A photograph conservator is a professional who examines, documents, researches, and treats photographs, including documenting the structure and condition of art works through written and photographic records, monitoring conditions of works in storage and exhibition and transit environments. [1] This person also performs all aspects of the treatment of photographs and related artworks with adherence to the professional Code of Ethics.
Responsibilities of a Photograph Conservator of course vary from institution to institution, however there are some critical functions that all conservators must perform in their roles as protectors of cultural heritage. Preventive conservation, examination and documentation, research, and treatment are core functions at the center of every photograph conservators responsibilities.
Preventive Conservation is a rather new specialty in the field and is in response to the need conservators feel for preserving objects post-treatment. As Barbara Appelbaum states, "The fact that conservators feel responsible for preserving object forever is noble, but, practically speaking, unrealistic." [2] Preventive conservation shifts the burden of preservation and protection onto measures like environmental controls such as temperature and relative humidity control, control of light levels present, and control of various contaminants. It also includes integrated pest management and emergency preparedness. All of these steps should be taken for each object before and after treatment, or in some cases in the place of treatment. The Photograph Conservator should be working on preventive conservation each day, as it is one of the most important ways to preserve objects when treatment isn't practical or necessary.
Control of relative humidity and temperature is critical in the preservation of photographs. "Heat can accelerate deterioration and high relative humidity provides the moisture necessary to promote harmful chemical reactions in materials and, with high temperature encourages mold growth and insect activity" according to the Northeast Document Conservation Center. [3]
Proper storage can protect photographs from fluctuations in relative humidity and temperature and/or seasonal changes. Photographic prints and negatives are best stored in individual paper or plastic enclosures. Note that paper enclosures must pass the PAT test or Photographic Activity Test in order to be deemed safe for storage of photographic materials. [4] Once the photographs are in their individual enclosures they must be boxed in archival quality boxes. Horizontal storage is usually recommended over vertical storage, as is storing photographs of similar size together to avoid abrasions or misplacing the smaller items. [4] Negatives, which includes black and white or color negatives, slides, lantern slides, collodion wet and dry plate negatives, and silver gelatin wet and dry plate negatives should be stored upright and vertically along their longest edge. Padded boxes with dividers are often necessary as you do not want two glass plate negatives to touch each other. When packing the archival quality boxes, make sure to not pack them too heavy and label them accordingly. Scrapbooks and albums provide a particular challenge to conservators because they often contain a variety of components and media. They should not be stored with other archival collections if it can be avoided. Scrapbooks can either be digitally reproduced or if the original is deemed important enough, can be wrapped in archival quality paper or housed in a custom fitted box. [4]
The AAM, or American Alliance of Museums, defines an emergency response plan as "a series of written policies and procedures that prevent or minimize damage resulting from disasters (either man made or natural) and help a museum recover." [5] The required elements of such a plan are as follows: tailored to the institutions current facilities and specific circumstances, covers all threats/risks relevant to the institution, addresses staff, visitors, structures, and collections, includes evacuation plans for people, specifies how to protect, evacuate or recover collections in the event of a disaster, and delegates responsibility for implementation. A Photography Conservator would have a vital role to play in the emergency response plan at their institution. It would be their responsibility to detail the needs of the photography collection and the ways to recover that collection in case of a disaster. [5] It is widely recommended that the staff partake in monthly training to go over the emergency response plan in order to ensure that each staff member, including the photograph conservator, knows their role in case of an emergency.
Examination is defined by the act of looking at something closely and carefully or a close and careful study of something. [6] This would be a crucial duty for all conservators, including Photograph Conservators. Barbara Appelbaum explains that "the contrast between the first impression of an object-which is more or less the impression of the ordinary viewer- and the view that a conservator takes during an examination is a significant one." [2] The first step of an examination is examination of an object with one's eye with a bright light, sometimes with the help of magnification or other viewing aids like binoculars. Tactile observations are also critical, and in some cases senses of smell and hearing yield useful information as well, as tapping on a glass plate negative for example can help identify significant discontinuities. [2]
It can be argued that documentation is the most important task a conservator carries out. Every step of the process must be fully documented by a conservator. The National Park Service recommends that all conservation treatment should be documented in writing. They should also include visual representations such as photographs, drawings, analytical results, spectra, and digital images. The documentation should be kept in hard copy and in digital files appended to the Collections Database System used by the museum. [7] Documentation is important for the following reasons
Photograph conservators must do thorough research before any treatment can take place. This is often the legacy that conservators leave behind, their documentation, research, and treatment. New techniques and less harsh treatments are being discovered all the time by professionals in the field. The Getty Conservation Institute is currently researching methods for characterization of photographs and photographic material. The study is explained as, "both qualitative and quantitative analysis of photographs and photographic material in order to facilitate identification of photographic processes, and to develop a quantitative methodology for analysis of photographic material. The analytical techniques currently being used in this research are:
Treatment is defined by the American Institute for Conservation as, "the deliberate alteration of the chemical and/or physical aspects of cultural property, aimed primarily at prolonging its existence. Treatment may consist of stabilization and/or restoration." Stabilization is meant to maintain the integrity of cultural property and minimize deterioration and restoration is meant to return cultural property to a known or assumed state, often through addition of non original material. [9]
Treating photographs is not all about the aesthetic of the image; it also has to do with the photograph's long-term survival. Of course a photographs conservator would want the image to look as pleasing as possible, but that is not the primary motive behind conservation treatment. Photograph preservation is concerned with treating original photographic material and not the digital copy of that image, although making reproductions of images digitally is a treatment plan used by many conservators. This allows digital photograph restoration and study and preservation of the image and information that image contains, without the original being damaged further. However this is not a replacement for the original photograph as digital scans and copies can easily become obsolete.
