María Fernanda Valverde

Advanced Residency Program in Photograph Conservation

Contents
Preface.............................................................................................................................................. 3
Introduction..................................................................................................................................... 4
Paper Negatives................................................................................................................................ 5
Collodion Glass Plate Negatives....................................................................................................... 9
Gelatin Dry Plate Negatives............................................................................................................ 14
Cellulose Nitrate Film Negatives..................................................................................................... 19
Cellulose Acetate Film Negatives................................................................................................... 24
Polyester Film Negatives................................................................................................................. 29
General Bibliography...................................................................................................................... 32
Glossary......................................................................................................................................... 33
Endnotes........................................................................................................................................ 35

Photographic Negatives: Nature and Evolution of Processes, 2nd edition

© 2005 Advanced Residency Program in Photograph Conservation
sponsored by the Andrew W. Mellon Foundation
George Eastman House
Image Permanence Institute
Photography by Douglas Manchee

www.arp-geh.org www.eastmanhouse.org www.imagepermanenceinstitute.org

2
Preface
This booklet is a companion to the illustrated poster “Photographic Negatives — Nature and Evolution
of Processes” published by the Mellon Advanced Residency Program in Photograph Conservation at the
George Eastman House and the Image Permanence Institute. The booklet provides basic information plus
a bibliography on the technology and long-term behavior of the types of negatives that are most likely
to be found in photographic archives. It may be used in conjunction with the poster as a didactic tool to
introduce general audiences to the structure of negative images and the changes in their component ma-
terials over time. The ultimate goal of both pieces is to assist caretakers in the identification of negative
collections for the purpose of preserving them and promoting their use as sources of information and
tools for investigation.
It is the intention of this publication to promote the appreciation of the photographic negative as a unique
object deserving to be valued and preserved in its original format and material condition.

Acknowledgments
This project was made possible with funds from the Andrew W. Mellon Foundation, provided through
the Advanced Residency Program in Photograph Conservation at George Eastman House and the Image
Permanence Institute at Rochester Institute of Technology. I am most grateful to Angelica Zander Ruden-
stine, Program Officer for Museums and Conservation for the Mellon Foundation, whose interest in the
development of the field of photograph conservation and support of educational initiatives with this goal
resulted in the creation of the Advanced Residency Program.
I wish to thank Advanced Residency Program co-directors Grant Romer of George Eastman House and
James Reilly of the Image Permanence Institute for their guidance throughout the development of the
poster and booklet. Special gratitude goes to Mr. Reilly and to Jean-Louis Bigourdan, Image Permanence
Institute research scientist, both of whom worked closely with me as project advisors. I would like to
acknowledge the contributions of Karen Santoro at the Image Permanence Institute, who designed the
poster and booklet and prepared them for production; Michael Hager, owner of Museum Photographics,
for reviewing the content of the poster and for printing it with the highest image quality possible today; and
Peter Adelstein of the Image Permanence Institute for his valuable comments on the text and poster.
I appreciate the information generously offered by Mark Osterman, faculty member of the Advanced
Residency Program, whose expertise in the technology and manufacture of 19th-century photographic
negatives added special value to this project. I wish to thank Cynthia Fay for editing the booklet; Douglas
Nishimura, Image Permanence Institute research scientist, for reviewing the text and graphic content of
the poster; and Michael Shuter of Museum Photographics, for perfecting the images that appear both on
the poster and in the booklet.
Warm thanks go also to the following individuals: Franziska Frey, faculty member of the Advanced
Residency Program; my colleagues from the 2001-2003 Advanced Residency Program cycle: Jiuan-jiuan
Chen, Hanako Murata, Elena Simonova-Bulat, Sara Shpargel, and especially Katherine Jennings, for her
comments on the text; and Douglas Manchee, at Rochester Institute of Technology, for photographing the
original negatives. I am grateful to Stacey VanDenburgh, Advanced Residency Program Manager, for of-
fering her support and for helping to promote this publication and to ARP faculty members Gary Albright,
Dana Hemmenway, Carole Troufléau, and Pilar Martínez and George Eastman House staff members Joe
Struble, David Wooters, and Therese Mulligan for their assistance on this project.
Finally, without access to the unique collections and other study resources at George Eastman House and
without the use of the excellent research facilities at the Image Permanence Institute, this project would
not have been possible.

3
Introduction
Photographic negatives are unique camera images used as masters for the production of multiple posi-
tive prints. Generated at the real scene, negative images are primary sources of visual information and
represent half of the step towards the creation of the photographic print.
A black & white negative image is made up of fine silver particles (color negative images are made up
of color dyes) embedded in a thin transparent layer called the binder. Together, the binder and the im-
age substance form a single coat, which is often called the emulsion, on a transparent or translucent firm
support (e.g., paper, glass, film, etc.). During fixing (i.e., transforming all of the silver halide crystals that
were not exposed to light into a water-soluble compound that can be washed away), the negative image
is stabilized and will not change upon further exposure to light and, if processed properly, will remain
unchanged under ordinary environmental conditions. This
allows for the printing of positive images (positives) from Common Types of Negatives and the
the negative over a long period of time. Dates They Were Produced

The processes for producing negatives, as well as the Negative Type Dates
supports on which they were created and the transparent Paper 1841– ca. 1865
medium (i.e., binder) that holds the light-sensitive salts Collodion on glass 1851 – ca. 1885
that form the image after processing, have changed over Gelatin dry plate ca. 1878 – ca. 1925
the years. The table at the right lists the negatives most
Cellulose nitrate film ca. 1889 – ca. 1950
commonly found in photographic archives and the dates
they were produced. Cellulose acetate film ca. 1925 – today
Polyester film 1955 – today
After exposure and processing, black & white negative
images are formed by relatively large silver particles,
which result from the exposure and chemical development of the silver-halide crystals (i.e., light-sensi-
tive silver salts). In fact, because faster exposure times are preferred when capturing the real scene with a
camera, negatives always have been produced with the aid of a chemical agent, called developer, which
is introduced after the exposure. The developer magnifies the effect of the light upon the exposed crystals
in the emulsion and produces a strong image from the otherwise invisible or “latent” image.
Color negative images are composed of chromogenic dyes (cyan, magenta, yellow) that form during
development of the negative image around the exposed silver-halide crystals, which become filamentary
silver particles after development. The filamentary silver particles are removed later during one of the
color negative processing steps (called bleaching) leaving just the dyes.
In contrast to the creation of the negative image, early positive prints were obtained entirely through
exposure to sunlight—without the aid of a chemical agent—until the turn of the 20th century when
photographic papers for creating developed-out prints (which require the aid of a chemical agent) were
commercialized.
Despite similarities in terms of image substance and processing methods, photographic negatives are made
from different materials depending on their type of process and time period. Therefore, not all negatives
are equal, nor do they behave the same over time. The lifespan of different types of negatives is determined
by the least chemically stable of their components, which varies from one process to another. For example,
negatives on glass supports may suffer from the symptoms and manifestations of glass decomposition,
whereas negatives on plastic supports will show signs of degradation related to the inherent instability of
the polymers employed in creating the plastic supports.
The conservation problems posed by negative collections are not just related to their material condition,
but to other factors as well, such as the sheer quantity of negatives, accessibility to the collection and
negative storage requirements
Nevertheless, understanding the chemical and physical properties of each type of negative, as well as the
kind of processing they may have undergone, is the first step towards preservation.

4
Paper Negatives
1841 – ca. 1865
 Background
The calotype was the first stable photographic system to produce a negative
that could be used as a master for the creation of positive prints. (Talbot’s
“photogenic drawing” negatives, which preceded the calotype, were sta-
bilized but not fixed.) Paper negatives created using the calotype process,
and its later variations, were mostly made by British, Scottish and French
photographers. The process debuted in 1841 and fell out of favor around
1865. Its heyday overlapped the introduction of the collodion on glass
negatives, which produced much sharper prints.
Because the calotype process required longer exposure times, it was pre-
ferred for landscape and architecture photography while the wet collodion
process on glass plates, which required shorter exposure times, was more
suitable for studio portraits. Although better results were achieved by expos-
ing freshly sensitized paper, the calotype process did not require carrying a
portable darkroom into the field. Paper negatives could be prepared ahead
of time with the light-sensitive salt (i.e., silver iodide), exposed wet or dry
and developed at a later time. In addition, the lightweight paper supports
were easier to carry and the paper could be rolled to make transporting
them more efficient than the glass plate supports. These advantages of
paper negatives made them popular choice for traveling photographers
in particular.
Process
 
The calotype paper negative process incorporated all the basic steps of
modern photography, including the development of an invisible latent
image with a chemical agent, and the subsequent fixing of the image by
eliminating the unexposed silver salts with sodium thiosulfate fixer (also
known as hypo).
The original calotype procedure, patented by William Henry Fox Talbot
in 1841, was a multistep process: Calotype negative (laterally reversed), top, with
positive image below. Hill & Adamson (Scottish,
1.  Iodize 5.  Fix active 1843-1848), [Two Newhaven Fisher-
2.  Sensitize 6.  Wash women], ca. 1845. 21.3 x 15.8 cm (8.375 x 6.25
in.). Gift of Georgia O’Keeffe, George Eastman
3.  Expose 7.  Wax (optional) House Collection.
4.  Develop
Step 1: Iodize
Iodizing required preparing the surface of fine writing paper with light-sensitive silver iodide, an insoluble
salt created by applying silver nitrate and potassium iodide in two separate coats. Brushing on a solution
of silver nitrate in water and then immersing the paper support in a solution of potassium iodide in water1 
created the desired precipitate of silver iodide as well as a byproduct of potassium nitrate that was then
rinsed off the paper. The iodized paper could be kept until needed for exposure.2 
Step 2: Sensitize
Before exposure, the paper’s surface was “sensitized” (i.e., made sensitive to light) by brushing on a
solution prepared with:
•  Silver nitrate
•  Acetic acid (a chelating agent that acts as restrainer)
•  Gallic acid (a reducing agent)

5
Step 3: Expose
Exposing the paper in the camera while it was still moist from sensitization allowed for faster exposure times
than exposing it after the paper had dried. Exposure times typically varied from one to ten minutes.
Step 4: Develop
After exposure, the latent image was developed into a visible image by applying the same solution used
for sensitization. Varying the ratios of silver nitrate/acetic acid and gallic acid in the developing solution
affected developing times and image density. Any remaining developing solution was then rinsed off the
paper.
Step 5: Fix
The negative was then fixed using sodium thiosulfate fixer (i.e., hypo) to remove the unexposed silver
salts and prevent them from fogging the non-image areas.
Step 6: Wash
After fixing, the negative was washed thoroughly to remove the hypo residue. If this was not done, the
sulfur present in the hypo adversely affected the image by causing rapid oxidation and fading.
Step 7: Wax (optional)
Waxing, usually with beeswax, made the paper support translucent and allowed shorter exposure times when
printing the positives. Often negatives were waxed selectively on certain areas of the image (the darker
zones) to make them more translucent, reduce the image contrast and obtain better positive prints.
Process Variations
 
Other formulas for creating paper negatives were similar to Talbot’s calotype process in terms of the
materials employed and the chemical principles on which they were based. These variations included:
•  Applying silver iodide salt in a single coat (by dissolving this precipitate in a saturated solution of
potassium iodide).
•  Using potassium bromide in addition to the potassium iodide to form a light-sensitive compound
of iodo-bromide of silver on the paper. Together, the silver iodide and silver bromide enhanced the
negative’s sensitivity.
•  Floating or immersing the paper in the solutions instead applying them with a brush.
•  Modifying the ratio of silver nitrate to gallic acid in both the sensitizing solution and the developer
to the point of entirely eliminating one of them—the gallic acid from the sensitizer to prevent fog-
ging/premature darkening of the paper (gallic acid was eliminated from the sensitizing solution since
the early years of the process) and the silver nitrate from the developer to slow down the developing
time and avoid staining.
•  Forming the silver iodide right before exposure, by applying the sensitizing solution on top of a
single coating of potassium iodide, was also a later simplification of Talbot’s formula.
An important variation of the calotype was the waxed paper process introduced by Gustave Le Gray in
1851. This process required waxing the paper before coating it with the light-sensitive chemistry. Once
impregnated with the wax, the paper was then immersed in the iodizing bath, which contained a small
amount of whey serum to improve the adhesion of the halides (iodide and bromide) to the waxed support.3 
Before exposure, the waxed paper prepared with the halides was immersed in the sensitizing solution.
Because the waxed papers were more resistant to the long immersion times required for processing the
image, this process allowed the use of thinner and otherwise more fragile paper supports.
Le Gray’s variation also allowed photographers to prepare sensitized paper supports ahead of time, expose
them in multiple locations and then develop them at a later time.
Support
 
