PP8110 Collections Preservation

Collections PreservationPP8110 Cataloguing and Registration MethodsPhotographic Preservation & Collections ManagementAlison SkyrmeRyerson UniversityWeek 8, 2014

Collections PreservationConservation VS. preservationMuseum ResponsibilitiesCollections StorageConservation for photographsCollections storage / environmentsStorage MaterialsMedium specific storage Products : environmental control, monitoring, enclosuresStorage solutions Collections Access

Lecture OverviewCollections PreservationPreservation: activities associated with maintaining library, archival, or museum materials for use, either in original physical form or in some other form. Conservation: the treatment of library or archive materials, works of art, or museum objects to stabilize them physically, sustaining their survival as long as possible in original form.Conservation VS. PreservationFrom the ALA, Source: http://cool.conservation-us.org/byform/mailing-lists/padg/1998/02/msg00040.htmlCollections PreservationArrangement and descriptionIntellectual research, organization & sustaining metadataPhysical organization & sustaining conditionEnvironmental Controlproviding a moderate and stable temperature and humidity level controlling exposure to light and pollutants.should be a priority for all institutions, control will usually be less tight for general circulating collections than for rare books, special collections, or archival materials. Housing & StorageProper, stable enclosures and storage to ensure stability of collections objectsParts of PreservationSource: http://unfacilitated.preservation101.org/session1/expl_whatis-program.aspCollections PreservationReformattingreproducing deteriorating collections onto stable media to preserve the informational content or in cases where the originals are fragile or valuable and handling is restricted.Digital Projectsusing digital imaging to provide access copies of deteriorated original collections; creating digital objects that will act as preservation copies of original items; preserving objects that are "born-digital. Conservation Treatmenttreating individual objects using the services of a trained conservator. appropriate for a wide range of institutions, provided they hold unique materials that are of sufficient value to justify treatment.Can be very expensive Parts of PreservationSource: http://unfacilitated.preservation101.org/session1/expl_whatis-program.aspCollections PreservationDisaster Planningpreventing and responding to damage from water, fire, or other emergency situationsshould be a high priority in all institutions. The reasons are obvious for collections of enduring value, but even collections that are not meant to be retained over the long term represent a capital investment for an institution and as such must be protected from loss.Securityprotecting collections from theft and/or vandalism. This type of protection is needed for both special and general collections, since loss and vandalism of general collections results in unnecessary replacements and expense.

Parts of PreservationSource: http://unfacilitated.preservation101.org/session1/expl_whatis-program.aspCollections PreservationMust provide reasonable care of objectsThis is essential in maintaining status in Canada Loans and temporary receipt items are treated with the same care (or mitigated by agreement)Collections care is time consuming and expensiveCan be overshadowed by more visible issues (marketing, exhibitions, acquisitions)Museum/Archives/Library responsibilitiesCollections PreservationBegins with proper policies and procedures covering preservation of collectionsProcedures should ensure tracking of condition A good board will put collections preservation first but they must know about problems to do something about itA board less interested in preservation will be able to ignore issues if they are not presented with themCollections management/registration must be the voice for preservation

Museum responsibilitiesCollections PreservationPaper conservators will sometimes have a specialty in photographsMore often than not, this is on a freelance basisConservators are normally in charge of monitoring, treatment of objects3 certified photograph conservators in Canada, all in Ottawa, only one will accept outside commissions

Conservation : Photographic MaterialsMuseums are cutting in house conservation. This leaves basic conservation tasks in the hands of other collections staff and the more complicated procedures to freelancers

9Specific trainingOften film archivists or curatorsInstitutes and archives: BFI, George Eastman House, LOC, Cinmathque FranaiseCompanies that do conversion, duplication and restoration: http://www.digitalvideolab.ca/Library and Archives CanadaMigration/Digitization (preservation and playback)Paul Gordon, Motion picture film conservatorRestoration: Motion Pictures28mm government films transferred to 35mm polyester film The audiovisual preservation laboratories at (LAC) are amongst the largest in Canada. Working with specialized equipment, conservators handle all types of film, video and sound documents including numerous obsolete formats. Documents are stabilized, repaired, cleaned and inspected, and, when required, new preservation copies are made.

