Loading…
AIC’s Photographic Materials Group is excited to host the 2025 PMG Winter Meeting. The program is below and will be updated with pre-session events, like tours and other options. Browse the rates and make sure you register before they go up! 

to bookmark your favorites and sync them to your phone or calendar.

Type: Analysis clear filter
Thursday, February 6
 

4:35pm MST

From Plates to Prints: Insights into Early Daguerreotypes and Their Role in Photomechanical Reproduction Methods
Thursday February 6, 2025 4:35pm - 5:00pm MST
This study explores the impact of two major technological innovations from the late 1830s - electrotyping and photography - on the development of reproduction processes. Electrotyping, invented by German physicist Moritz Hermann von Jacobi in 1838 (1), revolutionized the production and reproduction of printing plates. One year later, in 1839, Louis Jacques Daguerre's pioneering photographic process, based on the photosensitivity of halides on silver-coated copper plates, marked the birth of photography (2). This research is significant as it explores how the relatively not so well known combination of electrotyping and photography contributed to the development of photomechanical and photochemical reproduction processes. Vienna, in particular, holds a special place in this narrative due to the pioneering efforts of Joseph Berres and other local photography enthusiasts in the early 1840s. Their work was instrumental in advancing these techniques, which enabled the production of prints from daguerreotypes. Despite its limited application at the time, this innovative approach marked a critical moment in the evolution of photographic reproduction.

This study is part of the Heritage Science project PHELETYPIA (3), which focuses on the surface morphology and elemental composition of historical daguerreotypes. Analytical techniques, including scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM/EDX) and micro-X-ray fluorescence (µXRF) scanning, were employed to study the ageing and corrosion features of daguerreotypes. These techniques also provided insights into how nanoparticles store image information. Moreover, the research included the production of new daguerreotypes under controlled conditions, allowing for a comparison of historical and contemporary samples. This comparative analysis aims to better interpret the aging and light-damaged characteristics of historical daguerreotypes.

Moreover, we conducted chemical and electrochemical etching experiments on the daguerreotypes we produced according to historical procedures. Two electrochemical techniques were used: the potentiostatic three-electrode method and the galvanostatic two-electrode method. These techniques allowed precise etching of daguerreotype plates, which we subsequently used for printing. The durability and mechanical properties of the etched plates, as well as the quality of the prints they produced, were thoroughly investigated.

The results demonstrate that the combination of electrotyping and photography laid the foundation for modern reproduction techniques, and that comparative studies of historical and contemporary daguerreotypes can provide valuable insights into early photographic processes. The research has contemporary relevance, offering valuable information for conservators and historians working with early photographic objects. This study should make it easier and more accurate to identify prints made from etched daguerreotypes or their electroformed copies.

Additionally, this study contributes to the ongoing development of conservation practices, helping to refine methods for identifying and preserving early photographic objects. By contextualising the historical importance of these innovations and providing new analytical data, this research enhances our knowledge of early photographic processes and their specifics. The collaboration between the Academy of Fine Arts in Bratislava, Slovakia and TU Wien, Austria further underscores the significance of this research, as it highlights the interdisciplinary effort to revive these historical processes, bridging expertise and resources across institutions.



References:

1. Jacobi MH von. Die Galvanoplastik : oder das Verfahren cohärentes Kupfer in Platten oder nach sonst gegebenen Formen, unmittelbar aus Kupferauflösungen, auf galvanischem Wege zu produciren ; nach dem auf Befehl des Gouvernements in russischer Sprache bekannt gemachten Originale. Petersburg [u.a.]: Eggers [u.a.]; 1840.

2. Daguerre LJM. Historique et Description des Procedes du Daguerreotype et du Diormama. Frères S, editor. Paris: Delloye Libraire; 1839. 79 p.