Examples of fine-wove papers used as negative supports4  include:
•  J. Whatman’s “Turkey Mill” •  Rives •  Canson Frères
•  R. Turner’s “Chafford Mills” •  Saxe

6
 Binder
 
With these types of negatives, the paper fibers themselves act as a binder to hold the silver particles that
constitute the image on the surface of the negative.
Image
 
The image of a paper negative is formed by silver particles that result from the exposure of the sensitized
surface and the physical development of the latent image with a chemical reducing agent. Physical de-
velopment is a term used in photography to refer to development in the presence of excess silver ions,
which build up the image density by bonding with the silver particles formed on the paper support through
exposure and chemical development.
The color of the image of a paper negative can vary from neutral black or gray to brown, purple, and
reddish-brown depending on a variety of factors:
•  Type of paper support •  Exposure
•  Type of sizing of the paper support •  Developing solutions used
•  Sensitizing solutions used •  Presence of wax
Retouching
 
Paper negatives were often retouched to mask processing flaws, which were most observable in the sky
of landscape negatives, or to enhance the negative with imagery. Retouching media included ink, pencil,
watercolor and black pigment with a binding agent.
Positive Prints
 
Because the image is formed by silver particles embedded in the paper fibers of the support, prints from pa-
per negatives are typically less sharp than prints from glass negatives, which began to be used in 1851.
Paper negatives were typically used to make positive prints on salted paper. After 1850 albumen paper
(paper coated with a binder made of egg white) was also available for making prints. Albumen paper
results in positive prints with more subtle details in the dark areas and a greater tonal range. With the
introduction of albumen paper, salted paper then became known as “plain paper.”
Albumen and salted papers were formulated to allow the creation of contact prints. Contact printing, as
opposed to printing through enlargement, involves placing the negative directly in contact with the light-
sensitive paper and exposing it to sunlight. This type of photographic paper is known as printing-out
paper. In printing-out papers the image is formed completely through exposure to sunlight without the
aid of any chemical agents (e.g., developer).
Stability/Deterioration
 
Despite the physical fragility of the paper supports and the ease with which they can be damaged by handling,
paper negatives tend to be chemically stable due to the relatively large size of the negative’s developed-out
silver particles (as compared to the particles of printed-out papers) and the presence of wax.
Staining, if present, was often caused during the preparation of the paper or processing of the negative
image. Crystallization of the wax and mold growth also have been detected in paper negatives.5 
Storage
 
As with other photographic materials, paper negatives are best stored in a cool (10° to 18º C) and dry
(30% to 40% relative humidity) environment.
Identification
 
A paper negative is recognized by the reversed tonal values of the image and its color, which may be
gray, black, brown, reddish or purplish. The paper itself is thin and it is usually waxed either totally or
partially. Paper negatives with less dense images are visible with transmitted and reflected light, while
denser images are observable only with transmitted light.

7
 Bibliography – Paper Negatives
 
R. Brettel, N. Keeler, and S. M. Kilgore, Paper and Light, the Calotype in France and Great Britain 1839-1870
(Massachusetts: David R. Godin, 1984).
L. A. Daffner, “Examination and Investigation of 19th-Century Paper Negatives, A Study of the Process, Materi-
als, and Deterioration Characteristics.” Topics in Photographic Preservation, Journal of the American Institute for
Conservation, 6:1-10, 1995.
E. de Valicourt, Nouveau Manuel Complet de Photographie sur Métal, sur Papier et sur Verre (Paris, Manuels-
Roret, 1862).
A. James and E. P. Janis, The Art of the French Calotype with A Critical Dictionary of Photographers, 1845–1870.
(New Jersey: Princeton University Press, 1983).
K. Jennings, “A Basic Guide to Help Identify Nineteenth-Century Paper Negatives,” (unpublished 2003).
H. P. Kraus, Jr., “Dr. Thomas Keith and John Forbes White,” Sun Pictures, Catalogue Six (New York: Hans P. Kraus,
Jr. Fine Photography, 1993).
H. P. Kraus, Jr., “British Paper Negatives 1839-1864,” Sun Pictures, Catalog Ten (New York: Hans P. Kraus, Jr.
Fine Photography, 2001).
G. Le Gray, Photographic Manipulation: The Waxed Paper Process (London: George Knight and Sons, 1855).
L. J. Schaaf, The Photographic Art of William Henry Fox Talbot (New Jersey: Princeton University Press, 2000).
L. J. Schaaf, Out of the Shadows, Herschel, Talbot and the Invention of Photography (New Haven & London: Yale
University Press, 1992).
W. H. F. Talbot, The Process of the Talbotype (formerly called the calotype) Photogenic Drawing, Communicated
to the Royal Society, June 10, 1841 (London: J. L. Cox & Sons, 1841).
J. Towler, The Silver Sunbeam: A Practical and Theoretical Textbook on Sun Drawing and Photographic Printing
(New York: Joseph H. Ladd, 1864).
E. Trutat, Traité Practique de Photographie sur Papier Négatif (Paris: Gauthier-Villars, 1884).
M. J. Ware, Mechanism of Image Deterioration in Early Photographs: the Sensitivity to Light of W.H.F. Talbot’s
Halide-Fixed Images, 1843–1844. (London: London Science Museum and National Museum of Photography, Film
& Television, 1994).

8
Collodion Glass Plate
Negatives
1851 – ca. 1885
Background
 
The adoption of glass as a negative support in the
mid-nineteenth century marked the beginning of
a new era in negative technology characterized
by sharper negatives and more detailed positive
prints than those created through the paper nega-
tive processes.
The problem of getting the silver salts to bind (ad-
here) to a glass support was first solved by Abel
Niepce de Saint Victor in 1848, with the introduc-
tion of the albumen on glass process. However,
the glass support did not become dominant until
1851 when Frederick Scott Archer introduced the
much faster collodion on glass formula, which
used collodion as the image binder.
The collodion-on-glass negative process was
also known as wet plate. This term derived from
the necessity of exposing and processing the
glass plate while it was still damp with the sen-
sitizing chemistry to achieve optimum exposure
speed. Because the poured plates had to stay wet
throughout the entire process, collodion-on-glass
negatives required a mobile darkroom that limited
their ease of use outside of studio photography.
The wet plate process was practiced worldwide
and negatives of this kind are found in most ar-
chives with 19th-century holdings; many of them
are studio portraits.
Collodion on glass negative (laterally reversed), top, with positive image below.
Process
  Mathew B. Brady (American, 1823-1918). ANNIE LEWIS, ca. 1868. 20.3 x 25.4
The collodion binder was made by modifying cm (8 x 10 in.). George Eastman House Collection.
cellulose found in cotton linters with nitric acid,
a process called nitration. The resulting nitrocel-
lulose was dissolved in alcohol and ether to produce a viscous liquid called collodion.
Ten steps were necessary to create a negative image using the wet plate process:
1.  Clean the glass 6.  Develop
2.  Iodize the collodion 7.  Fix
3.  Pour the collodion on the plate 8.  Wash
4.  Sensitize the collodion 9.  Intensify (optional)
5.  Expose 10.  Protect
Step 1: Clean the glass
First the glass plate was cleaned with a mixture of alcohol and pumice or a mixture of nitric acid with a
thin powder such as Tripoli, rouge or calcined lamp black. 6 
Step 2: Iodize the collodion
The wet plate process required iodizing the collodion to introduce halide by adding cadmium or potassium

9
iodide and bromide, depending on the formula.
Step 3: Pour the collodion on plate
The glass plate then was coated (usually by holding the plate at one corner) with the iodized collodion.
Step 4: Sensitize
Immediately after the collodion ceased to be free-flowing the plate was sensitized to form silver halide.
This sensitizing step was accomplished by immersing the plate in an aqueous bath of silver nitrate. Dur-
ing the immersion, a fine deposit of light-sensitive silver iodide salt and silver bromide (if a bromide salt
had been also added), was formed on and just under the surface of the thin collodion layer.
Step 5: Expose
The plate was exposed in the camera for 20 seconds to 3 minutes, depending on the lighting conditions
and other factors like the temperature and relative humidity. This exposure to light resulted in the creation
of a latent image.
Step 6: Develop
While the collodion binder was still moist, the latent image created during exposure was physically
developed with a solution containing a reducing agent (i.e., developer) and free silver ions (i.e., silver
nitrate). During the early years of the collodion era, the organic compound derived from phenol called
pyrogallic acid was used (in acid solution) as a developing agent.7  By 1860 a solution of ferrous sulfate
was the most common developer.
Step 7: Fix
Sodium thiosulfate (hypo) was the primary fixer for collodion negatives in the 1850s. The introduction
of potassium cyanide as a fixer for ambrotypes gave the wet plate photographer a second fixing agent.
Cyanide was a faster fixer than hypo but it was also very poisonous. Both cyanide and hypo continued to
be used for negatives throughout the collodion era.8 
The fixer removed the unexposed light-sensitive silver salts from the collodion layer. This step was per-
formed while the collodion was still moist.
Step 8: Wash
After fixing, the negative was washed thoroughly to remove the silver thiosulfate or silver cyanide com-
pounds formed during fixing.
Step 9: Intensify (optional)
After washing, if the negative was too “thin” or weak to be printed, the image was usually intensified
with gallic acid and silver nitrate9  to increase its opacity.
Step 10: Protect
Once dry, the image was varnished with gum sandarac or shellac.10  This coating provided physical protec-
tion to the thin, fragile collodion layer and prevented the silver image from oxidizing.
Process Variations
 
Important modifications to the collodion on glass process included:
•  Dry or preserved collodion formulas
•  Collodion emulsions
Dry or preserved collodion formulas
Dry or preserved methods (also referred to as collodion dry plate processes) included the application of
a hygroscopic overcoat (a coating that absorbs moisture from the air to prevent drying), such as honey
or beer. Albumen or gelatin was also added to the sensitized plate in order to keep the collodion layer
permeable.11  Removing the free silver nitrate before applying this coat, and using a large proportion of
bromide as a restrainer, prevented the plates from fogging before use.12 
Collodion emulsions
Collodion emulsions contained suspensions of the light-sensitive salts (silver iodide and silver bromide) so

10
that the precipitation of these salts through the iodizing and sensitizing steps was no longer necessary.
Despite the advantages of collodion emulsions and the collodion dry plate process, these methods were
not used frequently by studio photographers due to the long exposure times they required. However, they
were advantageous when creating:
•  Non-camera images like lantern slides
•  Enlargements and other graphic arts applications
Even after the introduction of the gelatin dry plate, the collodion process continued being used for these
purposes due to the extreme sharpness of the images it produced.13 
Support
 
The glass used for collodion plates was handmade and varied in composition. Glass was selected based
on physical characteristics such as transparency, colorlessness, and lack of flaws or bubbles.14 
Subbing
 
Subbing, a coating used to enhance the adhesion of the collodion binder to the glass, was applied oc-
casionally when after-treatments were anticipated. Therefore, a very dilute coating of albumen may be
found on some wet plate negatives between the glass and the binder.
Binder
 
The binder, a very thin and fragile layer of collodion, is vulnerable to scratches or other physical damage
that can lead to image loss since the silver particles are on top and vary near the surface of this layer. For
this reason, a varnish overcoat was essential for protecting wet plate negative images.
Image
 
The collodion process produced extremely sharp and detailed negative images. Typical collodion nega-
tives may appear as positives when viewed against a dark background. They often have a dull, milky-tan
or brownish-gray color by reflected light.
Wet plate images are made up of silver particles deposited on the surface and suspended immediately
below the surface of the collodion binder.
The image color was determined
The Effect of Processing on Wet Plate Images
by processing.15  The image char-
Processing Step Solution Effect
acteristics of different developing
agents and fixing solutions are sum- Development Pyrogallic acid Darker, more burnt-umber in color
Ferrous sulfate Lighter, less burnt-umber in color
marized in the table at the right.
Fixing Hypo Darker image color (brownish gray)
Intensification or redevelopment Cyanide Lighter image color (milky-tan)
can also affect wet plate images by
making them darker and more neutral in color.
Retouching
 
Studio portraits created from wet plate negatives were routinely retouched with graphite, especially on the
face of the figure. Areas to be retouched needed to be prepared by abrading the varnish overcoat to give
the surface enough “tooth” to hold the graphite. Red or yellow oxide pigments with a binder, or paper,
were used for masking large blank areas of the subject like the sky. These opaque materials were applied
to either side of the glass support.
Positive Prints
 
Collodion negatives were mostly used for printing positive images by contact on albumen paper. Because
they are printed by contact, the size of the positive is the same as the size of the negative. The high con-
trast of collodion negative images balances the typically low contrast quality of printing-out papers like
albumen paper and results in properly contrasted positive images.