In September 2009, LAC began the implementation of an Audiovisual Migration Strategy to preserve at-risk audio and video recordings in its holdings. This strategy is LAC's response to the preservation crisis for audiovisual recordings resulting from aging, unreliable and obsolete playback equipment, disappearing expertise in analogue audio and video technologies, and the deterioration of physical formats (such as tapes and discs).

There are two principle directions outlined in LAC's strategy: (1) recordings will be migrated to standard digital file formats; and (2) priority for migration will be assigned to those formats most at risk of obsolescence.

Beginning with the successful completion of a pilot project to migrate D2 videotapes to digital format, LAC is gradually increasing its capacity and experience. LAC has since fully migrated recordings from four additional formats: digital audio tape, minidisc, dictation, and wire audio formats. Work has also begun on projects to migrate recordings from 2-inch Helical, 2-inch Quad, and -inch U-matic videotapes, as well as from reel to reel, cassette, disc, and acetate disk audio formats.Some of this migration work is now being done by the private sector and collaborative ventures for audiovisual preservation are being investigated. 10Collections PreservationIdeals and Reality

Source: http://likes.com/comedy/15-examples-of-advertising-vs-realityBased money, time, sustainability, expertise, time available 11Collections PreservationAll museum objects are vulnerable to deterioration2 causes: handling / environmentMuseums are responsible for minimizing damage and extending the life of the object as long as possible by:Preventative conservationManaging storage and environmentHaving proper procedures for use (access, handling, storage, exhibition etc.)Having an emergency preparedness planIntegrated pest management

Preservation & Conservation Issues12Storage EnvironmentChemical deteriorationBiological deteriorationMechanical deterioration These can be handled through proper storage conditions and enclosures:TemperatureRelative HumidityLightAir ContaminantsPests Storage is designed to limit this type of damageDamageStorage EnvironmentOne of the most destructive elements in collectionsRH = amount of water vapor in the air (expressed as a percentage of the maximum amount the air can hold at a given temperature)High and low RH can affect objects Organic materials (wood, paper, leather): RH fluctuation can affect size, causing cracking, tearing, stretching.Mildew and mould can occur with long term high RHInorganic materials (metals) : corrosionMaintenance of RH can be difficult both in the Winter and Summer in non-temperate climates Relative HumidityStorage EnvironmentStability is key, but can be difficult to achieve beyond a variance of +/- 3%International standard is 50-55% Objects that require lower RH can be housed in micro-environments 50-55% allows for loaning of objects more easily Must be maintained in any space objects will pass through (shipping, unpacking, isolation, registration, conservation, exhibition, storage)Maintained through careful design including glazing, proper construction, HVAC systems.Relative HumidityStorage EnvironmentMaterials that must be removed from the air:Particles (dust, lint, pollen, smoke, smog)Gaseous pollutants Indoor: formaldehyde, acetaldehyde, formic acid, acetic acidOutdoor: nitrogen oxides, ozone, sulfur dioxide, carbon Monitoring: Metal strips (coupons) placed in environment & monitored for corrosionActive air monitoring (pulls air into the system, very costly)Passive air monitoring (air diffuses into the trap) used for ozone, nitrogen dioxide, sulfur, VOCs, formaldehyde but not for acetic acid, formic acid, hydrogen).Air

Getty research found that soiling on vertical surfaces in urban areas with no ventilation became apparent in 0.3 years, in modern museums with HVAC systems it took 18 years16Storage EnvironmentFilters in the air handling system - an array of filters with increasing efficiency ratingsHousekeeping standards: hepa filters on vaccumes, Surfaces should be sealed wood, concrete, plaster can off gas if not sealedAbsorbent materials in display cases and storage boxesScreens on cabinets to improve air circulationCirculation in vaults, galleries and display cases

