): 163.

A plan is described to detach the film from the broken support.

Remedies (Damaged). VIII (1908): 165.

It is explained how rolled film negatives, when ready for printing or
enlarging, may be so torn, doubled, or creased that the markings will show
through on to the paper.

Remedies (Storage of Plates and Films). The Photo-Miniature VIII (1908): 165.

It is explained that if plates and films are not stored in a cool, dry, light-
tight place, then they are liable to deteriorate and so yield foggy results.

George Murphy, Inc. Star Negative File. The American Annual of Photography and
Photographic Times Almanac XXIII (1909): 38.

The Star Negative File, patented J uly 16, 1900, is advertised. It consists of a
heavy pasteboard box, fitted for fifty glass negatives or a larger number of films,
separated by pasteboard frames. (Includes illustrations)

George Murphy, Inc. Star Negative File The Photo-Miniature IX (1909-1910).

The Star Negative File (patented J uly 16, 1900) is advertised. The file is
a heavy pasteboard box, covered in imitation morocco. It is fitted for 50
glass negatives or a larger number of films, separated by pasteboard
frames, the centers of which are cut out for ventilation. A heavy card,
numbered for indexing is in front of each file. (Includes illustrations)

George Murphy, Inc. Star Negative File The Photo-Miniature IX (1912).

The Star Negative Files are advertised. (Includes illustrations)


45
Tennant, J ohn A., ed. Failures and Why in Negative Making: Spots and Markings:
Physical Damage. The Photo-Miniature XIII (1916): 36.

It is said, the avoidance of scratches and pieces dislodged from film
negatives, is almost entirely a matter of care in manipulation. Other causes
of physical damage are mentioned.


46
A REVIEW OF PHOTOGRAPHIC CATALOGS
(arranged in alphabetical order)

The following list includes some examples of negative enclosures and their
specifications. (Physical qualities are bolded.)

CALUMET

Archival Storage Pages, 2000
Versatile, archival quality polypropylene storage pages
Provide excellent strength, clarity and protection
Specifically designed for safe, long term preservation
Pages are crystal clear which allows contact printing without removing the film
Features matte data panel for writing down information

Print File Polyethylene Pages, 2000
Economical, archivally sound, polyethylene pages and sleeves
Strong yet thin
Clear enough for contact printing

HOUGHTONS, LTD

Houghtons LTD Negative Bags, 1914


47
KODAK CATALOG

Eastmans Negative Storage Albums, N/A
For film negatives

Eastmans Film Negative Albums, 1899
For film negatives

Amateur Delivery Envelopes, 1911/12/13
For film negatives

Eastman Film Negative Albums, 1915
For film negatives

Kodak Negative Albums, 1930
For film negatives

KODAK PRODUCTS FOR THE PHOTO FINISHER

Kodak Negative Envelopes, 1940s
For film negatives

Kodak Photofinishing Envelopes, 1940s
For film negatives

Kodapak Sleeves, 1940s
For film negatives

Kodak Negative Files, 1940s
For film negatives

Kodak Negative Envelopes, 1950s
For film negatives

48
A REVIEW OF ARCHIVAL SUPPLIES CATALOGUES
(arranged in alphabetical order)

The following list includes some examples of negative enclosures and their
specifications. (Physical qualities are bolded.)

ARCHIVART

Archivart

Glassine Paper, 2002-2003
Acid-free
Unbuffered
Made from selected chemical pulp
Transparency obtained in a special manufacturing process with no salts,
additives or chemical surface treatment
At time of manufacture, pH value is 6.8-7.5
Since paper is unbuffered, pH value is expected to drop when exposed to normal
atmospheric conditions
For interleaving and wrapping
41g/m
2

Passes PAT of ANSI standard IT9.16 (test performed by the IPI at RIT)

Archivart

Wrapping Paper, 2002-2003
Excellent strength characteristics
Made from selected chemical pulp
Acid-free and buffered against acid deterioration
pH 7.5-8.5
For wrapping, archival storage and shipping
Also dust cover for framing
103g/m
2

GAYLORD

Gaylord
Negative/Print Envelopes Buffered, 2002

Acid free adhesive
Thumb-cut
Resists acid migration
Acid-free
Lignin-free
pH 8.0-8.5
80lb text
Cream-colored
3% calcium carbonate buffer
Passed PAT