11
 Stability/Deterioration
 
Collodion negatives are relatively stable. The following factors can turn them less stable and therefore
more difficult to preserve:
•  Original glass composition (excess alkali)
•  Lack of a varnish overcoat
•  Improper cleaning of the glass support (before pouring the collodion on the plate)
•  Improper storage of the negatives
In general, the chemical composition of the glass is the most important factor relating the preservation
of collodion plates. Some glass employed during the collodion era had a high proportion of sodium or
potassium oxide16 ,17  and was subject to chemical decay. This type of deterioration, called alkali leaching
or “weeping glass”, causes softening of the binder and varnish and the loss of adherence of the collodion
to the glass.
The presence of a varnish overcoat is also essential for wet plate negative preservation; unvarnished col-
lodion negatives are extremely fragile, easily abraded and oxidized. Silver mirroring—a blue-purplish
metallic deposit on the surface of the binder—is a common sign of image oxidation.
Occasionally, collodion glass plates exhibit “emulsion frilling” (the binder peeling away from the glass),
which occurred early in the history of this type of negative due to improper cleaning of the glass support
before coating it with the collodion.18 
Storage
 
When an unstable glass plate is stored under high relative humidity conditions, the surface of the glass
develops a highly alkaline hydrated layer that adversely affects the silver image, the binder, and the var-
nish. These glass corrosion deposits appear as moist droplets in conditions of high relative humidity and
form crystals when stored at low relative humidity.19 
Collodion glass plates need to be stored at a cool to moderate temperature (below 18°C) and at 30% to
40% relative humidity. A relative humidity of less than 40% is critical to protect them from the effects of
glass corrosion such as alkali leaching.20  However, storage of chemically unstable glass at low relative
humidity (below 30%) is not recommended because may it cause dehydration of the glass surface.21 
Identification
 
To identify wet plate negatives place the negative against a dark background and the image will appear
as a positive.
In addition, since these negatives were entirely handmade (unlike the machine-made gelatin dry plate
negatives to follow), they also are identified by manufacturing irregularities such as:
•  Rough-cut edges of the glass support
•  Thickness of the glass (machine-made glass is usually thinner)
•  The glass may not be perfectly square
•  Uneven surface of the glass support
•  Uneven surface of the varnish overcoat
•  Uneven edges of collodion binder and varnish layers
•  Uncoated corner (where the plate had been held during coating)
As the industrial era began glass became more standardized, more stable, less expensive, and more read-
ily available.

12
 Bibliography – Collodion on Glass Negatives
 
W. de W. Abney, A Treatise on Photography (New York: D. Appleton & Co., 1878).
F. S. Archer, “On the Use of Collodion in Photography,” The Chemist (March 1851).
F. S. Archer, The Collodion Process on Glass, 2nd ed. (London: F. S. Archer, 1854).
M. S. Barger, D. K. Smith and W. B. White, “Characterization of Corrosion Products on Old Protective Glass,
Especially Daguerreotype Cover Glass,” Journal of Materials Science 24, 1989.
A. Davanne, La Photographie (Paris: Gauthier–Villars, 1886).
E. De Valicourt. Nouveau Manuel Complet de Photographie sur Métal, sur Papier et sur Verre (Paris, Manuels-
Roret, 1862).
M. H. Ellis, The Ambrotype and Photographic Instructor or, Photography on Glass. (Philadelphia: Myron Shew,
1856).
T. Gaffield, “The Use of Glass in Photography” The British Journal of Photography 28, No. 1115, September 16,
1881.
M. Gillet, C. Garnier, and F. Flieder, “Glass Plate Negatives: Preservation and Restoration,” Restaurator, 7, No.
2, 1986.
ISO 18918: 2000(E), International Standards Organization. Imaging Materials/ Processed Photographic Plates/Stor-
age Practices.
C. McCabe, “Preservation of 19th-Century Negatives in the National Archives,” Journal of the American Institute
for Conservation, 30, No. 1, Spring 1991).
C. McCabe, “Glass Plate Negatives: the Importance of Relative Humidity in Storage,” Sauvegarde et Conservation
des Photographies, Dessins, Imprimés et Manuscripts. Actes des Journées Internationals d’Études de l’ARSAG.
Paris, 1991: pp. 36-44.
M. McCormick-Goodhart, “An Analysis of Image Deterioration in Wet plate Negatives from the Mathew Brady
Studio,” The Imperfect Image; Photographs their Past, Present and Future. The Centre for Photographic Conserva-
tion, Conference Proceedings Windermere, April 1992.
M. McCormick-Goodhart, “Glass Corrosion and its Relation to Image Deterioration in Collodion Wet plate Nega-
tives,” The Imperfect Image; Photographs their Past, Present and Future. The Centre for Photographic Conservation,
Conference Proceedings Windermere, April 1992.
R. Newton and S. D. Davison, Conservation of Glass (London: Butterworth & Co., 1989).
M. Osterman, “Collodion: Wet Plate Negatives, Ambrotypes and Tintypes,” Coming into Focus: A Step by Step
Guide to Alternative Photographic Printing Processes. (San Francisco: Chronicle Books, 2000): pp. 61-85.
F. S. Osterman, “How the Collodion Process was Invented,” The Collodion Journal, 7, No. 23. Winter 2001.
G. Tissandier, A History and Handbook of Photography, (New York: Scovill Mfg. Co., 1877).
H. W. Vogel, Handbook of the Art and Practice of Photography (Philadelphia: Benerman & Wilson, 1871).

13
 Gelatin Dry Plate Negatives
ca. 1878 – ca. 1925
 Background
The replacement of collodion with gelatin binder was a
major and far-reaching technical innovation in the history
of photography. Gelatin changed all aspects of photograph-
ic technology and quickly became the dominant medium
after the introduction of the dry plate process.
Gelatin, a protein product, is manufactured by the partial
hydrolysis of collagen found in connective tissues and
skin of animals. This protein provides a viscous medium
to suspend the light-sensitive silver salts and form an
emulsion with them.
Gelatin binder made possible the following:
•  Photographic emulsions
•  Exposure times of < 1 second
•  Ready-to-use light-sensitive plates
Because the photographic emulsion already contained the
light-sensitive silver salts suspended in it, the preparation
of these salts from two separate solutions right before
the exposure was no longer necessary. The emulsion
also, owing to the photochemical properties of gelatin
(in combination with the silver salts), made possible the
commercialization of light-sensitive plates that allowed
Gelatin on glass negative (laterally reversed), top, with positive image exposure times of less than one second. Sold ready-to-
below. Lewis W. Hine (American, 1874-1940). SPINNER GIRL, ca. 1908.
12.7 x 17.8 cm (5 x 7 in.). Gift of the Photo League, New York: ex-collec- use, these glass plates required little photographic skills.
tion Lewis Wickes Hine, George Eastman House Collection. Their long shelf life and the possibility of developing the
image much later owing to the hygroscopic characteristics
(drawing moisture from the air) of gelatin freed photographers from the need to carry a portable darkroom
into the field.
Gelatin dry plates started being replaced as early as 1890, and they were almost completely replaced by the
lighter nitrate film negatives by the end of the 1920s. However, they continued to be used for spectroscopic
and astronomical applications throughout the 20th century because these applications require a perfectly flat,
dimensionally stable, and transparent support.
Early gelatin glass plates
The first publication on the use of gelatin/silver bromide emulsion was by Richard Leach Maddox in 1871.
Essentially, the emulsion was prepared by forming a precipitate of silver bromide in a warm solution of gela-
tin. This white precipitate needed to be sufficiently fine to remain in suspension in the liquid in which it was
produced. It was then said to be in a state of emulsion. Throughout the 1870s other practitioners introduced
improvements to Maddox’s emulsion until a practical formula was created.
In 1873 John M. Burgess was already selling bromide emulsion to prepare dry plates but still with some in-
consistencies in terms of the results it could produce. Richard Kennett achieved better results by washing the
gelatin emulsion after the precipitation of the light-sensitive silver bromide to remove soluble byproducts like
potassium nitrate,22  which tended to spoil the plates. By 1874 Kennett was marketing both the ready-prepared
plates and the dried emulsion, which he called “pellicle,” to be dissolved in warm water and poured on the glass
support by the photographer.23  However only in 1878, when Charles Bennett discovered the effect of ripening the
emulsion in terms of increased light-sensitivity,24  did gelatin dry plates become popular and widely employed by
professional and amateur photographers. Ripening promoted the reorganization and growth of the silver halide

14
micro-crystals through the dissolution of the smaller crystals and their deposition on the larger crystals.
Technical improvements in gelatin emulsion led to the introduction of the first commercially successful plates
by Wratten & Wainright in London in 1878. In the United States, dry plates started being manufactured in 1879
by the Keystone Dry Plate Works, owned by John Carbutt.25  In addition, in 1880 George Eastman founded the
Eastman Dry Plate Company and also began producing dry plates.
The large-scale manufacture and commercialization of machine-coated gelatin glass plates took place during
the 1880s and led to the development of the modern photographic industry.
Process
 
During the 1890s, improvements in gelatin glass plate technology made possible the creation of orthochromatic
emulsions with extended sensitivity into the green and yellow wavelengths of the spectrum. The adsorption of
cyanine dyes to the surface of the silver halide crystals provided them with light-sensitivity to these and other
wavelengths26  (other than red) and, by 1906, panchromatic plates (sensitive to the full visible spectrum) were
already available.
The negative process consisted of the following steps:
1.  Pour the plate 4.  Fix 7.  Varnish (optional)
2.  Expose 5.  Wash
3.  Develop 6.  Intensify (optional)
Step 1: Pour the plate
The glass plate was poured by hand between 1873 and 1878. Later pouring was done industrially by machine.
The gelatin emulsion was warmed to liquify it so that it could be poured evenly onto glass that had been placed
on a cool, level surface. It sometimes ran off the edges of the plate. Drying was a lengthy process during which
the plate could not be touched.
Step 2: Expose
The gelatin emulsion glass plate allowed for exposure times in the camera of a second or less.
Step 3: Develop
At the beginning of the dry plate era, the latent image was developed into a visible image using inorganic
developing agents (e.g., metallic salts like ferrous oxalate). In later years an organic compound derived from
phenol (pyrogallic acid) was used in an alkaline solution as a developer. Hydroquinone was discovered in 1880
by Abney and became widely used. Other phenol derivatives were used as developing agents for dry plate
negatives, among them:
•  Pyrocatechin (hydroquinone isomer) •  Para-aminophenol
•  “Hydramine” •  Metol27 
Step 4: Fix
After development, the gelatin binder was hardened with a potassium or chrome alum solution and fixed with
sodium thiosulfate.
Step 5: Wash
The plates needed to be washed thoroughly to eliminate the silver thiosulfate complexes formed during the
fixing of the image.
Step 6: Intensify (optional)
A mistakenly underexposed plate made intensification necessary on occasion. To intensify the silver image
(i.e., make it more dense or more opaque), mercuric-ammonium chloride, mercuric iodide, or cuprous bromide
were used.28  Other intensifiers that were used included silver or chromium ions.
Step 7: Varnish
Although varnish recipes exist in amateur and professional photography manuals, they were used only occa-
sionally. Professional photographers sometimes varnished their negatives to protect them from the environment
and prevent contamination with salts (e.g., silver, gold or platinum) present in the printing papers.29  Protective
varnishes listed in manuals include:

