Visualizzazione post con etichetta Conservation of photography. Mostra tutti i post
Visualizzazione post con etichetta Conservation of photography. Mostra tutti i post

lunedì 3 gennaio 2011

A book: Fundamentals of Photograph Archiving

ENGLISCH EDITION OF "FAUSTREGELN FÜR DIE FOTOARCHIVIERUNG" AVAILABLE AS PDF-FILE:
Fundamentals of Photograph Archiving, english translation of the fourth, essentially expanded and updated edition of Faustregeln für die Fotoarchivierung, 2001

Fundamentals of Photograph Archiving.

A Manual by Sebastian Dobrusskin, Wolfgang Hesse, Martin Jürgens, Klaus Pollmeier, Marjen Schmidt.

English translation of the fourth, essentially expanded and updated edition of "Faustregeln für die Fotoarchivierung" (Rundbrief Fotografie; Special Edition 1) by Martin Jürgens.

Translation granted by the project "Safeguarding European Photographic Images for Access" (SEPIA) of the European Commission on Preservation and Access (ECPA).

91 pages, ISSN 0945-0327, PDF-File (152 KB), EUR 10,00

Content

PREFACE

Photographs have preserved views and interpretations of the world for more than 160 years. They shape our way of seeing: they are the optical memory of the industrial age. Next to silver halide photography, new imaging technologies have now become prolific. Of these, the group "digital prints" has been included in the fourth edition of the guide "Fundamentals of Photograph Archiving". In this publication, a digital print is defined as every direct, i.e. without the use of a photomechanical matrix, print of a digital file that does not rely on the exposure of photographic material.

Photographs are very fragile artefacts. Great expertise is required to preserve them. Although photographic processes were and still are extraordinarily varied, there are some common factors. Conditions for archiving, exhibition, and handling can therefore be summarised in basic rules; this also applies to digital prints.

Not all measures proposed here are free or even inexpensive. However, apart from the fact that all efforts should be seen in relation to the primary task, the maintenance of the collection, some improvements can be achieved without great financial means. This applies particularly to the mistakes that one learns to avoid. In this sense also, the fourth, critically re-examined and expanded edition of this guide builds on the preceding ones.

The guide "Fundamentals of Photograph Archiving" structures disconnected and scattered knowledge and hopes to serve as a manual for a differentiated approach to conserving photographs and digital prints.

We hope that this guide will be useful as a tool to the advantage of the collections you are responsible for. Your critique and suggestions can be helpful for later revisions, and we therefore invite you to send us your comments. At the same time we ask for your understanding, in particular relating to the statements we make on digital prints. Much cannot be foreseen in view of their rapid development, and the internet provides us with a constant, if coincident, source of numerous innovations. The appendix offers a preliminary orientation to this area.

Given these tendencies and the possibility that, despite our in-depth investigations prior to the formulation of these rules, the full accuracy of our recommendations cannot be guaranteed, we would like to explicitly point out that the authors and editors of this guide cannot accept responsibility for damage that results from the consultation of the rules, persons, or companies presented here.

Thus, the realisation that your own responsibility and activity plays the crucial role when it comes to preserving a collection is all the more important.

Sebastian Dobrusskin, Wolfgang Hesse, Martin Jürgens, Klaus Pollmeier, Marjen Schmidt

FUNDAMENTALS

Avoid the misconception that photographs and digital prints are arbitrarily reproducible and therefore their preservation as originals is of secondary importance.
Use the inherited images not only in terms of their pictorial information, but also as compound objects of unique and complex materiality and as historical sources with multiple layers of meaning. (Rule No. 1)

CONTENT

  • Fundamentals
  • Climate & Light
  • Water Damage
  • Room
  • Cabinet
  • Box
  • Enclosure
  • Handling
  • Duplication
  • Exhibition
  • Publication

    APPENDIX

  • Tables
    Table 1: Terminology of Digital Print Systems
    Table 2: Recommended Temperature and Relative Humidity
    Table 3: Recommended Exposure Limits
    Table 4: Classification of the Light Sensitivity of Digital Prints
    Table 5: Classification of the Water Sensitivity of Photographs
    Table 6: Classification of the Water Sensitivity of Digital Prints
  • Standards
    ISO - ANSI - BSI - DIN
  • Literature
  • WWW Links
  • Organizations
Link