49
Gaylord

Negative/Print Envelopes Un-buffered, 2002
pH-neutral adhesive
Smooth inner surface
High alpha cellulose content
Acid-free
Lignin-free
pH 8.0-8.5
80lb text
Cream-colored
Unbuffered
Passed PAT

Gaylord

Microfiche Envelopes, 2002
Individual envelopes
Seams are on the outside (to prevent pressure damage)
Acid-free
Lignin-free
pH 7.0-7.5
24lb
Cream-colored
3% calcium carbonate buffer
Passed PAT

Print File Ultima Negative Preservers, 2002
Accommodates sleeved negatives
Doubles protection against dust, dirt, scratches and fingerprints
Made from clear, archival quality polypropylene
Ensures safe, long-term storage
Pages can be used in hanging file systems

New Print File Negative Preservers, 2002
Protects negatives from oily fingerprints, abrasion, dust and moisture
3-hole punched for standard size binders

METAL EDGE, INC.

Large Permalife Bond
Sheets, Vol. XI-XIII

20lb
For interleaving or wrapping
Long term paper
Paper will not discolor or yellow with age
Watermarked paper is acid-free, buffered and 25% rag stock


50
Permalife
Buffered Text Paper, Vol. XI-XIII

80lb heavyweight paper
Used to make light weight folders, end sheets in books, envelopes, protective
sleeves and jackets
Made from acid/lignin-free, buffered paper
Watermarked with a smooth soil resistant finish
Off-white finish

Permalife
Bond Paper, Vol. XI-XIII

Standard for preservation quality paper in most archives, museums &
institutions
Ideal for creating permanent records, interleaving and photocopying fragile
documents
20lb
Archival quality
Watermarked for quality identification
25% rag and 75% pure cellulose fiber content
Manufactured from acid/lignin-free buffered material (pH 8.5)
Paper will not discolor
Has a life expectancy in excess of 300 years when stored properly
Excellent surface & folding characteristics for pen & ink writing, printing
Processes, laser printers, Xerox

processes, etc.

Windowed Side Opening Envelopes, Vol. XI-XIII
Archival quality
Envelopes allow you to quickly identify & examine contents while providing
an excellent protection from dust, dirt & finger prints during handling and
storage
10 pt
Light tan
Acid/lignin-free
Buffered (pH 8.5)
Envelope stock with a crystal clear, archival quality polyester window
Heavyweight envelopes provide additional support for old or fragile items
With side openings (long dimension) for easy insertion & removal of contents
A non adhesive flap holds contents within the envelope
Envelopes fit in document cases, record storage cartons & standard file
cabinets

Tyvek

Expansion Storage Envelopes, Vol. XI-XIII
Provide an excellent solution for items that need a quick enclosure but are too
large for ordinary envelopes
The gusset structure allows the volume to sit securely on the shelf
For items going to off-site storage where the strong Tyvek

will provide
protection against wear and tear
This inert material makes it suitable for archival collections

51
Manufactured from Dupont #18 Tyvek

(purest grade Tyvek

available)
Contains a minimal anti-static coating
The envelope flap has no adhesive & is extra long to help hold the envelope
closed
Special preservation quality adhesives are used on all seams
The gusset on each side of the envelope allows expansion
Opens on the short dimension

Side Opening Envelopes, Vol. XI-XIII
Easy access & removal of contents
Alternative to vertical file jackets
Heavyweight 10pt. envelopes
Non adhesive flap for the secure storage of artifacts
Acid-lignin free
Light tan stock
3% calcium carbonate buffer (pH 8.5)
All seams are sealed with a neutral ph adhesive
Both the envelope and the seam adhesive pass the PAT
Envelopes fit comfortably in document cases, storage cartons, standard file
cabinets and many other archival boxes
Opens on the long dimension


52
A REVIEW OF CONSERVATION PUBLICATIONS

AT THE GEORGE EASTMAN HOUSE (arranged in chronological order)

George Eastman House Conservation Library

Brown Stains Caused By Negative Envelope Seams, Stains On Negatives And Prints,
Eastman Kodak Company, Rochester, 1952, 28.

How To Keep Negatives, Caring For Photographs, Time-Life Books, New York,
1972, 106.