A successful treatment was carried out on a broken glass plate interpositive of Abraham Lincoln taken in 1860, at the George Eastman House. This treatment included using materials that stabilized the glass and emulsion and involved research in innovative new methods. [10]
Photograph conservators need to possess a vast knowledge of photographic processes and deterioration of those materials. Conservators should have experience in:
Paths to becoming a conservator vary but usually include, a graduate degree in conservation or historic preservation with a certificate in or diploma in conservation as well as post graduate fellowships. Study of a foreign language, formal course work in drawing, painting, photography etc., professional experience, and a personal interview and portfolio are sometimes required. A few PhD programs do exist for those that wish to further their studies of conservation sciences. Some programs in North America include:
Some of the most well known Photograph Conservators in the world are:
Photograph conservators can specialize in:
The conservation and restoration of cultural property focuses on protection and care of cultural property, including artworks, architecture, archaeology, and museum collections. Conservation activities include preventive conservation, examination, documentation, research, treatment, and education. This field is closely allied with conservation science, curators and registrars.
The conservation and restoration of photographs is the study of the physical care and treatment of photographic materials. It covers both efforts undertaken by photograph conservators, librarians, archivists, and museum curators who manage photograph collections at a variety of cultural heritage institutions, as well as steps taken to preserve collections of personal and family photographs. It is an umbrella term that includes both preventative preservation activities such as environmental control and conservation techniques that involve treating individual items. Both preservation and conservation require an in-depth understanding of how photographs are made, and the causes and prevention of deterioration. Conservator-restorers use this knowledge to treat photographic materials, stabilizing them from further deterioration, and sometimes restoring them for aesthetic purposes.
With respect to cultural property, conservation science is the interdisciplinary study of the conservation of art, architecture, technical art history and other cultural works through the use of scientific inquiry. General areas of research include the technology and structure of artistic and historic works. In other words, the materials and techniques from which cultural, artistic and historic objects are made.
A conservator-restorer is a professional responsible for the preservation of artistic and cultural artifacts, also known as cultural heritage. Conservators possess the expertise to preserve cultural heritage in a way that retains the integrity of the object, building or site, including its historical significance, context and aesthetic or visual aspects. This kind of preservation is done by analyzing and assessing the condition of cultural property, understanding processes and evidence of deterioration, planning collections care or site management strategies that prevent damage, carrying out conservation treatments, and conducting research. A conservator's job is to ensure that the objects in a museum's collection are kept in the best possible condition, as well as to serve the museum's mission to bring art before the public.
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video.
Conservation and restoration of metals is the activity devoted to the protection and preservation of historical and archaeological objects made partly or entirely of metal. In it are included all activities aimed at preventing or slowing deterioration of items, as well as improving accessibility and readability of the objects of cultural heritage. Despite the fact that metals are generally considered as relatively permanent and stable materials, in contact with the environment they deteriorate gradually, some faster and some much slower. This applies especially to archaeological finds.
Conservation and restoration of movable cultural property is a term used to denote the conservation of movable cultural property items in libraries, archives, museums and private collections. Conservation encompasses all the actions taken toward the long-term preservation of cultural heritage. Activities include examination, documentation, treatment, and preventive care, which is supported by research and education. Object conservation is specifically the actions taken to preserve and restore cultural objects. The objects span a wide range of materials from a variety of cultures, time periods, and functions. Object conservation can be applied to both art objects and artifacts. Conservation practice aims to prevent damage from occurring, a process known as 'preventive conservation'. The purpose of preventive conservation is to maintain, and where possible enhance, the condition of an object, as well as managing deterioration risks, such as handling and environmental conditions. Historically, object conservation was focused on the category of fine arts but now many different types of objects are conserved. Each type of object material, typically denoted by organic or inorganic then the specific medium, requires a specialized professional conservator and often requires collaborative work between museum staff, scientists, and conservators.
Conservation and restoration of glass objects is one aspect of conservation and restoration of cultural heritage. The nature and varying composition of the material, and the variety of types of object made from it, demand certain specialized techniques. The conservator needs to be aware of "agents of deterioration" presenting particular risk to glass objects, and how to prevent or counteract their effects. Relevant education and training is available in certain countries through museums, conservation institutes and universities.