15
 •  Shellac30  •  Copal •  Gum sandarac •  Zapon (celluloid)
The earlier the gelatin plate, the more likely it would have been varnished. Plates produced after 1890 were
rarely varnished.31 
Support
 
By the time the gelatin dry plate was introduced, photographers had gained some knowledge of the manufac-
turing process of the glass as it related to the surface, color clarity and durability. High quality glass made in
Belgium, France, and the United States met the needs of photographic plates.32  The glass was cleaned with
acidic and basic solutions and polished with talc.
Subbing
 
To receive the binder and to avoid the formation of emulsion blisters the glass support was either:
•  Coated with a subbing (substratum), a thin layer of gelatin hardened with a chrome alum solution.33 ,34  Dilute
albumen, India rubber35  or soluble glass (sodium or potassium silicate)36  also was used on occasion.
•  Chemically etched. Chemical etching improved the bond of the emulsion to the glass.
Binder
 
The emulsion was composed of gelatin (the binder) and silver salts, which after exposure formed the silver
particles/image substance.
Image
 
The image of a gelatin dry plate is formed by relatively large silver particles (as compared to those of the calo-
type and collodion negatives) that were created from the exposure and chemical development of the plate. The
ribbon-like (filamentary) silver particles produced great opacity and a neutral-black image color.
Although rare in most collections, physically developed gelatin glass plates may be found on occasion. The
image of these plates is usually gray or tan in hue.37 
Retouching
 
When negative retouching was needed, a special medium was
RETOUCHING Media
applied to the surface of the binder to create enough “tooth” to
hold the pencil strokes. There were two kinds of retouching media: Medium Components Application
dope, which was thick, and varnish, which was thin. Etching or Dope Balsam fir or Locally with
gum dammar in cotton ball
shaving the emulsion by means of a sharp blade was a common turpentine
procedure to remove unwanted image density. Yellow or red filters,
Varnish Gum mastic in Flowing the
made with paper or paint, were sometimes applied to the back or ether entire plate38
the front of the glass plates to mask certain areas of the image.
Positive Prints
 
Professional photographers used gelatin glass plates to make positive prints by contact on several types of
papers, usually:
•  Silver/gelatin printing-out papers
•  Silver/gelatin developing-out papers
•  Collodion printing-out paper
•  Velox or gaslight paper (slow developing-out paper used by amateurs that could be printed by exposure
to gaslight)
•  Platinum paper, in which the image is formed by platinum particles, as opposed to silver particles
Stability/Deterioration
 
The long-term behavior of gelatin glass plates is related to:
•  Stability of component materials •  Chemical processing
•  Method of fabrication •  Storage environment
Glass stability
Some gelatin glass plates are also prone to glass decomposition. Early dry plates are more likely to suffer the

16
effects of glass deterioration because they could have been made with chemically unstable soda and soda-lime
glass (containing excess sodium or potassium oxides). These types of glass plates are likely to dehydrate at low
relative humidity and to leech out hydrated alkali ions at high relative humidity.39 
The formation of a highly alkaline hydrated layer (with the appearance of moist droplets) at the surfaces of the
glass may contribute to the deterioration of all components of a glass plate negative. In the 1920s, the addition
of aluminum oxide to glass formulations (alumino silicate) allowed the production of a more chemically stable
glass support.40 
Binder stability
High relative humidity promotes the growth of mold in the gelatin layer, which leads to the solubilization of
the binder and eventually the destruction of the image.
Image stability
Silver image deterioration (i.e., oxidation) is common in gelatin glass plates. Oxidation of the silver particles
causes fading, discoloration, and mirroring—a bluish-silver sheen on the surface of the binder resulting from
exposure to high relative humidity.41  Plates that were protected by a varnish overcoat rarely show signs of im-
age oxidation.42 
Structural stability
Failing of adhesion between the glass support and the binder layer may occur. Lifting or flaking of the emulsion
from the glass is not uncommon in gelatin dry plate despite the presence of a substratum or the etching of the
glass support. Factors that contribute to the deterioration and lifting of the emulsion layer include:
•  Chemical and physical characteristics of the component materials
•  Physical characteristics of the binder (e.g., propensity to shrink, degree of hardening, etc.)
•  Storage environment humidity:43 
•  Low relative humidity (exacerbates lifting and flaking due to shrinkage of the gelatin layer)
•  High relative humidity (causes softening of the gelatin binder and its adherence to any surface in contact
with it, e.g., another glass plate, a storage envelope, etc., and the proliferation of mold)
•  Drastic changes in relative humidity (cause rapid shrinkage and exacerbate lifting and flaking of the
gelatin layer)
Storage
 
Regardless the composition of their glass support, gelatin glass plates should be stored at a cool to moderate
temperature (below 18°C) and at 30% to 40% relative humidity.44 
Identification
 
Gelatin dry plates are very common. Most negative images show a gray or black image color. Rarely, one will
find a physically developed negative image that will be gray or tan in hue.
Gelatin glass plates are recognized by their machine-made characteristics, such as:
•  Even coating of the gelatin layer across the entire surface of the glass.
•  Relatively thin, smooth support of standard thickness.
•  Most glass supports were 2 to 3 mm thick (thinner than handmade glass).
•  Standard sizes,45 e.g.:
•  Lantern size (English)—3¼ x 3¼ inches
•  Lantern size (American)—3¼ x 4 inches
•  Quarter size plate—3¼ x 4¼ inches
•  Half plate (American), stereo plate, or cabinet plate—4¼ x 6½ inches
•  Half plate (English)—4¾ x 6½ inches
•  Whole plate—6½ x 8½ inches
•  Other common sizes—4 x 5, 5 x 7, 5 x 8, 8 x 10, 10 x 12 inches
Although most gelatin glass plates were machine-coated, during the 1870s they were still coated by hand.46 
Therefore, hand-coated plates occasionally may be found in photographic archives.

17
 Bibliography – Gelatin Dry Plate Negatives
 
W. de W. Abney, Photography with Emulsions: A Treatise on the Theory and Practical Working of Gelatin and Col-
lodion Emulsion Processes (New York: Scovill Mfg. Co., 1883).
W. de W. Abney, Photography with Emulsions (New York: Scovill Mfg. Co., 1886).
W. de W. Abney, Gelatin Emulsion Process (London: Piper and Carter, 1880).
T. T. Baker, Photographic Emulsion Technique (Boston: American Photographic Pub. Co, 1941).
S. Barger, “Characterization of Deterioration of Glass Supported Photographic Images,” Second International Sym-
posium: The Stability and Preservation of Images, Ottawa, Canada, 1985.
C. Bennett, “Negatives with Gelatin Emulsion,” The Photographic News, November 1, 1878.
G. E. Brown, Finishing the Negative, a Handbook of All Processes between Fixing and Printing: with a Special
Chapter on Films (New York, 1901).
L. P. Clerc, Photography: Theory and Practice (Bath: Sir Isaac Pitman & Sons, Ltd. 1937).
Eastman Kodak Company, Physical Characteristics of Glass for Kodak Photographic Plates, Pub. Q-35 (Rochester:
Eastman Kodak Company, 1973).
J. M. Eder, Modern Dry Plates or Emulsion Photography (London: Piper and Carter, 1881).
J. M. Eder, Théorie et Practique du Procédé au Gélatino-bromure d’Argent (Paris: Gauthier-Villars, 1883).
T. Gaffield, “The Use of Glass in Photography,” The British Journal of Photography, 28, No. 1115, September 16,
1881.
M. Gillet, C. Garnier, and F. Flieder, “Glass Plate Negatives: Preservation and Restoration,” Restaurator, 7, No. 2,
1986.
ISO 18918: 2000(E), International Standard. Imaging Materials/ Processed Photographic Plates/Storage Practices.
Kennett, “On the Gelatino-Bromide Process, with a Description of an Easy Method of Working it by Using the
“Sensitive Pellicle,” The Photographic News, June 19, 1874.
B. Lavédrine, and J. M. Susbielles, “Étude des Vernis des Négatifs sur Plaque de Verre,” Support/Tracé, No. 1,
2001.
R. L. Maddox, “An Experiment with Gelatino-Bromide,” The British Journal of Photography, September 8, 1871.
C. McCabe, “Glass Plate Negatives: the Importance of Relative Humidity in Storage,” Sauvegarde et Conservation
des Photographies, Dessins, Imprimés et Manuscripts. Actes des Journées Internationals d’Etudes de l’ARSAG (Paris,
September 30-October 4, 1991, pp. 36-44.
R. Newton, and S. D. Davison, Conservation of Glass (London: Butterworth & Co., 1989).
J. B. Schriever and T.H. Cummings, Negative Retouching, Etching and Modeling Encyclopedic Index, Vol. 8 of The
Complete Self-Instructing Library of Practical Photography (Scranton, PA: American School of Art and Photography,
1909).
H. W. Vogel, The Progress of Photography since the Year 1979 (Philadelphia: E. L. Wilson, 1883).
E. J. Wall, Photographic Emulsions: Their Preparation and Coating on Glass, Celluloid and Paper, Experimentally
and on the Large Scale (Boston: American Photographic Publishing Co., 1929).
S. Wagner, “A Preliminary Study: Consolidation of Glass Plate Negatives with Organosilanes,” Topics in Photographic
Preservation, 3. American Institute for Conservation/Photographic Materials Group, 1989.

18
Cellulose Nitrate Film
Negatives
ca. 1889 – ca. 1950
 Background
The fragility and weight of the glass support
of the gelatin dry plate led to a quest for a flex-
ible and lighter support. Since 1854, Alexander
Parkes had suggested using a flexible support
made of several layers of plain collodion, but
his idea never found an application.47  Instead,
celluloid (cellulose nitrate combined with a
plasticizer such as camphor) became the first
successful flexible and transparent photographic
support. The general adoption of cellulose nitrate
film for still photography began in the early 20th
century and the use of glass negatives rapidly
decreased.
Roll films were now possible due to plastic
film’s lightness and flexibility, and, coupled with
affordable photography equipment, they led to
rapid popularization of amateur photography.
Celluloid
The cellulose nitrate and plasticizer combination,
or celluloid, was the first of a long line of what
we refer to today as “plastics.” It was first created
by C. Schönbein in 1846 and was used after 1869
for the production of faux ivory objects.48  The
name “celluloid” was trademarked in 1873 by
John Wesley Hyatt of the Celluloid Manufactur-
ing Company in New Jersey, which produced it
to make billiard balls, combs, shirt collar stays,
faux tortoiseshell items, and many other items. Gelatin on nitrocellulose sheet film negative (laterally reversed), top, with positive
In addition, the company produced celluloid in image below. Nickolas Muray (American, 1892-1965). NICKOLAS MURAY FENCING
large blocks for cutting into sheets. WITH SANTELLI, 1928. 20.3 x 25.4 cm (8 x 10 in.). Gift of Mrs. Nickolas Muray.
George Eastman House Collection.
John Carbutt became the first to produce plastic
film negatives using these sheets by applying a gelatin emulsion coating.49  In 1887, he presented his plastic
film negatives to the Photographic Society of Philadelphia and the Franklin Institute.50  The negatives were
only suitable for sheet film, however, since they were limited in length (due to the size of the blocks they
were cut from), thickness (1/100 inch), and flexibility.
Roll film
In early 1889 Goodwin submitted a patent application (which he received much later in 1898) for a
formula to create a celluloid plastic that could be cast into thin sheets of suitable length for rolling.51 
Goodwin joined forces with E. & H. T. Anthony & Co. and began producing “Climax Negative Films.”
An advertisement for the film touted it as the latest development:
Anthony’s Climax Negative Films are made upon a substance of recent discovery, which is admirably
adapted to the manufacture of perfect negative film, combining transparency, strength and toughness
of composition, which renders them capable of being made so thin as almost to eliminate the question
of weight and bulk in carrying. They are made with a fine mat surface, which reduces halation, and
are perfectly impervious to water.