Weinstein, Robert A. and Larry Booth. Care Of Negatives, Collection, Use And Care
Of Historical Photographs, American Association for State and Local History,
Nashville, Tennessee, 1977, 132.

Negative Enclosures, Preservation Of Photographs, Eastman Kodak Company,
Rochester, 1979, 30.

Adams, Ansel. The Negative, The New Ansel Adams Photography Series, Vol. 2, New
York Graphic Society, Boston, 1981.

Ritzenthaler, Mary Lynn, Gerald J . Munoff and Margery S. Long. Storage Requirements
of Specific Formats and Processes (Glass Plate Negatives, Film Negatives),
Administration of Photographic Collections, Basic Manual Series, Society of
American Archivists, Chicago, 1984, 112.

Recommended Enclosures And Materials, Conservation Of Photographs, Eastman
Kodak Company, Rochester, 1985, 96.

Rempel, Siegfried. Handling Photographs, The Care Of Photographs, Lyons &
Burford, New York, 1987, 21.

Burgi, Srgio. Materiais Accesrios Utilizados No Acondicionamento de Fotografas e
Filmes, Introduo Preservao e Conservao de Acervos Fotogrficos:
Tcnicas, Mtodos E Materiais, Ministerio da Cultura, Fundao Nacional de
Arte, Rio de J aneiro, 1988, 16.

Hendricks, Klaus B. Handling Of Photographs, Fundamentals Of Photograph
Conservation: A Study Guide, Minister of Supply and Services, Canada, 1991,
421.

Berselli, Silvia, Anne Cartier Bresson, Karin Einaudi, Michael Hager and Grant Romer.
La Fragilit Minacciata: Aspetti E Problemi Della Conservazione Dei Negative
Fotografici, Unione Internazionale Degli Istittuti Di Archeologia, Storia e Storia
DellArte in Roma, Roma, 1991.

53
Wilhelm, Henry. The Handling, Presentation, And Conservation Matting Of
Photographs, The Permanence and Care Of Color Photographs: Traditional And
Digital Color Prints, Color Negatives, Slides, And Motion Pictures, Preservation
Publishing Company, Grinnell, Iowa, 1993, 393.

Fischer, Monique C. and Andrew Robb. Guidelines For Care And Identification Of
Film-Base Photographic Materials, Topics In Photograph Conservation, Vol. 5,
American Institute For Conservation, Photographic Materials Group, 1993, 117.

Hendricks, Klaus B. and Rdiger Krall. Fingerprints On Photographs, Topics In
Photograph Conservation, Vol. 5, American Institute For Conservation,
Photographic Materials Group, 1993, 8.

Hollinger J r, William K. Microchamber Papers Used As A Preventive Conservation
Material, Preventive Conservation Practice, Theory And Research (Preprints Of
The Constributions To The Ottawa Congress, 12-16 September, 1994), Edited by
Ashok Roy and Perry Smith, International Institute For Conservation Of Historic
And Artistic Works, London, 1994, 212.

Berselli, Silvia and Laura Gasparini. Corretto Utilizzo Delle Opere, LArchivo
Fotogrfico: Manuale Per La Conservazione E Le Gestione Della Fotografia
Antica E Moderna, Zanichelli Editore, Bologna, 2000, 98.

CONDITION REPORT TERMINOLOGY (Glossary of terms), Conservation Department
International Museum of Photography at George Eastman House, N/A.

George Eastman House Library

Willsberger, J ohann. The History Of Photography, Doubleday & Company, Garden City,
New York, 1977.

Keefe, Laurence E. and Dennis Inch. The Life Of A Photograph, Second Edition, Focal
Press, Butterworth Publishers, Stoneham, MA, 1990.


54
AT THE IMAGE PERMANANCE INSTITUTE (arranged in chronological order)

Ostroff, Eugene. Preservation of Photographs, October 1967.

The Preservation And Restoration Of Glass Plate Negatives, Image, Vol. 6, J une 1973.

Ostroff, Eugene. Photographic Preservation: Modern Techniques, February 1974.

Clark, Walter. Camera View: Techniques For Conserving Those Old Photographs, The
New York Times, J une 13, 1976.

Rempel, Siegfried. Enclosures For Housing Photographic Negatives, Conservation
Notes, No.3, J anuary 1983.