3. Ljubic Tobisch V, Artaker A, Kautek W. PHELETYPIA. Project PHELETYPIA “The impact of early photography and electrotyping media on the creation of images and contemporary art" (Heritage 2020-060 PHELETYPIA) by the Heritage Science Austria grant program of the Austrian Academy of Sciences. 2023.
Speakers
ZS

Zuzana Šupolová

Academy of Fine Arts and Design
Soňa Borovská is a master's student in the Studio of Photography Restoration at the Academy of Fine Arts and Design in Bratislava, studying under the direction of Dr. Janka Blaško Križanová. She specializes in the conservation and restoration of photographic materials, building... Read More →
Authors
Thursday February 6, 2025 4:35pm - 5:00pm MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505
 
Friday, February 7
 

10:00am MST

A search for an unknown collaborator: Painted portrait of the Countess de Castiglione
Friday February 7, 2025 10:00am - 10:20am MST
Virginia Oldoini (1837-1899), later known as Countess de Castiglione, was born into an aristocratic Florentine family, and quickly became recognized for her beauty and intelligence. After successes in the local court, she was sent to France to aid in a political scheme to unify Italy under the auspices of Napoleon III. Instructed to “succeed by whatever means you wish - but succeed,” the Countess recognized photography as a means to establish a glamorous and mysterious persona. She frequently visited Pierre-Louis Pierson (1822-1913) of the Mayer & Pierson studio, the leading society photographers of Paris, and together they produced over 400 portraits. The Countess took an active role both in staging the photos and altering negatives with the photographer and painter to assert an imaginary reality. Successful images were elaborately colored by hand, to the extent that they could be mistaken for paintings.

An example in The Nelson-Atkins Museum of Art collection (Kansas City, MO) was studied in depth during preparation for the exhibition, Still Performing: Costume, Gesture, and Expression in 19th Century European Photography. Pierre Apraxine and Xavier Demange’s extensive research of the Countess’s life and photographs, published in La Divine Comtesse: Photographs of the Countess de Castiglione (2000), served as a ‘field guide’ in our exploration.

Apraxine describes the multi-step editing procedure employed by Aquilin Schad (ca. 1815-1866), one of Mayer & Pierson’s many painters. The process began with the Countess drawing or writing instructions on a proof print to convey her vision. The painter executed these changes on an enlarged print produced with a solar enlargement device. The edited print was then re-photographed, printed, and finally hand-colored to be presented as the finished work. While many hand-colorists worked for the studio, the examples signed by Schad feature brushwork and a high level of execution similar to that seen on the Nelson-Atkins example, prompting the question: Was this photograph produced by Schad using his elaborate process?

We were able to find a high-quality digital image of an unpainted print from the unaltered, first-stage negative, and comparison of the two images revealed dramatic compositional changes. Detection of silver by XRF analysis in the area of the print beyond the frame of the original negative would suggest the addition was made in the inter-positive stage, then photographically printed for the final version. At the time of this writing, a conclusive result of XRF analysis is pending. Observation under magnification showed the use of stippling, or layering of very fine brush strokes to blend colors, a technique seen in examples signed by Schad. Without studying other signed works, it is not possible to definitively attribute this work to Schad; however, the clues identified during this study are consistent with accounts of his practice and imply the need for future research to reach a definitive attribution.
Speakers Authors
Friday February 7, 2025 10:00am - 10:20am MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505

10:20am MST

Keep it Flat: Challenges in Displaying Ernesto de Sousa's Mixed-Media Photo Artwork
Friday February 7, 2025 10:20am - 10:40am MST
This paper focuses on developing a display solution for the mixed-media photo artwork Revolution, Body, Time (1978) by Ernesto de Sousa. Due to the artwork’s intricate composition and fragile condition, it was essential to find a safe display method that would also honour the artist’s original intent of presenting the piece without a frame and completely flat.

A comprehensive literature review and a series of mounting tests were conducted to achieve this. Based on the findings, a magnet-based mounting system emerged as the most viable solution. Neodymium magnets and magnetic adhesive tapes were selected for this approach, although the latter is rarely cited in the literature.

Mock-up tests were performed, which involved applying the magnets and subjecting them to various ageing tests. The materials were then characterized using colourimetry, digital optical microscopy, energy-dispersive X-ray fluorescence (μED-XRF), and attenuated total reflectance Fourier-transform infrared spectroscopy (ATR-FTIR).