19
By August of 1889 Eastman Kodak Company already was selling gelatin emulsion roll film on a cellulose
nitrate flexible support. Soon after, celluloid became the only commercially important film support.
The new roll films, which were available in 3¼ x 4¼ inch, 9 x 12 cm and 4 x 5 inch formats, and were
sold in spools of 24 and 48 exposures,52  prompted the proliferation of small, hand-held cameras (which
Eastman Kodak Company also sold) and the expansion of amateur photography.
The year 1895 marked the advent of Eastman Kodak Company’s day-loading roll film, which used a
flanged spool and opaque paper to cover the back of the film thereby protecting against exposure to day-
light53  and further fueled the amateur photography industry.
In 1912 Eastman Kodak Company started selling cellulose nitrate sheet films in the same formats (e.g.,
4x5 inch, 5x7 inch, 8x10 inch) as glass plates54  as well as plastic
film pack negatives. Eastman Kodak Company
Nitrate Film Types & Dates of
In 1900, Goodwin and the Anthony & Scovill Company Discontinuation
(formerly E. & H. T. Anthony & Co.) filed a patent infringe- X-ray films 1933
ment lawsuit against Eastman Kodak Company. Goodwin
soon passed away and fourteen years later, in 1914, Eastman 135mm film 1938
Kodak Company lost the suit and had to pay restitution to the Kodak professional portrait & 1939
company, which by that time had become Ansco. commercial sheet film
The 135mm or “miniature” roll film became popular after Aerial film 1942
1928 and was produced later by several companies including
Film packs 1949
Eastman Kodak Company, Ansco, Dupont, Agfa, etc.
Although it is difficult to find information on when differ- Film rolls (616, 620, 828, etc.) 1950
ent nitrate film types were discontinued due to their inherent Motion picture film 1951
flammability, information on those manufactured by Eastman
Kodak Company is more readily available.
Eastman Kodak Company last manufactured nitrate film in 1951. The dates nitrate film was discontinued
by other companies are not recorded.
Process
 
Cellulose from cotton linters, the short fibers that adhere to the hull of the cotton seed after ginning (re-
moval of the long fibers to be used in making cloth), is the basis for manufacturing celluloid. Cellulose is
modified with nitric acid in a process called nitration to create nitrocellulose solid. This solid is dissolved
in a solvent such as acetone and a plasticizer like camphor is added to create a thermoplastic material,
which is cast into thin, flexible sheets or films.55 
From this point forward negative image processing consisted of the following steps, which were essentially
the same as those employed during the late dry plate era:
1.  Expose 3.  Fix 5.  Intensify (optional)
2.  Develop 4.  Wash 6.  Varnish (optional and very rare)
The chemicals used in the image processing have largely remained the same until the present day.
Support
 
Common Formats and Sizes
Cellulose nitrate was used to cre-
ate sheet, roll, and motion picture Portrait and commercial sheet film 4 x 5, 5 x 7, 8 x 10, 11 x 14 inches
film as well as film packs. Com- Sheet or 120 roll film 6 x 9 centimeters
mon formats and sizes are listed Film packs Same format as commercial sheet film
in the table at the right. 135mm roll film 35 millimeter strip
Subbing
  Amateur roll films (e.g., 820, 620, Various size strips
The subbing used in cellulose 616, etc.)
nitrate film was a solution of Professional motion picture film 35 millimeter strip

20
diluted nitrocellulose, which improved the adhesion of the binder to the film support.
Binder
 
Like gelatin glass plates, the binder used for cellulose nitrate was gelatin that formed an emulsion with
the silver salts. After exposure, these salts turned into silver particles that made up the image.
Anti-curl layer
After 1903, a layer of gelatin started being applied on the back of the plastic support to compensate
for the tension exerted by the binder layer and provide dimensional stability to the negative. This
bottom gelatin anti-curl layer contained anti-halation (anti-halo) dyes to prevent the exposure of the
silver salts from light bouncing off the back of the support. The anti-halo dye was removed during
image processing.
Image
 
Nitrate negative images are neutral black in hue unless they have already started to deteriorate. Nega-
tives that have begun to deteriorate turn brown and then yellow.
Nitrate negatives were rarely varnished; however, manuals of the day recommended the follow-
ing:56 
•  An aqueous solution of shellac containing borax and glycerin
•  Dammar varnish
Retouching
 
Retouching was sometimes done on larger sheet film formats, but not on 35mm or 120 roll films due
to their small image size.
Gum dammar was used as retouching medium for imparting the necessary “tooth” onto which pencil
was applied.57  Blocking out part of the image was done with red or yellow dyes like Neo-coccin or
Vanguard yellow, which filtered some of the light passing through the negative.58 
Positive Prints
 
Early nitrate negatives were contact printed on silver/gelatin printing-out papers and collodion print-
ing-out papers. Later, they were printed by contact or enlargement on developing-out silver/gelatin
photographic papers
Stability/Deterioration
 
Cellulose nitrate is very flammable and capable of sus-
Deterioration Stages of
taining combustion even in the absence of oxygen and Nitrate Film Negatives
underwater. Nitrate film was the cause of many fires and
Image
resulted in innumerable losses of archival records. Stage Description Legibility
Nitrate film is also chemically unstable; the film support 1 No deterioration Legible image
gradually turns yellow, brittle and sticky. It off-gases 2 Film support turns Legible image
harmful corrosive products (e.g., nitrogen oxides that yellow and the image
shows signs of silver
form nitric acid in the presence of moisture) with an mirroring
acrid smell that cause fading of the silver image, de-
3 Film becomes sticky Legible image
composition of the gelatin binder59  and, eventually, the and gives off a strong
destruction of both components along with the plastic odor of nitric acid
support. 4 Film becomes amber Partially leg-
in color and the im- ible image
Nitrate film decay is irreversible and autocatalytic. De- age begins to fade
terioration is generally categorized in six progressive
5 Film is soft and can No legible
stages, as shown in the table at the right. adhere to adjacent image
negatives or enclo-
Most negatives will retain legible photographic infor- sures
mation into the third stage of decomposition. These
6 Film turns into a No legible
negatives can still be duplicated if handled carefully. brown acid powder image

21
Negatives in the fourth, fifth and sixth stages of decomposition have no legible image.60 
Storage
 
The permanence of nitrate negatives depends on the temperature and relative humidity in which they are
stored. Cold (-15° to 4° C) and dry (30% to 40% relative humidity) environments are the only means of
preserving nitrate originals over long periods of time.
Identification
 
Nitrate negatives are extremely common and numerous in most photographic archives. They may be
identified through edge printing, curling (roll films prior to 1903), notch codes and destructive tests.
Edge printing
Films produced between the 1930s and the 1950s were often edge printed with the word “NITRATE” to
differentiate the film support from the new acetate film. After 1930, safety film made of cellulose acetate
started being used and needed to be distinguished from its highly flammable predecessor. Therefore, the
word “SAFETY” was edge printed on these films. However, edge printing was not done by all manufac-
turers, nor was it done on all roll film formats.
Curling
Early cellulose nitrate amateur roll films were not edge marked, but can be identified by their tendency to

curl into very tight scrolls. Later, the nitrate support was coated with gelatin on the reverse side to prevent
such curling. These gelatin anti-curl layers started being used in 1903.
Notch codes
Nitrate sheet films may have different notch codes on the upper right edge (emulsion facing up), which
were made for the purpose of identifying the film type or emulsion side in the dark. A “V” notch code
(first from the edge) can identify Kodak sheet film prior to 1949 as nitrate. Film pack negatives do not
have notch codes.61 
Destructive tests
Destructive Tests for Negative Identification
Several destructive tests have been used to
identify cellulose nitrate negatives. These Test Name Description
are listed in the table at the right.
Diphenylamine Used mainly by conservators, the diphenyl-
Only those with professional training should amine test produces an intense blue color
when the diphenylamine62 reacts with a
perform destructive tests. small sample of cellulose nitrate.
Differentiating between nitrate and acetate
films was more important in the past when Flotation The flotation test requires placing a small
the standards for the storage of each type of sample of the negative in a test tube of
trichloroethylene solvent.63 Samples of
film were different. Today’s recommenda- cellulose nitrate will tend to sink to the
tions dictate that both should be stored in bottom of the test tube as opposed to cel-
cold storage. lulose acetate, which will stay near the top.

Burn The burn test requires burning a small

clipping of the negative. A negative made
of cellulose nitrate will produce a bright
yellow flame that will consume the sample
quickly. Note: Do not perform this test near
other negatives because of the risk of fire.

22
 Bibliography – Cellulose Nitrate Film Negatives
 
G. Brown, Finishing the Negative, a Handbook of all the Processes between Fixing and Printing: with a Special
Chapter on Films (New York: Tennant and Ward, 1901).
J. M. Calhoun, “Storage of Nitrate Amateur Still Camera Negatives,” Journal of the Biological Photographic As-
sociation, 21:1-13, August 1953.
J. F. Carroll and J. M. Calhoun, “Effect of Nitrogen Oxide Gases on Processed Acetate Film,” Journal of the SMPTE,
64:501-507, September 1955.
Canadian Conservation Institute, “The Diphenylamine Spot Test for Cellulose Nitrate in Museum Objects,” CCI
Notes (17/2).
J. W. Cummings, A. C. Hutton, and H. Silfin, “Spontaneous Ignition Of Decomposing Cellulose Nitrate Film,”
Journal of the SMPTE, 54:268-274, March 1950.
M. Edge, N. S. Allen, M. Hayes, P.N.K. Riley, C.V. Horie, and J. Luc-Gardette, “Mechanisms of Deterioration in
Cellulose Nitrate Base Archival Cinematograph Film,” European Polymer Journal, 26:623-630, 1990.
M. Fisher, “A Short Guide to Film-Base Photographic Materials: Identification, Care, and Duplication,” NEDCC
Technical Leaflet, July 2002.
M. Fisher, and A. Robb, “Guidelines for Care and Identification of Film-Base Photographic Materials,” Topics in
Photographic Conservation, American Institute for Conservation, 5, 1993.
C. R. Fordyce, “Motion Picture Film Support: 1889 -1976, An Historical Review,” Journal of the SMPTE, 85:493-
495, July 1976.
F.W. Frerk, All about Improving Negatives (London: Focal Press, 1940).
H. Greenwood & Co., Ltd., The British Journal Photographic Almanac (London: H. Greenwood & Co. Ltd.,
1940).
C. E. K. Mees, Photography (New York: Macmillan, 1937).
E. Theisen, “The History of Nitrocellulose as a Film Base,” Journal of SMTPE, 118:259-262, March 1933.
A. Robb, “Identification of Film-Base Photographic Materials: Flow Chart,” Topics in Photographic Conservation,
American Institute for Conservation, 6, 1995.
E. J. Wall, Photographic Emulsions: Their Preparation and Coating on Glass, Celluloid and Paper, Experimentally
and on the Large Scale (Boston: American Photographic Publishing Co., 1929).
C. Young, “Nitrate film in public institutions,” History News 44, July/August 1989.