Study Of Preservation Characteristics Of Negative Jackets, General Services
Administration, National Archives and Records Service, Washington DC, J uly
19, 1983.

Albright, Gary E. Which Envelope?: Selecting Storage Enclosures for Photographs,
Picturescope, Winter, 1985.

Gillet, Martine, Chantal Garnier and Francoise Flieder. Glass Plate Negatives:
Preservation And Restoration, Restaurator, Vol. 7, No. 2, 1986.

Buffered Paper Seamed Enclosure For The Storage Of Photographic Records, National
Archives and Records Administration Specification, October 1986.

Walsh, Betty. Photographic Enclosures, WAAC Newsletter, Vol. 10, No.3, September
1988.

Reilly, J ames M., Douglas W. Nishimura, Luis Pavo and Peter Aldestein. Photo
Enclosures Research And Specifications Topics In Photographic Preservation,
Volume 3, Compiled by Robin E. Siegel, AIC-PMG, 1989.

Mc Cabe, Constance. Preservation Of 19
th
-Century Negatives In The National Archives,
J AIC 30, 1991, 41-73.

Durniak, J ohn. That Beloved Shoe Box May Be A Photo Villain, New York Times,
September, 1992.

Preservation Issues Glassine Revisited Views, The Newsletter Of The Visual Materials
Section Society Of American Archivists, Vol. 7, No. 2, April 1993. (Note:
comments on glassine by Sarah Wagner)


55
List Of Topics From The Coordinated Research Possibilities Meeting, August 2-4,
2000, Coordinated Research Possibilities At The Image Permanence Institute,
Rochester Institute Of Technology, Rochester, NY, 2000.

Archival-Quality Storage Enclosures, Northeast Document Conservation Center, MA,
N/A.

Suppliers Of Photographic Conservation Materials, Northeast Document Conservation
Center, MA, N/A.

Orraca, J os. The Preservation Of Glass Plates And Slides, N/A.


56
ISO STANDARDS

The following is a summary of ISO 18918, Imaging MaterialsProcessed Photographic
PlatesStorage Practices, 2000. (Physical aspects are bolded.) (Note: Related standards are
included in Appendix D.)

ISO 18918, IMAGING MATERIALSPROCESSED PHOTOGRAPHIC
PLATESSTORAGE PRACTICES, 2000.

Introduction

1. The standard covers photographic plates on glass or metal supports:
Albumen plate
Ambrotype plate
Collodion plate
Colour screen plate
Ferrotype/tintype plate
Gelatin plate
Lantern slide

2. Provides recommendations on proper storage conditions and practices.

3. Lists the elements that affect the preservation of photographic plates on glass or metal
supports:
Relative humidity and temperature
Hazards of fire, water, and light exposure
Microorganisms
Contact with certain chemicals
Physical damage

4. Gives recommendations for photographic plates on glass or metal supports:
Storage enclosures, housing and rooms
Atmospheric and environmental conditions
Fire protection
Handling and inspection procedures


57
On Housings, Storage Enclosures And Containers

1. Processed photographic plates require protection against all types of physical damage, such
as:
Scratches
Abrasion
Fingerprints
Breakage

2. Filing enclosures and containers provide physical protection that minimizes or prevents
such damage.

3. Filing enclosures also:
Exclude dirt
Facilitate identification and handling

General Guidelines

1. Photographic film and prints shall not be stored within the same enclosure or container as
the plate.

2. Different types of photographic plates shall be stored separately.

3. Enclosures and containers shall be designed to allow vertical storage, resting on one long
edge.

4. If stored horizontally, plates on the bottom may suffer from excessive pressure. (19
th

century glass plates are especially vulnerable since such glass is not completely flat.)

5. If unprotected plates are stored in contact, they shall be oriented with the emulsion side
against the backside, not emulsion against emulsion.