The results led to the development of a safe display method for the upcoming 2024 exhibition, successfully preserving the artist’s intent. This approach could also potentially be applied to other works by Ernesto de Sousa or similar artworks in need of a comparable solution.
Speakers
ER

Élia Roldão

NOVA FCT
Élia Roldão is an Assistant Professor at NOVA School of Science and Technology (2023), in the conservation and restoration of photography. Her research career has been guided by the pursuit of the development of non-invasive and innovative methods for the identification and treatment... Read More →
Authors
Friday February 7, 2025 10:20am - 10:40am MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505

10:40am MST

Blocking Out the Light: A Dive into the Light-induced Fading of Duplicate Color Slides
Friday February 7, 2025 10:40am - 11:00am MST
This paper will present an experiment to assess the light-induced fading of duplicate color slides used as exhibition copies. The project was initiated when Blocking Out the Sun was selected for a 33-week-long exhibition at the Los Angeles County Museum of Art.

Blocking Out the Sun (2004) is a slide-based artwork by artist Edgar Arceneaux (born 1972). A series of 72 35 mm color slides projected on the wall show photographs of Santa Monica beach with various colors and luminosity levels, from blue to orange shades and from dark shadows to almost white overexposed areas where the sun directly hits the film. In most images, the artist’s thumb covers the sun, a reference to a historical technique used by astronomers to measure the clarity of the atmosphere.

The significant sensitivity to light of chromogenic films has been known since the process was commercialized in the 1930s. Henry Wilhelm’s 1994 study demonstrated that light is the primary cause for color slide fading, that the most light-sensitive dye (for all six films he tested) was magenta, and that the highlights faded faster than the lowlight areas. The most stable films he tested were the Fujichrome Films, showing an “objectionable amount of change” after 5 hours and 20 minutes of cumulative exposure when projected in 30-second intervals. Wilhelm’s tests also demonstrated the reciprocity failure of reversal color films: more fading was caused by short intermittent periods than long, continuous projection times.

Using a projector causes progressive and irreversible fading; therefore, each exhibition requires the creation of duplicate sets to preserve the original master set. Since the discontinuity of the last duplicate film stock in 2010, conservators and film experts have focused on developing a suitable technology to duplicate chromogenic films. Using a LVT (Light Valve Technology) film recorder, we can now digitize film masters and print new copies on regular color film to obtain a satisfactory duplicate set for exhibition.

However, the question of how often to replace the copies still needs to be answered. Should the exhibition set be used for the entire exhibition? For multiple venues? Should the set be replaced by a new one after a certain number of weeks or months? Who decides when the film is too faded that it no longer represents the artist’s intent? These decisions depend on many variables.

For this experiment, we created color slide duplicates that were subjected to the projector light in exhibition conditions. Weekly color measurements were collected and compared after 25 weeks to document the evolution of fading and staining. The goal was to initiate a discussion with curatorial colleagues and the artist about the progressive fading of the slides and attempt to determine a “too faded” exposure threshold, after which the duplicate slides should be replaced, taking into account this particular artwork's conceptual and aesthetic aspects.
Speakers
ET

Elsa Thyss

Associate Conservator of Photographs, Los Angeles County Museum of Art
Elsa Thyss is an Associate Conservator of Photographs at the Los Angeles County Museum of Art. She holds a Master’s degree from the conservation program in management for cultural heritage at the Institut national du patrimoine in Paris with a specialization in photograph conservation... Read More →
Friday February 7, 2025 10:40am - 11:00am MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505

1:35pm MST

The Finishing Touch: An Assessment of Acetate Negative Stripping on Graphite Retouching in the James Van Der Zee Archive
Friday February 7, 2025 1:35pm - 2:15pm MST
"In 2021, The Metropolitan Museum of Art, in collaboration with the Studio Museum in Harlem, acquired the James Van Der Zee Archive, consisting of roughly 20,000 prints and 30,000 negatives, studio equipment, and ephemera. James Van Der Zee (1886 – 1983) was an African American artist best known for his portraits of Black New Yorkers and documentation of life during the Harlem Renaissance and for decades after. His popular studio was renowned for thoughtful compositions, skillful retouching, hand-coloring, and combination printing, all with the goal of depicting subjects in the best possible light. Negative retouching was a common service offered by photograph studios at the time and involved adding and/or subtracting density from the negative to improve the subject’s appearance. Van Der Zee’s photographs not only exhibit these techniques regularly but are charming in the way in which his sitters were enhanced and creatively embellished.