23
 Cellulose Acetate Film Negatives
ca. 1925 – today
 Background
Cellulose acetate film, also known as safety film, was developed as
a substitute for the flammable cellulose nitrate film as early as 1897;
however, the new material had no practical value at that time due to
the difficulties in finding low cost and readily obtainable solvents to
cast the film.64 
During the period between 1925 and 1950, research on film supports
centered on the development of a cellulose acetate that would replace
cellulose nitrate but also duplicate its good mechanical qualities and its
resistance to moisture.
Acetate is a generic term for the following:
•  Cellulose diacetate
•  Mixed esters of cellulose acetate
•  Butyrate
•  Propionate
•  Cellulose triacetate
Gelatin on diacetate film negative (laterally reversed), Diacetate
top, with positive image below. Lewis W. Hine
(American, 1874-1940). ICARUS ATOP EMPIRE STATE The first cellulose diacetate was produced commercially by Bayer &
BUILDING, 1931. 12.7 x 10.2 cm (4 x 5 in.). Gift of the Co.65  under the name Cellit. Cellit was used as a film support beginning
Photo League, New York: ex-collection Lewis Wickes in 1912 and allowed the introduction of the Kodak 16mm motion picture
Hine, George Eastman House Collection.
film for home movies in 1923.
Between 1935 and 1955 Agfa/Ansco and Dupont
produced diacetate film supports that were used
for sheet and roll film. In general, all diacetate
films were inferior to nitrate films, most no-
tably, because of their tendency towards high
shrinkage.
Mixed esters
As a response to the physical instability of
Gelatin on 35mm cellulose acetate color film strip negative (laterally reversed), top, diacetate, Eastman Kodak Company started
with positive image below. Denis Defibaugh (American, 1951- ) July 4th Rodeo,
Red Lodge, Montana, 1999. Collection of photographer.
producing better film supports that were based on
mixed esters of cellulose such as acetate butyrate
and acetate propionate. These film supports were used for sheet, X-ray, aerial map and amateur roll film,
but these were still inferior to nitrate film for use by the motion picture industry.66 
Triacetate
During the 1950s triacetate started
Types of Acetate67 Produced after 1925
being manufactured on a large
scale due to the availability and Acetate Type Dates Film Type Manufacturers
lower cost of methylene chloride, Diacetate ca. 1923 – ca. 1955 Roll, sheet Agfa, Ansco, Dupont,
the solvent necessary to cast it. Defender, Kodak
Cellulose triacetate support is Acetate 1927 – ca. 1949 Roll Kodak
still being used today for most propionate
roll films. Acetate 1936 – today Sheet, X-ray, Kodak
butyrate aerial maps68
Color
Triacetate ca. 1950 – today Roll Almost every film
The first color negative film was manufacturer

24
introduced by Kodak in 1942 under the name Kodacolor. A year later Agfa introduced a similar film called
Agfacolor. Color photography is referred to as a silver-based sensitive system even though after process-
ing there is no silver left in the film. Cyan, magenta and yellow dyes are formed during the development
of the negatives in three distinct layers in the emulsion.
Process
 
During the first decade of the 20th century, by partially hydrolyzing cellulose triacetate, an acetone-soluble
polymer called diacetate was obtained.
Like nitrate film, acetate is obtained from the cellulose fibers of cotton linters. During the process of
acetylation (treating cellulose with acetic anhydride and a catalyst), acetyl groups are grafted onto the
cellulose molecules. A plasticizer such as triphenyl phosphate or dimethoxyethyl phthalate is added to the
cellulose acetate polymer. A thin layer of cellulose nitrate functioned as subbing for the gelatin emulsion.
A gelatin anti-curl layer is always present on the base side of the film to counteract the tension exerted
by the gelatin emulsion and provide dimensional stability.
For the most part, the steps used in negative image processing remained the same as those for cellulose
nitrate, but an additional step referred to as toning was recommended to increase the chemical stability of
the silver image. In practice this step was and is rarely performed. The cellulose acetate negative image
processing steps include:
1.  Expose
2.  Develop: Hydroquinone and Metol continued to be used as developers. Other developing agents
were also introduced.
3.  Fix: Ammonium thiosulfate (i.e., rapid fix) started being used as a fixer in addition to sodium thio-
sulfate.
4.  Wash
5.  Intensify (optional)
6.  Tone (optional and very rare): Toning involves changing the structure of the silver particles by the
addition of a more noble metal (i.e., oxidation-resistant) such as gold or the formation of a more
stable silver compound (e.g., silver sulfide).
7.  Varnish (optional and extremely rare): Acetate black & white negatives could have been varnished,
for protection, with an aqueous solution of shellac (containing borax and glycerin) or with dammar
varnish.69 
Support
 
Prior to the 1970s cellulose acetate was used to
Common Formats and Sizes
create sheet film, roll film, and motion picture film.
Portrait and commercial 4 x 5, 5 x 7, 8 x 10,
In the 1970s polyester started replacing cellulose sheet film 11 x 14 inches
acetate for most sheet film applications. The table
135mm roll film 35 millimeter strip
at the right shows common formats and sizes.
120 medium format roll film 2.5 inch strip
Subbing
 
Professional motion picture film 35 millimeter strip
Diluted cellulose nitrate is used as the subbing to
improve the adhesion between the binder and the cellulose acetate support.
Binder
 
As with cellulose nitrate, the binder for cellulose acetate is gelatin. This gelatin emulsifies the silver salts
that, after exposure and processing, form the silver particles (silver image).
Cellulose acetate film is composed of four layers:
1. Gelatin emulsion (top layer)
2. Subbing cellulose nitrate (subbing for gelatin emulsion)
3. Cellulose acetate film (support layer)
4. Gelatin (bottom anti-curl layer to provide dimensional stability)
The bottom gelatin anti-curl layer contained anti-halation (anti-halo) dyes to prevent the exposure of the

25
silver salts from light bouncing off the support. This dye was removed or bleached out during the negative
image processing but the compound remained in a “leuco” (i.e., invisible) state.
Image
 
Black & white cellulose acetate negatives have a neutral black image color. Color cellulose acetate nega-
tives have an orange tint due to the masking couplers used for color correction.
Retouching
 
Retouching was even more rare in cellulose acetate negatives. However, it could have been done on larger
sheet film formats, but not on 35mm or 120 roll film, due to the small image size.
Positive Prints
 
Most positive prints from cellulose acetate negatives are printed by enlargement.
Black & white cellulose acetate negatives are printed on silver/gelatin developing-out photographic papers.
These can be divided into two categories:
•  Fiber-base papers, so called to distinguish them from resin-coated papers
•  RC (i.e., resin-coated) papers, which came into use during the 1960s
RC papers can be processed very fast because the paper support is coated on both sides with a polyethyl-
ene layer, which prevents the processing solutions from penetrating the paper itself. For the same reason,
they do not curl or cockle during drying as fiber-base papers do.
Color negatives are always printed on RC papers, which are called C print (chromogenic color) papers.
Stability/Deterioration
 
Although the problem of flammability
Deterioration Stages of Cellulose Acetate Films
was eliminated with acetate film, it,
like cellulose nitrate, is unstable and Stage Description Image Legibility
subject to deterioration in ordinary 1 No deterioration Legible image
room conditions due to its chemical 2 Negative gives off a vinegar (acetic Legible image
composition. Acetate’s deterioration acid) odor, starts to shrink and
process, known as vinegar syndrome, become brittle
is autocatalytic and moisture and 3 Negative begins to curl, may show Legible image
temperature dependent. Nearly every blue or pink stainingi
collection has already experienced 4 Negative warps Legible image
losses due to vinegar syndrome, and 5 Liquid-filled bubbles and crystalline Depending upon the
many more losses are expected in the deposits form between the layers of extent, the image may
future.70  To protect film collections, the negativeii or may not be legible
survey tools such as acid detectors71 
have been developed. 6 Channels form on both sides of the Depending upon the
negativeiii extent, the image may
Deterioration is generally categorized or may not be legible
in six progressive stages72  as shown in i
In stage three, the regeneration of anti-halo dyes, originally present
the table at the right. in the anti-curl layer but transformed into colorless leuco dyes during
Color image processing, is prompted by the acetic acid released by the film
support and the consequent pH decrease of the gelatin layer. Pink colors
Chromogenic color dyes are not are found in some black & white Kodak films, while blue colors are found
permanent. Therefore, color nega- in some black & white Agfa and, Ansco films.73
tives may suffer from two inherent ii In stage five, exudation of the plasticizer causes the liquid-filled bubbles
and crystalline deposits that form on both surfaces of the film beneath
problems: the emulsion (i.e. binder) and the gelatin anti-curl layers.74
•  Instability of the acetate support iii In stage six, as the film base shrinks, the bond between the gelatin
•  Fading of the dyes emulsion and the base lets go in some areas causing the emulsion layer
to buckle up in a way that is described as “channeling.” The same chan-
In fact, early Kodacolor negatives are neling occurs on the other side of the film support as the gelatin anti-
curl layer also buckles up due to shrinkage of the film support.
now unprintable.75 

26
 Storage
 
Although deterioration of cellulose acetate film is inevitable, it can be slowed with proper storage. The
best storage conditions for both black & white and color cellulose acetate film are cold (-15° to 4° C) and
dry (30% to 40% relative humidity) environments. 76  However, transferring negatives to a more stable
support such as polyester is the best way to preserve the longevity of the images.
Identification
 
Cellulose acetate negatives may be identified by
•  Edge printing
•  Notch codes
•  Destructive tests
Each is discussed in more detail below.
Edge printing
Cellulose acetate is usually edge printed with the word SAFETY. Depending on the place of manufacture,
the symbol “°” may be added between the letters (e.g., “S°AFETY” for film manufactured by Kodak in
the United States).
Notch codes
Film notch codes are cuts on the edge of the sheet films that can be used to identify the film type and
locate the emulsion side in the dark. Cellulose acetate films produced by Kodak between 1925 and 1949
carried a U-shaped notch (first from the edge).77 
Destructive tests
The flotation and burn tests mentioned in the section devoted to nitrate film also can be used to identify
cellulose acetate. In the flotation test acetate clippings should remain close to the surface of the solvent
in the test tube.78  In the burn test, acetate may ignite, but very slowly in comparison to nitrate, and it will
burn without a flame.

27
 Bibliography – Cellulose Acetate Film Negatives
 
P. Z. Adelstein, J. M. Reilly, D. W. Nishimura, and C. J. Erbland, “Stability of Cellulose Ester Base Photographic
Film: Part I – Laboratory Testing Procedures,” Journal of the SMPTE, 101:336-346, May 1992.
P. Z. Adelstein, J. M. Reilly, D. W. Nishimura, and C. J. Erbland, “Stability of Cellulose Ester Base Photographic
Film: Part II – Practical Storage Considerations,” Journal of the SMPTE Journal, 101:346 –353, May 1992.
P. Z. Adelstein, J. M. Reilly, D. W. Nishimura, and C. J. Erbland, “Humidity Dependence of Deterioration in Acetate
and Nitrate Base Film,” 132nd SMPTE Technical Conference (New York: Society of Motion Picture and television
Engineers, October 1990).
P. Z. Adelstein, “From Metal to Polyester, History of Picture-Taking Supports,” Pioneers of Photography, (Spring-
field, VA: The Society for Imaging Science and Technology, 1987) pp. 30-36.
J.-L. Bigourdan, “Preservation of Acetate Base Motion-Picture Film: From Stability Studies to Film Preservation
in Practice,” The Vinegar Syndrome: Handbook, Prevention, Remedies and the Use of New Technologies (Bologna:
The GAMMA Group, 2000) pp. 11-44.
J.-L. Bigourdan, “Vinegar Syndrome: An Action Plan,” The Vinegar Syndrome: Handbook, Prevention, Remedies
and the Use of New Technologies (Bologna: The GAMMA Group, 2000) pp. 45-59.
M. Edge, N. S. Allen, T. S. Jewitt, J. H. Appleyard and C. V. Horie, “The Deterioration Characteristics of Archival
Cellulose Triacetate Base Cinematograph Film,” Journal of Photographic Science, 36:199-203, 1988.
M. Edge, N. S. Allen, T. S. Jewitt, J. H. Appleyard and C. V. Horie, “Fundamental Aspects of the Degradation of
Cellulose Triacetate Base Cinematograph Film,”,Journal of Photographic Science, 25:345-362, 1989.
M. Fischer, “A Short Guide to Film-Base Photographic Materials: Identification, Care, and Duplication,” NEDCC
Technical Leaflet, update 7/2002.
M. Fischer and A. Robb, “Guidelines for Care & Identification of Film-Base Photographic Materials,” Topics in
Photographic Conservation, American Institute of Conservation, 5, 1993.
D. G. Hovarth, The Acetate Negative Survey Final Report (Louisville, KY: Ekstrom Library Photographic Archives,
University of Louisville, 1987).
ISO 18911: 2000 Imaging Materials – Processed Safety Photographic Film: Storage Practices.
B. Lavédrine, “Methodology used in the Inspection of Film Collections,” The Vinegar Syndrome Handbook, Preven-
tion, Remedies and the Use of New Technologies (Bologna: The GAMMA Group, 2000) pp. 79-84.
C. E. K. Mees, The Current Processes of Color Photography (Rochester, NY: Kodak Research Laboratories, Sep-
tember 6, 1945).
D. Nishimura, “Film Supports: Negatives, Transparencies, Microforms, and Motion Picture Film,” Storage of Natu-
ral History Collections: A Preventive Conservation Approach, 1:365-393 (Iowa: The Society for the Preservation
of Natural History Collections, 1995.
A. T. Ram and J. L. McCrea, “Stability of Processed Cellulose Ester Photographic Films.” Journal of the Society
of Motion Picture and Television Engineers, 97:474-483, June 1988.
J. M. Reilly, IPI Storage Guide for Acetate Film (Rochester, NY: Image Permanence Institute, Rochester Institute
of Technology, 1993).
J. M. Reilly, “Preservation of Acetate Base Motion-Picture Film: Environmental Assessment and Cost Manage-
ment,” The Vinegar Syndrome Handbook: Prevention, Remedies and the Use of New Technologies. (Bologna: The
GAMMA Group, 2000) pp. 61-71.
J. M. Reilly, P. Z. Adelstein, and D. W. Nishimura, Final Report to the Office of Preservation, National Endow-
ment for the Humanities on Grant #PS-20159-88, Preservation of Safety Film (Rochester, NY: Image Permanence
Institute, Rochester Institute of Technology, March 1991).
J. M. Reilly, Storage Guide for Color Photographic Materials (Rochester, NY: Image Permanence Institute, Roch-
ester Institute of Technology, 1999.
A. Robb, “Identification of Film-Base Photographic Materials: Flow Chart,” Topics in Photographic Conservation,
American Institute of Conservation, 6, 1995.
H. Wilhelm and C. Bower, Permanence and Care of Color Photographs (Grinnell, Iowa: Preservation Publishing,
1992).