Air Pollutants - solutionsGetty research found that soiling on vertical surfaces in urban areas with no ventilation became apparent in 0.3 years, in modern museums with HVAC systems it took 18 years17Storage EnvironmentLight causes fadingLux levels are suggested as:50 or less for sensitive materials (salted paper prints)150 200 lux for medium sensitivity (gelatin silver prints)300 lux for low sensitivity (metal, stone, ceramic, glass)Maximum QUANTITY of LUX hour is also recommended53,800 120,000 hours per year for sensitive material (lux level x hours)UV levels: UV should be kept low, filters can be placed over windowsLight LevelsLow level works out to be about 6 months at 50 lux18Storage EnvironmentWarm white LED lights now have little to no blue casttypical LEDs for museum lighting do not have any UV outputHave some preservation benefits over filtered halogen (but it would take decades to show) See the Getty LED report for the latest information:http://www.getty.edu/conservation/our_projects/science/lighting/case.html

LED lightsSource: Gawain Weaver, Photo Conservator, San Fransisco19Storage EnvironmentChemical reactions happen faster at higher temperaturesSizing can also be affected A general standard of about 20 degrees C +/- ) 5 degrees year round is idealTemperatureStorage EnvironmentsCollections objects should be stored in separate area from other work (exhibition, prep, management)Should be isolated, secure, windowless, accessible from loading dock, exhibition spaces, prep roomsOften separated into material typesShelves and storage boxes should be well labeled and easily accessibleEnameled, metal shelving is ideal, wood should be avoidedIt is important to ensure that pipes do not run through storage / shut off valves are accessibleStorage areasCollections StorageStorage accounts for about 19% of space in institutions & collections and storage together account for over 70%*Depending on the TYPE of museum, the ratio of storage to exhibition ranges from 1:4 to 1:1Approximately 80% of most collections are in storage yet storage is an often overlooked Proper storage is expensive but collections are the basis of the institution's existence

Storage Areas*Lord & Lord, The Manual of Museum Planning. AlstaMira Press, New York: 2001Percentages are based on uk examplesNational museums tended to have the most storage while small museums and historic houses the least22Collections StorageHow frequently/quickly is access to collections required?Who is given access? How many people? What kind of objects will be stored? Values? Sizes?What kind of security is needed?How will objects be packed? Will framed objects be hung?Will objects be moving in and out of the facility? How?Is off-site storage an option?What standards of storage are necessary? (based on objects, status)What is the projected growth of the collection?

Question to ask when determining storage design:Will forklifts be needed? Trucks? Ramps? Explain delivery dock at ryerson.Offsite storage if access is very infrequentArchives of toronto, $2 per box offsite, $80 per box onsite. But offsite can be difficult to staff, security issues.

23Collections StorageWhat is the projected size of the collection in 5, 10, 15 years?What kinds of objects will be collected?How much of the growth will be stored onsite?What density of storage is acceptable?What other spaces will require development? Research spaces? More exhibition space?

Forecasting space needs:24Storage EnvironmentsStable storage can be arranged without H-VAC systems (with closed cabinets with filters & seals must be careful with off-gassing materials)Silica gel can be added to control humidityLarge dust covers on open shelvesCompact shelving for large collections and limited space

Storage areasStorage EnvironmentsHeating, ventilation and air conditioningMaintains temperature and RHDehumidifiers & humidifiers can be used in absence of a centralized systemSeasonal changes may require shifts in the HVAC systemSystems should be monitored and tracked Ventilation systems circulate the air and lessen the effects of pollutants in the air

H-VAC systems & air handlingStorage EnvironmentsH-VAC systems & air handlingImage Permanence Institute: http://www.ipisustainability.org/videos-2/Image Permanence Institute: Understanding HVAC SystemsStorage EnvironmentsIssues with environmentsNational Science Museum is infested with mould!And also asbestos.