The cellulose acetate film negatives from the Archive are currently being digitized by Chicago Albumen Works for increased accessibility and research. Less than one-third of the negatives are deteriorated, resulting in a channeled negative that will not produce a satisfactory digital capture. In these cases, the negatives are separated from their plastic supports, according to a well-established procedure laid out in Doug Munson’s 1997 publication, The Pellicular Burlesque, then imaged, and the gelatin pellicle housed for return to The Met along with the digital files.

Because of the extensive graphite retouching and underlying retouching varnish observed on many Van Der Zee negatives, the Department of Photograph Conservation was concerned what impact the solvents and mechanical actions involved in the stripping process might have. A test was carried out on a negative from our study collection to assess these potential effects and get a sense of how the artist’s negatives in the Archive would fare. The exact varnishes that Van Der Zee’s studio used are not known, so historic commercial varnishes from the time were procured, and varnish recipes detailed in historical literature were prepared. Graphite retouching was then applied to these varnish layers, following historic instructions as closely as possible. Each test area was documented both overall and under magnification before and after the stripping treatment. Following these tests, similar documentation was carried out on a selection of Van Der Zee’s negatives, before and after stripping. The results of these two investigative approaches were quite different, leading to an analysis and comparison of the testing methods. This project will contribute novel findings about the relationship between these retouching materials and the stripping treatment, as well as reflect on the benefits and limitations of experimental studies such as this. This research has impact on the long-term preservation of the large archive of one of America’s significant Black photographers, James Van Der Zee, but may also inform future treatment of other negative collections."
Speakers
NK

Natasha Kung

Assistant Photograph Conservator, The Metropolitan Museum of Art
Natasha Kung is an Assistant Photograph Conservator at The Metropolitan Museum of Art. She earned her Master's degrees in art conservation and art history at the Institute of Fine Arts, New York University. Her work at The Met includes exhibitions, acquisitions, and climate monit... Read More →
Authors
Friday February 7, 2025 1:35pm - 2:15pm MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505

2:15pm MST

Overcoming Issues in The Conservation of Gelatin Silver Prints Adhered to Glass
Friday February 7, 2025 2:15pm - 2:35pm MST
"Over the past decades, the quality of cultural heritage preservation in Slovakia have seen significant improvements. We can confirm this process by looking at the increased number of professional employees in museums, galleries and archives, new investments in storage and exhibition areas, not only in the capital, but also in other regions. However, due to the long neglected conditions, there are many examples of strikingly damaged photographic heritage in both the public and private sectors. Despite numerous efforts to improve the condition, it is not possible to make the changes immediately and the long-term absence of photograph conservators in Slovakia has resulted in several deficits in the care of photographic material. Photographs on a paper support, especially gelatine silver prints, form a significant part of those collections and funds. In the case of framed gelatin silver prints, we often face a complex conservation issues, such as the problem of emulsion layer swelling and glass adhesion or other tricky challenges, that lead us to find the most appropriate conservation treatment.

Under the incorrect storage or display conditions, these photographs have tendency to adhere to glass of a frame or other nearby material, resulting in deterioration of their fragile image layer. The main cause of these undesirable changes is the presence of water and increased humidity, but the damage is also caused by their inherent structure. The two primary layers – the paper support and the gelatin emulsion – expand and contract relatively in response to changes in storage conditions. This can lead to swelling of the emulsion layer and increased adhesion to the adjacent surface – such as the glass in the frame. Removing these photographs from the glass causing further damage to the image layer present a major challenge for conservators and requires a degree of creativity needed in the decision-making process. How does the object condition influence the choice of treatment methods? And is it even possible to treat these photographs without causing any image loss?

The purpose of this presentation is to describe the challenges and strategies used in the conservation treatments of two objects adhered to a glass frame – a large format photographic board of photographic portraits from a museum collection and an abstract glossy silver gelatin print, Ecce Homo, from a private collection. We will present and discuss the most effective, thought somewhat risky, methods of removing of photographs stuck to glass – the use of direct humidification and mechanical separation, and when to use them or when not to use them. By sharing our insights and experiences from these case studies, we aim to answer many questions appearing. This issue is related to a PhD research project at the Academy of Fine Arts and Design in Bratislava focused on the cleaning, stabilisation and conservation of photographs on a paper support."
Friday February 7, 2025 2:15pm - 2:35pm MST
Muñoz Waxman Gallery at the Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe, NM 87505
 
Share Modal

Share this link via

Or copy link

Filter sessions
Apply filters to sessions.