6. Very fine-grain images should never be stored in contact, but in grooved, multiple plate
containers.

7. Plates shall be in clean condition before placed in storage.


58
Individual Enclosures

1. All enclosures shall meet the requirements of ISO 18902 and ISO 14523

2. Individual plates shall be stored in individual..
Envelopes (seamed or seamless)
Sleeves
Folders

3. Suitable plastic enclosure materials are:
Uncoated polyester
Polystyrene
Polyethylene
Polypropylene

4. Glassine and chlorinated, nitrated, or highly plasticized sheeting shall be avoided.

5. Cellulose nitrate and polyvinyl chloride (PVC) are not acceptable.

6. The adhesive used for seams shall meet requirements of ISO 18902 and ISO 14523.

7. Suitable adhesives include:
Polyvinyl acetate (PVA)
Pure starch paste
Methyl cellulose

8. Seams shall be at the edge of the enclosure and not in contact with the image layer

Observations

The standard does not mention thumbcuts.


59
SUMMARY OF BIBLIOGRAPHY

Patents For Inventions, Great Britain

Plate boxes with clearance pieces prevent the envelopes containing the negatives
from being injured. Plate negatives should stand erect.

Photographic Journals

Envelopes made from heavy stock provide better protection against scratches and
breakage. If envelopes are not glued, there is no danger of scratching while inserting the
negative. Envelopes are also named bags. There are envelopes made in one piece,
including a corrugated reinforcement.
The best way to store away negatives is not in plate boxes, but wrapped in paper.
The simplest and probably the best way is to keep the negatives packed in batches,
having one or two sheets of blotting paper interposed between each of them. The cost of
the paper is much less than grooves or plate-boxes.
Keeping negatives in plate-boxes or grooved shelves where the atmosphere
varies, is uncertain. There is no better plan than enveloping them with moderately thick,
soft paper. They can be stored in pigeon-holes, so that they can safely be handled. A
method of arranging and preserving negatives is by placing them in envelopes, plate
boxes, and then pigeon-holes. Films can be packed one or two in an envelope, between a
couple of pieces of cardboard. Film books keep films in compact and orderly fashion for
quick reference. A storage system can include a smooth paper on the varnished side, a
thick flannel or smooth blotting paper and a box.

60
The storing of many negatives together in one pocket of a film wallet can be a
serious danger. A wallet can overcome this risk and the danger of finger-prints when
handled, by providing a separate pocket for each negative. Pockets are folded in
concertina fashion and are made of transparent material, so that individual films can
be viewed. The pockets may have flaps to prevent negatives from falling out. This is a
way of storing negatives in a clean, safe, and properly arranged manner.
Celluloid films should be kept in a dry place, away from gas fumes, and, above
all, not subjected to too much pressure. Scratches are generally due to carelessness, and
fingernails are often times responsible. Plates and negatives should always be grasped by
the edges (holding them between the thumb and finger). Negatives kept in paper
envelopes sometimes show spots and marks, due to action by the paste used in making
the envelopes. Dust is one of the most insidious enemies. Pinholes are caused by dust on
the plates during exposure.
The life of the negative is constantly menaced by breakage, either of the film or
its support. If plates and films are not stored in a cool, dry, light-tight place, then they are
liable to deteriorate and so yield foggy results. Film negatives should be kept in as cool as
possible, and never allowed to lie loosely about, as if such care be not taken, they may
become unmanageable celluloidal curls and contortions. Film negatives, whether rolled
or flat, should be kept flat under pressure (in empty plate boxes), under a piece of plate
glass larger than their dimensions.
Scratches and markings in the film may be due to rough handling of the films in
solution and developing too many at once.

61
Strong, transparent pockets which hold the film negatives permit of their being
examined without removing them from the pocket. Negatives (varnished with gum
dammar dissolved in benzole and tempered with suitable gums and a little castor-oil) are
more resistance to the ravages of time, handling, damp and dust.


62
CONCLUSIONS

This project provided or represented to the researcher a deep familiarization with
the topic. First but very important step in order to be able to promote the care of
negatives in institutions.
It is now possible to contribute in the updating of international standards and
work with archival supplies manufacturers in the improvement of existent
enclosures.
The photographic journals concern amateur photography. It refers to the time of
processing of the negative or soon after that. The project would like to address
instead the 2
nd
and 3
rd
historicity of the artifact: B&W negatives in use and/or
storage.
The project accomplished the task of locating and providing a list of references
related to the storage and handling of glass plate and film negatives.
The research provided the researcher the opportunity to identify and locate the
related references available as well as its authors.
The research will serve as a didactic tool, for it will be constantly revised and
updated to accomplish its purpose.