Storage MaterialsRubber, urethane foam (breaks down)Cellophane & masking tape (adhesive stains & is not removable)Rubber bands deteriorate Wood products (unsealed)Unstable plastics Acidic glues

Materials to avoidStorage MaterialsFor photographs : buffered materials absorb acid (but should not be used with cyanotypes or dye transfer)Acid-free products with neutral PHUntreated cotton & linenPolyester batting for paddingPolyethylene (film cores, reels and cans, negative sleeves for polyester film)Wheat paste

Safe materialsStorage EnvironmentSalted paper prints, RC prints, fiber-based prints (collodion, gelatin & albumen) Printing out or developing out papers.Salted paper prints are more sensitive to deterioration (no distinct image layer)Low, consistent RH (30-50%) & temperature (15 25 C) with a fluctuation of no more than 4 CRH should not exceed 60% and temperature should never exceed 30 CCold storage (below 0) are ideal for long term storageIdeal for B&W photographs (from CCI)If RH is too low, gelatin will dry and prints will curl

31Display EnvironmentUse acid free, hinged matt for display of valuable originalsB&W prints are sensitive to UV lights, illumination should be kept below 75 wattsAvoid direct sunlightExhibitions of fiber prints can be for several weeks at 200 luxSalted paper, albumen & RC prints are more fragile (recommended from 5 100 lux)Consult a conservator regarding fragile prints, use inventive exhibitions methods to limit light exposure

B&W photographsGelatin can stick to glass without a matt

32Enclosures & HandlingStorage in polyethylene sleeves in an envelope are idealDrop front boxes for vault storage and transportationDo not roll photographs (can cause emulsion cracking)

Ideals for B&W photographsColours shift, particularly early colourThe idea is to minimize light exposure, handling and friciton

33Storage EnvironmentCellulose nitrate (1880s 1950s), cellulose acetate (1920s to present), polyester or safety (1950s to present)Nitrate is highly flammable and unstable single negative sheets should be kept in individual envelopes.All negs are highly sensitive to RH between 20% and 50% (optimal 30-35%), never above 60%Temperature should be below 21, never above 32Cellulose acetate should be segregated from the rest of the collection can off-gas dangerous chemicalsDigital copying and cold storage (below freezing)Ideal for B&W film materials (from CCI)Colours shift, particularly early colour

34Display EnvironmentB&W FilmDisplay of black and white negative materials is not recommended Colours shift, particularly early colourBlack cloth covering like in GEH

35Enclosures & HandlingUse uncoated polyethylene or polyester sleeves & paper envelopesLarge format negatives should never be rolled

Ideals for B&W filmColours shift, particularly early colourThe idea is to minimize light exposure, handling and friciton

36Storage EnvironmentMore sensitive to RH and High Temperature than black and white materialsISO standards suggest an RH of 25 +/- 5% (with an RH never exceeding 60%Fluctuations must be kept to a minimumTemperatures < 21 degrees Celsius recommendedTemperatures of 2 degrees is best for film, and temperatures of below freezing is best for long term storageAvoid displaying original colour negs (light can cause embrittlement of gelatin & dye fading)

Ideal for Colour film materials (from CCI)Colours shift, particularly early colour

37Display EnvironmentDisplay light for early colour should be tungsten and kept below 50 lux (6-8 week display limit)Post 1985 colour is more stable can be displayed at 300 lux for several periods of 6-8 weeksValuable originals should be displayed with careful consideration inventive display methods can be used to limit light exposureColour materialsColours shift, particularly early colourBlack cloth covering like in GEH

38Enclosures & HandlingUse uncoated polyethylene or polyester sleeves & paper envelopesLarge format negatives should never be rolled

Ideals for Colour filmColours shift, particularly early colourThe idea is to minimize light exposure, handling and friciton

39Storage EnvironmentA combination of materials (brass, textiles, leather, glass) can make ideal storage difficultRH between 30% and 50%, ideally 30% - 35% (never above 60%)Temperature below 21 C, no higher than 24 C with a fluctuation of no more than 4 C daily

Ideal for cased photographsColours shift, particularly early colour

40Display EnvironmentBest displayed with a single light source positioned at a 45 degree anglePlexiglas enclosures are ideal (security) Some can sustain a relatively high light level (300 lux) for several weeks at a time GEH used 100 lux for daguerreotypes on advice of conservators.