RUNDBRIEF FOTOGRAFIE
Stuttgart, Germany



lunedì 19 luglio 2010

Oct 2010 - ICOM-CC Photographic Materials Interim Meeting @ Benaki Museum, Athens


ICOM-CC Photographic Materials Working Group (PMWG) Interim Meeting 2010 19-22 October 2010
Benaki Museum Athens, Greece The ICOM-CC PMWG interim meeting program is now available and registration for the meeting has opened. The meeting will be held at the Benaki Museum in Athens, Greece 19-22 October 2010. The meeting includes two days of talks on the conservation of traditional and contemporary photographs, a tour of the Benaki Conservation studios, and two 1-day workshops:

Contemporary photographic practices

Sylvie Penichon

Amon Carter Museum, Fort Worth, TX,

USA
and
Digital prints that look like photographs but aren't really (or are they?)
Martin Juergens
Rijksmuseum Amsterdam, Netherlands.

The full program and the registration form are available from the
ICOM-CC website:

http://www.icom-cc.org/10/documents?catId=18&subId=161>

If you have problems accessing the website or require any additional
information please contact

Angeletta Leggio
or send an email to icom.cc.prwg.athens.2010 [at] gmail__com

We hope to see you in Athens in October.


Clara von Waldthausen

PMGW Coordinator


Angeletta Leggio
PMGW Assistant Coordinator


Martin Juergens

PMGW Assistant Coordinator


Maria Matta
Benaki Museum



ICOM-CC

website

lunedì 5 luglio 2010

DVD - Seminar on preservation and management of photographic collections

Postprints
Seminar on Preservation and Management of Photographic Collections Photographic Archive, Benaki Museum
Athens, Greece 2010


A bilingual CD-ROM including the seminar papers along with a DVD of the workshops follows the historical and technological evolution of photography, from the early printing processes (1839) till the recent production of digital prints. In addition, we learn about the factors that influence the preservation of photographic materials according to their structure and the conditions of storage and display.

The most leading figures from the field of photographic conservation, preservation management, and digital imaging attempt a theoretical, historical and practical approach to the subject.

The 2 hour DVD presents the recreation of major photographic processes such as albumen prints, palladium prints, cyanotypes, photogravure etc. as well as an identification key of the numerous photographic techniques through the 19th and 20th century.

The intensive five-day seminar has been organized by the Photographic Archive of the Benaki Museum in 2005, in order to enable the participants to identify various photographic techniques, to understand the sources of deterioration of photographic collections and to select proper preservation materials for the safe handling of images during the inventory, cataloguing and digitization of a collection.

Lecturers

Grant B. Romer
Director of the Advanced Residency Program in Photograph
Conservation, George Eastman House, Rochester, New York.

James M. Reilly
Director of Image Permanence Institute, Rochester Institute of
Technology

Anne Cartier-Bresson
Director of the Atelier de Restauration and de Conservation des Photographies de la Ville
de Paris, Maison Europeenne de la
Photographie, Paris.

Dr. Mike Ware
Scientific consultant to the National Museum of Photography,
Film and Television, Bradford. Honorary Fellow in Chemistry,
University of Manchester.

Doug Munson
Director of the Chicago Albumen Works, Inc.

Luis Nadeau
Photography Historian specialized in the re-creation of
photographic techniques and director of the Atelier Luis Nadeau,
Canada.

Mogens S. Koch
Professor-Conservator in Royal Danish Academy of Fine Arts,
Denmark.

Henry Wilhelm
Director of the Wilhelm Imaging Research, Inc.

Martin C. Juergens
Photograph Conservator, Germany

Kostis Antoniadis
Professor of Photography at the Technological Educational Institute of Athens, Department of Photography

Alkis Xanthakis
ESFIAP, Photography Historian

Maro Vandorou
Visual and Conceptual Artist, Portland, Oregon.

Fani Konstantinou
Consultant to the Photographic Archive, Benaki Museum

From Conservation DistList
Date: 28 Jun 2010
From: Maria Matta
Subject: Postprints from seminar on preservation and management of photographic collections.

See also the original announcement of this conference see Conservation DistList Instance: 18:51 Tuesday, April 26, 2005.

Benaki Museum
Athens
(www.benaki.gr)