28
Polyester Film Negatives
1955 – today
 Background
Polyester film was first employed for negatives that required high dimensional
stability (e.g., graphic arts photographic film79 ). During the 1960s and 1970s it
gradually replaced acetate as a support for many types of sheet films. Estar and
Cronar are brand names for polyester.
Polyester film base is inherently more chemically stable than either cellulose nitrate
or cellulose acetate film bases because it is a completely synthetic polymer (as
opposed to nitrate and acetate, which come from the natural polymer cellulose).
Polyester is a generic term for two types of film supports:
• Polyethylene terephthalate (PET), developed commercially after World War II
• Polyethylene naphthalene (PEN), introduced by Kodak in 1996 under the
Advantix brand name
Process
 
PET is insoluble in all common solvents and, therefore, it is impractical to cast
it from a solution. Instead it is cast from a melt in the same way as polystyrene.
Once cooled, the amorphous sheet is biaxially oriented by stretching it at a suitable
temperature in both the length and width directions. To provide thermal stability,
the oriented sheet, while still mechanically restrained in the machine, is heated
considerably above the stretching temperature. This causes a growth of crystallites Gelatin on polyester sheet film nega-
in the polymer and has the overall effect of locking the polymer chains together so tive (laterally reversed), top, with
positive image below.Denis Defibaugh
that the sheet is dimensionally stable up to much higher temperatures.80  (American, 1951- ). Van Loan Cot-
PEN is obtained through the reaction of ethylene glycol with 2,6-naphthalene tage, Bar Harbor, Maine, 2001. 10.16
x 12.7 cm (4 x 5 in.). Collection of
dicarboxylic acid. The chemical stability of this polymer is as high as that of photographer.
PET.81 
Support
 
PET has the highest strength, toughness, stiffness, and tear resistance of
any commercial film base at normal temperatures, however, it is not as easy
to splice as the cellulose ester film base because of its limited solubility.
Binder
 
The binder used in polyester negatives, as with other types, is made of
gelatin.
Image
 
Black & white polyester negative images are neutral black in color, while
color polyester negatives have an orange tint due to the masking dyes that
are used for color correction.
Retouching
 
By this time, most consumers had their own cameras and visits to a
photographer to sit for a portrait had become less common. Therefore, the
skills needed by photographers to retouch negatives became less common,
and most retouching from this point forward was done during the creation
of the positive image.
Positive Prints
  Gelatin on polyester color sheet film negative,
As with cellulose acetate negatives, black & white polyester negatives are top, with positive image below. Photographer
unknown, ca. 1970. [Golfers]. 10.16 x 12.7
printed on fiber based or RC silver/gelatin developing-out photographic cm (4 x 5 in.). George Eastman House study
papers and color negatives are printed on C print papers. collection.

29
 Stability/Deterioration
 
Polyester film base is inherently more chemically stable than either cellulose nitrate or cellulose acetate.
Because it is cast from the molten polymer it does not contain solvents or plasticizer, which might slowly
diffuse away and cause shrinkage or other problems with age.
After 50 years of manufacturing, polyester film support has shown exceptional chemical stability and
good physical performance.82  Black & white films on polyester base, together with toning (stabilizing
treatment of the silver image), can provide an extraordinarily long-lived pictorial record.83 
Although polyester film support has shown exceptional chemical stability and good physical performance,
the chromogenic dyes found in color negatives on polyester supports are not permanent and may fade
rapidly at room temperature.
Storage
 
Black & white negatives on polyester support may be stored at a temperature of 18º C or lower and a
relative humidity of 30% to 40%.
As with nitrate and acetate film, color negatives on polyester support require cold storage for their long-
term preservation.
Identification
 
Like acetate, polyester film may include the edge printing “SAFETY.”
Because polyester film support is highly birefringent, it is easily identified by the interference patterns
(rainbow colors) it produces when viewed between two crossed polarizing filters.

30
 Bibliography – Polyester Film Negatives
 
P. Z. Adelstein, J. M. Reilly, D. W. Nishimura, and C. J. Erbland, “Stability of Cellulose Ester Base Photographic
Film: Part II – Practical Storage Considerations ” Journal of the SMPTE, 101:346–353, May–June 1992.
P. Z. Adelstein, “From Metal to Polyester: History of Picture-Taking Supports,” Pioneers of Photography
(Springfield, VA: The Society for Imaging Science and Technology, 1987) pp. 30-36.
P. Z. Adelstein and J. L. McCrea, “Stability of Processed Polyester Base Photographic Films,” Journal of Applied
Photographic Engineering, 7:160-167, August 1981.
P. Z. Adelstein, G. G. Gray, and J. M. Burnham, “Manufacture and Physical Properties of Photographic Materials,”
Neblette’s Handbook of Photography and Reprography, 7th Edition (New York: Van Nostrand Reinhold Co.,
1977).
J. M. Calhoun, “Technology of New Film Bases,” Perspective, 2, No. 3 (London: Focal Press Ltd., 1960).
J. M. Calhoun, P. Z. Adelstein, and J. T. Parker, “Physical Properties of Estar Polyester Base Aerial Films for
Topographic Mapping,” Eastman Kodak Company, Manufacturing Experiments Division, presented at the Society’s
27th Annual Meeting, Washington, DC: March, 1961.
M. Fischer and A. Robb, “Guidelines for Care and Identification of Film-Base Photographic Materials,” Topics in
Photographic Conservation, American Conservation Institute, 5, 1993.
ISO 18911: 2000 Imaging Materials – Processed Safety Photographic Film: Storage Practices.
J. M. Reilly, Storage Guide for Color Photographic Materials, (Rochester, NY: Image Permanence Institute,
Rochester Institute of Technology, 1999.

31
General Bibliography
P. Z. Adelstein, “From Metal to Polyester, History of B. Lavédrine, with J. P. Gandolfo and S. Monod. Les
Picture-Taking Supports,” Pioneers of Photography, Collections Photographiques – Guide de Conservation
(Springfield, VA: The Society for Imaging Science and Préventive (Paris: ARSAG, 2000).
Technology, 1987) pp. 30-36. C. McCabe, “Preservation of Stanton Negatives,” Grand
C. Ackerman, George Eastman (Boston and New York: Canyon A Century of Change, Rephotography of the
1930). 1889-1890 Stanton Expedition (Arizona: the University
S. Berselli, “L’ Archivazione dei Fondi Negativi: Ambi- of Arizona Press, 1996).
enti, Materiali e Soluzioini”; La Fragilita Minacciata: C. E. K. Mees, Photography (New York: Macmillan
aspetti e problemi della conservazione dei negativi Co., 1937).
fotografici, Unione Internazionale degli Instituti di Ar- C. E. K. Mees, From Dry Plates to Ektachrome Film: A
cheologia (Roma: Storia e Storia dell’Arte, 1991. Story of Photographic Research (New York: Ziff-Davis,
J.-L. Bigourdan, Collection de Negatifs Photographiques 1961).
Noir et Blanc Agence Roger-Viollet, Examen et Plan de D. Nishimura, “Film Supports: Negatives, Transparen-
Conservation, Memoire de Fin d’Etudes, Institut Fran- cies, Microforms, and Motion Picture Film,” Storage of
çaise de Restauration des Oeuvres d’Art, Departement Natural History Collections: A Preventive Conservation
Photography, 1993. Approach, 1:365-393 (Iowa: The Society for the Preser-
W. H. Burbank, The Photographic Negative (New York: vation of Natural History Collections, 1995.
Scovill Mfg. Co., 1888). S. T. Puglia, “Negative Duplication: Evaluating the
J. M. Calhoun,“Technology of New Film Bases,” Per- Reproduction and Preservation Needs of Collections,”
spective, 2, No. 3 (London: Focal Press Ltd., 1960). Topics in Photographic Conservation 3: 123-134.
A. Cartier-Bresson, “Les Negatifs: Methodologie des A. Robb, “Identification of Film-Base Photographic Ma-
Traitements Individuels”; La Fragilita Minacciata: as- terials: Flow Chart”, Topics in Photographic Conserva-
petti e problemi della conservazione dei negativi fotogra- tion, American Institute for Conservation, 6, 1995.
fici, Unione Internazionale degli Instituti di Archeologia G. Romer, “Problems and Issues of Photographic Nega-
(Roma: Storia e Storia dell’Arte, 1991). tive Collection Preservation,” La Fragilita Minacciata:
B. Coe, The Birth of Photography: The Story of the aspetti e problemi della conservazione dei negativi
Formative Years: 1800-1900 (London: Ash & Grant fotografici, Unione Internazionale degli Instituti di Ar-
Ltd., 1976). cheologia, (Roma: Storia e Storia dell’Arte, 1991).
J. M. Eder (trans by E. Epstean), The History of Photog- J. M. Sturge, ed.; Neblette’s Handbook of Photography
raphy (New York: Columbia University Press, 1945. and Reprography – Materials, Processes and Systems,
J. M. Eder, Ausfuhrliches Handbuch der Photographie 7th Edition (New York: Van Nostrand Reinhold Co.,
3rd edition, 1 (Halle: Wilhem Knapp, 1930). 1977).

H. Gernsheim and A. Gernsheim, The History of Photog- L. W. Sipley, Photography’s Great Inventors (Philadel-
raphy. (New York: McGraw-Hill Book Co., 1969). phia: American Museum of Photography, 1965).

H. Gernsheim, The History of Photography from the S. F. Spira, E. S. Lothrop, and J. B. Spira, The History
Camera Obscura to the Beginning of the Modern Era of Photography as Seen through the Spira Collection
(New York: McGraw-Hill Book Co., 1969). (Denville, NJ: Aperture Foundation, Inc., 2001).

ISO 18902: 2000, Imaging Materials- Processed Photo- R. Taft, Photography and the American Scene (New York:
graphic Films, Plates and Papers – Filing Enclosures and Dover Publications, 1964).
Storage Containers. (ANSI/NAPM 10214 Photography- F. Wentzel, Memoirs of a Photochemist (Philadelphia:
Processed Photographic Materials- Filing Enclosures American Museum of Photography, 1960).
for Storage.) H. Wilhelm and C. Bower, Permanence and Care of
ISO 14523:1999 (E) Photography – Processed Pho- Color Photographs (Grinnell, Iowa: Preservation Pub-
tographic Materials – Photographic Activity Test for lishing Co., 1993).
Enclosure Materials.
R. V. Jenkins, Images and Enterprise, Technology and
the American Photographic Industry 1839 to 1925 (Bal-
timore: the Hopkins University Press, 1975).