63
WORKS CITED

ISO Standards

ISO 18918 , 2000 Imaging materialsProcessed photographic platesStorage
practices

Negative Preservation

Valverde, Ma. Fernanda. Photographic Negatives: Nature and Evolution of Processes,
ARP, Rochester, NY, 2003


64
APPENDIX APROJECT TIMETABLE

The project was developed between the months of May 2004 and J une 2005. Within this
time period, the tasks, goals, and aims were accomplished as shown on this timetable:

May 2004
1
st
Project Proposal: A History of Paper Enclosures and their
Impact in the Preservation of Negative Collections
J une 2004
Resources:
Collections and GEH Conservation Library
J uly 2004
Resources:
Collections and GEH Conservation Library
August 2004
1
st
Presentation: A History of Paper Enclosures and their Impact in
the Preservation of Negative Collections
September 2004
Resources:
IPI Library and Study Collection, GEH Library

October 2004
Resources: IPI Library and Study Collection, GEH Library.
AIC Workshop: Contemporary Machine-Made Papermaking

November 2004
Resources:
IPI Library and Study Collection, GEH Library
December 2004
Resources:
GEH Library and GEH Photographic Collection
J anuary 2005
2
nd
Presentation: A Users Guide to the Handling and Storage of
Negative Collections
February 2005
Resources:
GEH Conservation Library and VSW Research Center
March 2005
Resources:
GEH Conservation Library and TCCC Collection
April 2005
Resources: GEH Conservation Study Collection and GEH
Photographic Collection

May 2005
Final Draft: Preserving B&W Negatives from Physical Damage:
J une 2005
Text Revision and Collaborative Workshop in Photograph
Conservation: 19
th
Century Photographic Negative Processes
J uly 2005
Project Defense

August 2005
Final Presentation


65
APPENDIX BGLOSSARY

ABRASION (SCORE, SCRAPE, SCRATCH, SCUFF)
A rubbing away, wearing or grinding by friction on the binder, emulsion or support.

Source: CONDITION REPORT TERMINOLOGY (Glossary of terms), Conservation Department
International Museum of Photography at George Eastman House

ACCRETION (RESIDUE)
External accumulation. An extraneous addition, both on recto and verso of the artifact,
such as grime, tapes, labels, adhesives, etc.


BIOLOGICAL DETERIORATION (MOLD GROWTH, FUNGUS, INSECT
DROPPING, FOXING)
Visible flaw produced by living organisms: mold, insects, rodents.


BOX, NEGATIVE
A box, usually either of wood or metal, for the storage of negatives.

Source: Encyclopedia of Photography, Edited by Bernard E. J ones, New York, 1974, p. 70

BOX, PLATE
A light-tight wooden or metal box, usually grooved, for the safe custody of unexposed or
undeveloped plates.


BREAK (CRACK, FISSURE, FRACTURE)
Splitting apart or sharp separation of emulsions, varnish layers, supports and housings
through chemical deterioration or physical stress.


66
B&W NEGATIVES SUPPORTS
Paper:
- Paper negatives
Glass plate:
- Collodion glass plate negatives
- Gelatin glass plate negatives
Film:
- Cellulose nitrate
- Cellulose acetate
- Polyester

Source: ANSI PH1.53-1978American National StandardRequirements for photographic filing
enclosures for storing processed photographic films, plates, and papers

CARE
Attention.

Source: Diccionario Tcnico Akal de Conservacin y Restauracin de Bienes Culturales, Ediciones Akal,
Madrid, 2003

CARETAKER/CAREGIVER
One who gives attention.

Source: Diccionario Tcnico Akal de Conservacin y Restauracin de Bienes Culturales, Ediciones Akal,
Madrid, 2003

CONTAINERMULTIPLE NEGATIVE STORAGETYPES
Box
Can
Album


DAMAGE (DETERIORATION)
Injury or harm, that impairs appearance, value or usefulness.



67
DETERIORATION (DAMAGE)
Gradual degeneration, decline or impairment in quality.


ENCLOSURE
Anything that a photograph goes into to give it protection.


ENCLOSURE DESIGNSINDIVIDUAL NEGATIVE STORAGETYPES
Envelope
Sleeve/Sheath
Folder
Mat


ENVELOPESTYPES
Without protective flap: cemented on two sides with bottom fold and with one
end open.
With protective flap: cemented on two sides with bottom fold and with a
protective flap at the open end.