Cased photographs41Enclosures & HandlingCases should be protected, individual boxes or four fold enclosures designed for each individual object Ideal protection from flooding are boxes encased in polyethylene bags or polyethylene boxes with snap on lids (cased objects cannot be freeze dried)Repackaging for cased photographs can be done by a conservator

Ideals for cased photographsColours shift, particularly early colourThe idea is to minimize light exposure, handling and friciton

42StorageFresh acetate film stored at a temperature of 65F and 50% will last approximately 50 years before the onset of vinegar syndrome. Just reducing the temperature 15, while keeping the humidity at the same level, delays the first signs by 150 years.2National Film Preservation Institute, Film Preservation Guide, http://www.filmpreservation.org/userfiles/image/PDFs/fpg_6.pdfAcetate film materialStorageNitrate fire timeline from the Classic Film UnionOnly 24% of silent films have survived1967: National Film Board of Canada1978: George Eastman House, National ArchivesNitrate film material

The Cleveland Clinic X-ray Fire, 1929Source: Cleavelandhistorical.orgStorageIn the US: National Fire Protection Association guidelines for cabinets & vaults storing nitrite motion picture materialsSmall collections (5-150 rolls, 25-750 lbs) steel cabinets with built-in sprinklerLarger collections National Film Preservation Institute, Film Preservation Guide, http://www.filmpreservation.org/userfiles/image/PDFs/fpg_6.pdfNitrate film materialStorage

Motion picture film materialStorageMotion picture film materialAcclimatization staging roomOR place film in moisture-proof container before removal from the colder environment (condensation will then take place on the outside of the container and not on the film) Container may be as simple as a heavy-duty zip-sealed freezer bagWarming time depends on film mass large 35mm roll will need more acclimatization time than small 16mm. Minimum of 24hours

National Film Preservation Institute, Film Preservation Guide, http://www.filmpreservation.org/userfiles/image/PDFs/fpg_6.pdf

StorageMagnetic materialsVideo tapes, DVDs, magnetic soundtracks cannot be frozenAvoid rapid temperature and RH changeNever below 32F or 0CNever above 74F or 23C

Source: Van Bogard, J. (1995) How Can You Prevent Magnetic Tape from Degrading Prematurely? National Media Laboratory. Retrieved from: http://www.clir.org/pubs/reports/pub54/5premature_degrade.htmlDisplay Film materialsWhat kind of access?Onsite programs, internet exhibition, loan & distributionIs the original film necessary?Need proper playback (kept in good working order)

Source: Van Bogard, J. (1995) How Can You Prevent Magnetic Tape from Degrading Prematurely? National Media Laboratory. Retrieved from: http://www.clir.org/pubs/reports/pub54/5premature_degrade.htmlFilm archives regard exhibitionprints as museum objects andcarefully control their use. They lendprints only to borrowers that exerciseproper projection practices androutinely clean and service projectionequipment. Poor handling harms theprint and leaves damage that will beseen by the next audience.

Guidelines for handling archivalprints are posted on the Library ofCongressWeb site at lcweb.loc.govfilm/project.html.Storage Dark Storage : no light can access the objectsDew point : temperature @ which air containing a specific amount of moisture becomes saturated (condensation)Cool storage : temperatures between 7C and 16CCold storage : temperatures under 7C PAT : Photographic activity test (ISO 18916, used to predict chemical interaction between enclosures and images)RH : relative humidity, amount of water vapor in the air (expressed as a percentage of the maximum amount the air can hold at a given temperature)

GlossaryStorage Given a specific Dew Point:As temperature rises, RH fallsAs temperature falls, RH risesCollections like a dew point