32
Glossary
Albumen: Egg white. to light into a water-soluble compound, which can be later
Albumen paper: Paper with a coating made from an egg white eliminated from the photographic material through a final
base. wash
Ambrotypes: Collodion wet plate negative images that appear Image substance: Opaque material that is present in a quantity
as positives due to the black background affixed to the back proportional to the image density and forms the visual informa-
of the glass support. tion of the negative.
Anti-curl: A gelatin layer applied to the back of plastic film sup- Lantern slide: A positive image on glass that is meant to be
ports to counteract the tension exerted by the gelatin binder. viewed with a projector (as opposed to being printed on pa-
Anti-halo layer: A dark layer at the back of a glass or plastic per).
support that absorbs light during exposure to prevent it from Latent image: A change caused by light during the exposure of
bouncing back and creating a halo effect. a light-sensitive silver halide crystal, which is then magnified
Binder: Thin, transparent layer containing the image sub- by the developer and leads to the chemical reduction of the
stance. entire crystal.
Calotype: Paper negative process introduced by Henry Fox Nitration: Introduction of nitro groups into the cellulose chain
Talbot in 1841. through an esterification process with nitrate and sulfuric
acid.
Celluloid: A plastic made of cellulose nitrate with a plasticizer
such as camphor. Physical development: Development with a developing
solution (i.e., chemical reducing agent) that contains excess
Cellulose ester: Plastic produced by modifying cellulose chains silver ions, which add opacity to the image. Silver particles
through a process called esterification. produced through physical development are slightly different in
Chemical development: The chemical reduction of silver- shape and size from those produced by chemical development.
halide crystals into metallic silver particles called filamentary Collodion and paper negatives were produced using physical
silver. It is different from physical development in that all the development.
image-forming material is present in the binder and no silver is Plasticizer: A compound made of molecules of smaller size
added by the developing solution. Every negative type except than a polymer, which are added to the polymer during the
collodion and paper negatives were/are created using chemical manufacture of a plastic material to provide flexibility.
development.
Polymer: A large molecule made of smaller units called mono-
Chemical reducing agent: Element or compound with a strong mers.
tendency to give electrons in a redox (reduction oxidation)
reaction and thereby becomes oxidized. Positive prints: Images showing correct, not inverted, tonal
values.
Cockling: Planar deformation or buckling.
Print by contact: To print not through enlargement, but by
Collodion: Cellulose nitrate lacquer, a viscous liquid made by placing the negative directly in contact with the light-sensitive
dissolving nitrated cotton in alcohol and ether. paper and exposing it to light.
Cotton linters: Short fibers that stick to the hull of the cot- Printed-out positives: Images produced entirely through
tonseed after the long fibers (used in making cloth) have been exposure to sunlight, or an ultraviolet-rich source, without the
removed. aid of a chemical reducing agent. These positives were contact
Developed-out image: An image that is created through expo- printed and have a reddish or purplish-brown hue with subtle
sure and chemical development. details in the dark areas.
Developer: Chemical reducing agent that magnifies the reac- Printing-out papers: Papers on which a negative is overlaid
tion started by the exposure of the silver-halide crystals to light and exposed to sunlight until the image is fully visible.
and produces a strong image from the otherwise invisible or Sensitizing: Formation of the light-sensitive silver halide
latent image. crystals.
Developed-out images: Negatives or positive prints produced Silver mirroring: Chemical deterioration of the silver image
through exposure and development of a latent image with a that leads to the formation of bluish silver deposits on the
chemical agent. surface of the binder.
Developing-out photographic papers: Papers on which a Subbing layer: An extremely thin, transparent layer that ad-
negative is exposed but the image remains latent until it is made heres the binder to the negative support.
visible by chemical development.
Support: Firm or flexible material, which is optimally transpar-
Dry plate: A glass plate negative containing a silver image on ent or translucent (e.g., paper, glass, cellulose nitrate, cellulose
a gelatin binder. acetate, polyester), that acts as a base for the image-binder layer
Emulsion: A suspension of light-sensitive silver halide salts in of the negative.
a viscous medium (e.g., a gelatin solution) forming a coating Velox/gaslight paper: Photographic paper used by amateurs.
on photographic plates, film, or paper. This slow developing-out paper could be printed by exposure
Filamentary silver: Opaque silver particles that result from the to gaslight.
exposure and chemical development of light-sensitive silver- Wet plate: A glass plate containing a silver image in a col-
halide crystals.
lodion binder.
Fix: Transform all silver-halide crystals that were not exposed

33
Endnotes
1
W. H. F. Talbot, The Process of the Talbotype 20
Ibid.
(formerly called the calotype) Photogenic Drawing, 21
Ibid.
Communicated to the Royal Society, June 10, 1841 22
R. Kennett, “On the Gelatino-Bromide Process, with
(London: J. L. Cox & Sons, 1841). a Description of an Easy Method of Working it by Us-
2
L. J. Schaaf, The Photographic Art of William Henry ing the “Sensitive Pellicle,” The Photographic News,
Fox Talbot (New Jersey: Princeton University Press, June 19, 1874.
2000). 23
H. Gernsheim and A. Gernsheim, The History of
3
W. H. Burbank, The Photographic Negative (New Photography. (New York: McGraw-Hill Book Co.,
York: Scovill Mfg. Co., 1888). 1969).
4
R. Brettel et al, Paper and Light, the Calotype in 24
C. Bennett, “Negatives with Gelatin Emulsion,” The
France and Great Britain 1839 – 1870 (Boston: David Photographic News, November 1, 1878.
R. Godin, 1984), 47-63. 25
F. Wentzel, Memoirs of a Photochemist (Philadel-
5
L. A. Daffner, “Examination and Investigation of phia: American Museum of Photography, 1960).
19th-Century Paper Negatives, A Study of the Process, 26
J.-L. Bigourdan, Collection de Negatifs Pho-
Materials, and Deterioration Characteristics.” Topics in tographiques Noir et Blanc Agence Roger-Viollet,
Photographic Preservation, Journal of the American Examen et Plan de Conservation, Memoire de Fin
Institute for Conservation, 6:1-10, 1995. d’Etudes, Institut Française de Restauration des Oeu-
6
M. H. Ellis, The Ambrotype and Photographic vres d’Art, Departement Photography, 1993.
Instructor or, Photography on Glass. (Philadelphia: 27
M. Gillet, C. Garnier, and F. Flieder, “Glass Plate
Myron Shew, 1856). Negatives: Preservation and Restoration,” Restaurator,
7
F. S. Archer, “On the Use of Collodion in Photogra- 7, No. 2, 1986.
phy,” The Chemist (March 1851). 28
Ibid.
8
M. Osterman, researcher and teacher at the Interna- 29
G. E. Brown; Finishing the Negative, a Handbook
tional Museum of Photography at George Eastman of All Processes between Fixing and Printing: with a
House, Rochester, NY, personal communication. Special Chapter on Films (New York, 1901) p. 67.
9
M. H. Ellis. 37
B. Lavédrine and J.M Susbielles, “Étude des Vernis
10
M. McCormick-Goodhart, “An Analysis of Image des Négatifs sur Plaque de Verre,” Support/Tracé, No.
Deterioration in Wet-Plate Negatives from the Mathew 1, 2001.
Brady Studio,” The Imperfect Image; Photographs 31
C. McCabe.
their Past, Present and Future. The Centre for Pho- 32
Ibid.
tographic Conservation, Conference Proceedings
Windermere, April 1992.
33
Ibid.
11
W. H. Burbank.
34
M. Gillet et al.
12
Ibid.
35
W. H. Burbank.
13
M. Osterman.
36
J.-L. Bigourdan.
14
C. McCabe, “Glass Plate Negatives: the Importance
37
C. McCabe.
of Relative Humidity in Storage,” Sauvegarde et 38
J. B. Schriever, Negative Retouching, Etching and
Conservation des Photographies, Dessins, Imprimés Modeling Encyclopedic Index, Vol. 8, The Complete
et Manuscripts. Actes des Journées Internationals Self-Instructing Library of Practical Photography
d’Études de l’ARSAG. Paris, 1991: pp 36-44. (Scranton, PA: American School of Art and Photogra-
15
Mark Osterman. phy, 1909).
16
M. McCormick-Goodhart, “Glass Corrosion and its
39
R. Newton and S. D. Davison, Conservation of Glass
Relation to Image Deterioration in Collodion Wet Plate (London: Butterworth & Co., 1989).
Negatives,” The Imperfect Image; Photographs their 40
Ibid.
Past, Present and Future. The Centre for Photographic 41
Ibid.
Conservation, Conference Proceedings Windermere, 42
Ibid.
April, 1992: p. 258. 43
C. McCabe.
17
C. McCabe. 44
ISO 18918: 2000(E), International Standard. Imag-
18
Ibid. ing Materials/Processed Photographic Plates/ Storage
19
C. McCabe. Practices.

34
45
J. B. Schriever. 65
Ibid.
46
C. McCabe. 66
Ibid.
47
H. Gernsheim. 67
D. G. Horvath, The Acetate Negative Survey Final
48
B. Lavédrine. Report (Louisville, KY: Ekstrom Library Photographic
49
Ibid. Archives, University of Louisville, 1987).
50
E. & H. T. Anthony & Co., publishers, Anthony’s
68
Ibid.
Photo Bulletin, 1888.
69
G. E. Brown.
51
F. Wentzel.
70
J. Reilly, IPI Storage Guide for Acetate Film, (Roch-
52
H. Gernsheim. ester, NY: Image Permanence Institute, 1993).
53
F. Wentzel.
71
J.-L. Bigourdan.
54
C. E. K. Mees, Photography (New York: Macmillan,
72
M. Fisher.
1937).
73
J. Reilly.
55
F. Wentzel.
74
Ibid.
56
G. E. Brown.
75
H. Wilhelm and C. Bower, Permanence and Care
57
Greenwood & Co., publishers, The British Journal of Color Photographs (Grinnell, Iowa: Preservation
Photographic Almanac, 1940. Publishing, 1992).
58
F. W. Frerk, All about Improving Negatives, (Lon-
76
J. Reilly.
don: Focal Press, 1940).
77
A. Robb, Identification of Film-Base Photographic
59
J. F. Carroll and J. M. Calhoun, “Effect of Nitrogen Materials: Flow Chart, Topics in Photographic
Oxide Gases on Processed Acetate Film,” Journal of Preservation (Washington D.C.: American Institute of
the SMPTE, 64:501-507, September 1955. Conservation (AIC), 6, 1995).
60
M. Fisher, “A Short Guide to Film-Base Photograph-
78
Ibid.
ic Materials: Identification, Care, and Duplication,”
79
P. Adelstein, “From Metal to Polyester: History of
NEDCC Technical Leaflet, July 2002. Picture-Taking Supports,” Pioneers of Photography,
61
Ibid. The Society for Imaging Science and Technology,
1987: p. 35.
62
Canadian Conservation Institute (CCI), publishers,
“The Diphenylamine Spot Test for Cellulose Nitrate in
80
J. M. Calhoun, “Technology of New Film Bases,”
Museum Objects,” CCI Notes (17/2). Perspective, vol. 2 No. 3, Focal Press Ltd., 1960.
63
M. Fisher and A. Robb, “Guidelines for Care and
81
B. Lavédrine with J. P. Gandolfo and S. Monod. Les
Identification of Film-Base Photographic Materials,” Collections Photographiques – Guide de Conservation
Topics in Photographic Conservation, vol. 5, American Préventive, ARSAG, Paris, 2000.
Institute for Conservation (AIC), 1993.
82
J. Reilly.
64
F. Wentzel.
83
Ibid.

35
Additional copies of the poster and booklet may be ordered on the
Image Permanence Institute web site:
www.imagepermanenceinstitute.org