FOLDER
A single sheet, folded and without cemented seams.



68
HOUSING
Protective enclosures created to preserve photographs, such as cases, frames, boxes,
sleeves, envelopes.


HOUSINGSTYPES
Drawer
Rack
Shelf
Cabinet


INTERLEAVING (TISSUE GUARD)
Protective sheet of paper or plastic inserted between the surface of a photograph and any
other surface.


MATT (WINDOW MAT)
A flat surface of varying material and thickness employed to decoratively frame and
protect a photographic object by separating its surface from contact with other surfaces
such as glass used in framing.


MOLD GROWTH (FUNGUS, BIOLOGICAL DETERIORATION)
Areas of biological material growth developed through poor storage.


NEGATIVE
An image in which the lights and shades are reversed.


69
NEGATIVE ENVELOPE
Thin paper envelopes used for storing negatives. Particulars of the subject, date of
exposure, and other details may be written outside.


NEGATIVE STORING
Negatives are stored in wooden or metal boxes. Grooved boxes and drawers are favoured
by some, others prefer placing each negative in an envelope bearing the number, title, and
other particulars. This takes up much less room, but the negatives cannot be inspected
without removal from the envelopes, unless these are transparent. Films are preferably
stored in albums with stout leaves.


PHYSICAL DAMAGETYPES
Abrasion
Breakage
Scratches
Markings
Dust
Surface stains
Metallic silver stains
Pinholes
Bacterial or fungoid growth
Fingerprints/Thumbmarks
Printed matter
Cracks


RECEPTACLE
Container.



70
SEAMS
Area of the adhesive bond.


SCORE
Line, notch or incision made with a sharp object.


SCRAPE
Damage caused by a stroke of an edged instrument or object pushed firmly or across. A
degree more severe than scuff.


SCRATCH (ABRASION, SCRAPE)
A linear mark or marks caused by the abrasion on a surface.


SLEEVE/SHEATH
A cemented side-seam enclosure with both ends open.


SPOT (BLEMISH)
Disfiguring mark on surface, substance or body made by a deposit of foreign matter. It
differs clearly in colors from the surrounding surface. Small and usually rounding,
differing in color, texture, character, etc.



71
STAIN (DISCOLORATION)
Discoloration, local or overall, by some deterioration resulting from foreign matter that
penetrates into or acts chemically when reacting with another material.


STORAGE LEVELS
Housing
Container
Enclosure


SUPPORT
A material used to carry and give strength to photographic imaging substances and
binders, such as the glass employed in the wet collodion process. Most common materials
employed in photography as supports are: metals, glass, plastic, paper and cloth.


TEAR (RIP)
Area that has been pulled apart by stress or force.



72
APPENDIX CREFERENCE CATALOG

(Note: Reference Catalog by collection)

Charles Kamerman,
Kodak Collector

* Example of Wallet

Eaton S. Lothrop,
Private Collector

*Example of Sleeve

Frank T. Storey,
Private Collector

*Example of Envelope

Nick M. Graver,
Photographic
Antiquarian

*Example of Envelope

IPI Study Collection

*Example of Sleeve

Grant B.Romer,
ARP Director and
Project Supervisor

*Example of Folder

Gary E. Albright,
Art Conservator

*Example of Mat: Little Nipper

GEH Conservation
Study Collection

*Example of Sleeve: Album


73
APPENDIX D
ADDITIONAL RECOMMENDED READINGS

ISO Standards

ISO 18911, 2000 Imaging materialsProcessed safety photographic filmsStorage
practices

ISO 18902, 2001 Imaging materialsProcessed photographic films, plates and
papersFiling enclosures and storage containers

ISO 14523, 1999 PhotographyProcessed photographic materials Photographic
activity test for enclosure materials

ISO 18923, 2000 Imaging materialsPolyester-base magnetic tapeStorage
Practices

ISO 10356, 1996 CinematographyStorage and handling of nitrate-base motion-
picture films

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Preserving B&W Negatives From Physical Damage:

Handling Methods and Enclosure Design

Negative/Print Envelopes Buffered, 2002

Sheets, Vol. XI-XIII

Buffered Text Paper, Vol. XI-XIII

Bond Paper, Vol. XI-XIII

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