Iron, steel, and ferrous metals constitute a large portion of collections in museums. The conservation and restoration of iron and steel objects is an activity dedicated to the preservation and protection of objects of historical and personal value made from iron or steel. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Historically, objects made from iron or steel were created for religious, artistic, technical, military and domestic uses. Though it is generally not possible to completely halt deterioration of any object, the act of conservation and restoration strives to prevent and slow the deterioration of the object as well as protecting the object for future use. One of the first steps in caring for iron is to examine them and determine their state, determine if they are corroding, and consider options for treatment.
A conservation technician is a specialist in conservation methods pertaining to cultural property, and who may work in museums or public or private conservation organizations. A technician may also work in conjunction with other collection staff, such as a registrar (museum) or collection manager.
The conservation and restoration of outdoor artworks is the activity dedicated to the preservation and protection of artworks that are exhibited or permanently installed outside. These works may be made of wood, stone, ceramic material, plastic, bronze, copper, or any other number of materials and may or may not be painted. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer.
The conservation and restoration of books, manuscripts, documents, and ephemera is an activity dedicated to extending the life of items of historical and personal value made primarily from paper, parchment, and leather. When applied to cultural heritage, conservation activities are generally undertaken by a conservator. The primary goal of conservation is to extend the lifespan of the object as well as maintaining its integrity by keeping all additions reversible. Conservation of books and paper involves techniques of bookbinding, restoration, paper chemistry, and other material technologies including preservation and archival techniques.
An Objects conservator is a professional, working in a museum setting or private practice, that specializes in the conservation of three-dimensional works. They undergo specialized education, training, and experience that allows them to formulate and implement preventive strategies and invasive treatment protocols to preserve cultural property for the future. Objects conservators typically specialize in one type of material or class of cultural property, including metals, archaeological artifacts, ethnographic artifacts, glass, and ceramic art. Objects conservation presents many challenges due to their three-dimensional form and composite nature.
The documentation of cultural property is a critical aspect of collections care. As stewards of cultural property, museums collect and preserve not only objects but the research and documentation connected to those objects, in order to more effectively care for them. Documenting cultural heritage is a collaborative effort. Essentially, registrars, collection managers, conservators, and curators all contribute to the task of recording and preserving information regarding collections. There are two main types of documentation museums are responsible for: records generated in the registration process—accessions, loans, inventories, etc. and information regarding research on objects and their historical significance. Properly maintaining both types of documentation is vital to preserving cultural heritage.
A textile conservator is a conservator-restorer charged with the care, treatment, research, and preservation of textiles. Issues addressed by a textile conservator are generally related to the field of textile preservation, and include damage caused to textiles by: light, mold and mildew, insects, cleaning, surface cleaning, washing, mounting for display, and storage. Variations in textile types and "the diversity of the textile conservator's work makes it a very rewarding profession". Textiles are among the most fragile artifacts, as they are susceptible to damage from atmospheric pollutants, moisture, biological organisms, and environmental changes and care varies with size, shape, material, and condition issues, all of which a textile conservator must be well versed.
The conservation and restoration of totem poles is a relatively new topic in the field of art conservation. Those who are custodians of totem poles include Native American communities, museums, cultural heritage centers, parks or national parks, camp grounds or those that belong to individuals. Conservation activities include the historical research and context of totem poles, studying materials and manufacture, performing assessments, documentation and treatments. This field can pertain to conservator-restorers, Native Americans, curators, collection managers, registrars, park rangers and city planners.
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports. Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind.
The conservation and restoration of film is the physical care and treatment of film-based materials. These include photographic film and motion picture film stock.
The conservation-restoration of panel paintings involves preventive and treatment measures taken by paintings conservators to slow deterioration, preserve, and repair damage. Panel paintings consist of a wood support, a ground, and an image layer. They are typically constructed of two or more panels joined together by crossbeam braces which can separate due to age and material instability caused by fluctuations in relative humidity and temperature. These factors compromise structural integrity and can lead to warping and paint flaking. Because wood is particularly susceptible to pest damage, an IPM plan and regulation of the conditions in storage and display are essential. Past treatments that have fallen out of favor because they can cause permanent damage include transfer of the painting onto a new support, planing, and heavy cradling. Today's conservators often have to remediate damage from previous restoration efforts. Modern conservation-restoration techniques favor minimal intervention that accommodates wood's natural tendency to react to environmental changes. Treatments may include applying flexible battens to minimize deformation or simply leaving distortions alone, instead focusing on preventive care to preserve the artwork in its original state.
The conservation and restoration of photographic plates is caring for and maintaining photographic plates to preserve their materials and content. It covers the necessary measures that can be taken by conservators, curators, collection managers, and other professionals to conserve the material unique to photographic plate processes. This practice includes understanding the composition and agents of deterioration of photographic plates, as well as the preventive conservation and interventive conservation measures that can be taken to increase their longevity.