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UV spectroscopy or UV–visible spectrophotometry refers to absorption spectroscopy or reflectance spectroscopy in part of the ultraviolet and the full, adjacent visible regions of the electromagnetic spectrum. This means it uses light in the visible and adjacent ranges. The absorption or reflectance in the visible range directly affects the perceived color of the chemicals involved. In this region of the spectrum, atoms and molecules undergo electronic transitions. Absorption spectroscopy is complementary to fluorescence spectroscopy, in that fluorescence deals with transitions of electrons from the excited state to the ground state, while absorption measures transitions from the ground state to the excited state.
Spectrophotometry is a branch of electromagnetic spectroscopy concerned with the quantitative measurement of the reflection or transmission properties of a material as a function of wavelength. Spectrophotometry uses photometers, known as spectrophotometers, that can measure the intensity of a light beam at different wavelengths. Although spectrophotometry is most commonly applied to ultraviolet, visible, and infrared radiation, modern spectrophotometers can interrogate wide swaths of the electromagnetic spectrum, including x-ray, ultraviolet, visible, infrared, and/or microwave wavelengths.
A fluorescence microscope is an optical microscope that uses fluorescence instead of, or in addition to, scattering, reflection, and attenuation or absorption, to study the properties of organic or inorganic substances. "Fluorescence microscope" refers to any microscope that uses fluorescence to generate an image, whether it is a simple set up like an epifluorescence microscope or a more complicated design such as a confocal microscope, which uses optical sectioning to get better resolution of the fluorescence image.
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.
The following outline is provided as an overview of and topical guide to photography:
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.
Accelerated photo-ageing of polymers in SEPAP units is the controlled polymer degradation and polymer coating degradation under lab or natural conditions.
Lightfastness is a property of a colourant such as dye or pigment that describes how resistant to fading it is when exposed to light. Dyes and pigments are used for example for dyeing of fabrics, plastics or other materials and manufacturing paints or printing inks.
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. This is called ‘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.
Collection maintenance is an area of collections management that consists of the day-to-day hands on care of collections and cultural heritage. The primary goal of collections maintenance or preventive conservation is to prevent further decay of cultural heritage by ensuring proper storage and upkeep including performing regular housekeeping of the spaces and objects and monitoring and controlling storage and gallery environments. Collections maintenance is part of the risk management field of collections management. The professionals most involved with collections maintenance include collection managers, registrars, and archivists, depending on the size and scope of the institution. Collections maintenance takes place in two primary areas of the museum: storage areas and display areas.
A conservation scientist is a museum professional who works in the field of conservation science and whose focus is on the research of cultural heritage through scientific inquiry. Conservation scientists conduct applied scientific research and techniques to determine the material, chemical, and technical aspects of cultural heritage. The technical information conservation scientists gather is then used by conservator and curators to decide the most suitable conservation treatments for the examined object and/or adds to our knowledge about the object by providing answers about the material composition, fabrication, authenticity, and previous restoration treatments.
The conservation and restoration of feathers is the practice of maintaining and preserving feathers or featherwork objects, and requires knowledge of feather anatomy, properties, specialized care procedures, and environmental influences. This practice may be approached through preventive and/or interventive techniques.
Textile stabilization is a conservation method for fiber and yarn-based cloth intended to mitigate damage, prevent degradation and preserve structural integrity. Stabilization is part of a broad set of techniques in the field of conservation and restoration of textiles typically undertaken by a specialist or textile conservator. Appropriate treatment is determined through risk assessment and close examination of a textile's characteristics and the nature of the damage. Organic and synthetic fibers become weak due to age, handling, and environmental exposure and display physical deterioration such as fraying, planar distortion, loss, and change in surface character. Treatment involves reinforcing tensile strength and reintegration of parts for aesthetic, functional, and historic preservation. Methods can include stitching, darning, reweaving, and the attachment of supports through overlays and underlays. Hand-sewing follows the mantra of “gently does it” using fine needles, supple yarns, and a light touch. Heavily damaged and fragile fabrics often require stabilization through adhesive consolidation, though this is less common. It is essential that conservators consider physical and chemical compatibility along with future treatability in choosing a stabilization technique.
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 woodblock prints, is the process of caring for and repairing images made from a specific printing process involving using wooden reliefs to stamp or imprint an image onto paper. The process of creating woodblock prints as Asian examples are known, or woodcuts as Western examples are called, has been known for many centuries, and many older prints have experienced aging and deterioration of the paper and colorants used.
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 wooden artifacts refers to the preservation of art and artifacts made of wood. Conservation and restoration in regards to cultural heritage is completed by a conservator-restorer.
The 'ten agents of deterioration' are a conceptual framework developed by the Canadian Conservation Institute (CCI) used to categorise the major causes of change, loss or damage to cultural heritage objects. Also referred to as the 'agents of change', the framework was first developed in the late 1980s and early 1990s. The defined agents reflect and systematise the main chemical and physical deterioration pathways to which most physical material is subject. They are a major influence on the applied practice of conservation, restoration, and collection management, finding particular use in risk management for cultural heritage collections.
References
- ↑ Microfade Testing Service, Canadian Conservation Institute. (2014, June 2).
- 1 2 Druzik, J. Oriel Microfading Tester (MFT): a Brief Description. Research and Technical Studies. 2010, 2, 1-14.
- 1 2 Ford, B. Non-Destructive Microfade Testing at the National Museum of Australia. The Australian Institute for the Conservation of Cultural Material Bulletin. 2011, 32, 54-64.
- ↑ Chiari, G. Conservation Science Investigation. International Preservation News. 2010, 50, 11-16.
- 1 2 del Hoyo-Melendez, J. Micro-fading Spectrometry. Fibers and Polymers. 2012, 13, 1079-1085.
- ↑ Arnaud, C.H. Shining Light On Art, Shining Light on Art. Chemical & Engineering News. 2009, 87, 44-55.
- 1 2 Lerwill, A. Microfading: Questioning the Basics, Microfading: Questioning the Basics. Image Permanence Institute Bulletin. 2013.
- ↑ Museum Lighting Research, J. Paul Getty Trust. (2010, July).
- ↑ Instytut Fotonowy Micro Fading Tester.(2020, February).