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1. Natural (and not-so-natural) Enemies of Photographs

The physical enemies of photographs include obvious villains (like directsunlight, insects and rodents) and those that are more subtle: adhesives thatdegrade over time, sulfur compounds that can be given off by wood or rubber

and trigger fading, and high humidity that can encourage mold growth.

Experts advise against storing photographs in basements, attics and garages.They recommend storage materials specifically designed for longtermstability (called !archival! products). "urprisingly, many of the products sold byframe shops and retailers contain materials like highacid wood pulp and#olyvinyl $hloride that can trigger deterioration.

"o the first set of recommendations is based on common sense: use archivalmaterials and keep your photographs away from bright light, widely fluctuating

humidity, and extreme temperatures.

2. Small-format Photographs: Cartes de Visite, Cainet Cards, StereoVie!s, Post"ards

%e&ve seen valuable 'year old tintypes ruined by being placed in clearvinyl album pages (the type sold for baseball cards) and then left to cook inthe sun at an outdoor anti*ues market. +n other instances, stacks of tintypesand cartes de visite removed from the protection of their original albums arepored over by one collector after anotherwith the images rubbing against

each other and accumulating bends and scratches.

ortunately, there are alternatives. "everal types of clear plastic sleeves areavailable in the right si-es for cartes de visite, cabinet cards, stereo views andphotographic postcards. rchival materials used for this purpose includepolypropylene and polyester film (/ylar is the bestknown trade name.) 0othof these plastics are considered stable for longterm use. The polyestersleeves offer improved clarity.

"leeved photographs can be stored in archival file boxes. The leastexpensive

type is made from !safe! cardboard with metal reinforcements in the corners.

"leeved cartes de visite and cabinet cards can often be inserted into anti*uealbums, providing a degree of protection from stray fingerprints and dust.1owever, the albums may not be chemically inert and in our experience, areusually too fragile to survive much use.

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#. $amil% &lums and Colle"tions of 'oose mages

amily albums and collections of loose images need to be organi-ed as wellas protected. 2ooseleaf albums are great for organi-ing. 1owever, manycommerciallyavailable albums, as well as the familiar old photo albums with

black paper pages, are considered potentially ha-ardous because they mayhave been made of unsafe materials. !/agnetic! photo albums can leaveadhesive residues on images, and vinyl album pages can give off harmfulfumes.

%hen the albums or collections consist of a mixture of si-es and formats, thephotographs can be arranged on archival paper pages and mounted witharchival photo corners. Then the completed pages slide into clear polyester orpolypropylene pockets, prepunched for threering binders. /ost large officesupply stores carry boxes of page protectors. 2ook for products made of

polypropylene that are labeled !archival! or !archival safe.!

Even recentlymade photographs in standard si-es (! x 3!, 4 ! x 5!, 3! x 6!)can be stored safely, by using multipocket album pages made of inertpolypropylene instead of nonarchival #7$ plastics.

. *nmounted &lumen Prints

8nmounted albumen prints (and those that have been removed from old,deteriorating mounts) provide a special problem: they have an alarming

tendency to curl. "ome collectors and institutions hinge them at four corners,but we believe we&ve stumbled onto a much better solution: carefully slip eachprint into a strong, crystalclear polyester envelope. The envelope can then beattached to a piece of mat board with a hinged overmat, and framed if desired.This holds the image flat and provides support for the print9 the envelope cannot be seen once the print is framed.

f course, polyester envelopes containing unmounted albumen prints can bekept unmatted in an archival box, avoiding the weight of the mat board.

ragile photographic prints on materials other than albumen paper can benefitfrom the same treatment.

+. 'arger Photographi" Prints

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1ave a stack of larger photographs; <ou&ll get the most protection for themoney by putting each one in a separate polyethylene bag. This is a *uicksolution for images that are not going to be individually matted.

or the best presentation, each photograph (including its original mounting

board, if present) should be attached to a '= rag acidfree mat board, witha windowmat of the same material hinged to fold over it. 8se acidfree linentape to hinge the two mats together, and archival mounting corners to hold thephotograph in place. The windowmat hides any imperfections on the originalmount. +t also keeps the photograph from coming in contact with the glass of aframe.

"ome experts recommend >>08E?E@ '= rag materials for albumenprints, salt prints, cyanotypes and color photographs. or other types ofphotographic prints, buffers in the mat board provide protection from acids in

the environment.

 ppropriate mat boards are not available at all custom framers, but many willbe willing to cut and fit archival materials provided by their customers.

0ecause wood can give off harmful chemicals, most experts advise usingmetal frames.

%hen displaying photographs, please be aware that exposure to sunlight orunfiltered fluorescent lights can cause or accelerate fading. 8ltravioletfiltering

acrylic sheets can be used in place of glass in frames, reducing the risksomewhat. 8nder no circumstances should photographs be placed in directwindow light. This is especially important for very early images and for colorprints.

or storing matted and unmatted prints, choose archival boxes either thosewith metal corner reinforcements, or the pricier (but betterlooking) archivalportfolio boxes.

%e&ve also found polypropylene boxes at office supply stores and retailers like

Target. They have tightfitting lids and come in a variety of useful si-es. Themanufacturers don&t claim they&re archival, but chances are they&ll be better for storing photographs than old shoe boxes or packing boxes made fromcorrugated cardboard.

1ow do you tell if a plastic box is made from polypropylene; 2ook for therecycling symbol on the bottom, with the number 3 and the letters !##!.

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. Spe"ial Cases: aguerreot%pes, &mrot%pes /int%pes

@aguerreotypes, ambrotypes and early tintypes were usually sold in smallfolding cases. The cases were designed to keep the fragile surfaces of theseimages safe behind glass. ver the years, the cover glass in a cases can

crack or become dirty. "ome researchers report the glass itself candeteriorate, causing damage to the surface of daguerreotypes.

/any collectors and conservators choose to replace the old cover glass. Thisis an operation that re*uires EAT?E/E $8T+>. The fragile surface of adaguerreotype has been compared to the delicate wings of a butterflyoneinadvertent touch and it will be marred forever. ?emoving the image from itscase also re*uires care, because a slip can permanently bend adaguerreotype or tintype...or crack an ambrotype. ne other potentialdrawback to replacing the glass: some collectors put a premium on

daguerreotypes that have their original paper seals intact. +f the seal ispresent, breaking it to replace the glass may have an impact on the image&smarket value.

%hen in doubt, consult an expert.

0. e%ond Preseration: E3pert &di"e

The availability of expert conservators speciali-ing in photographs is arelatively recent development. conservator can consult on matters of

preservation, display and storage. +n addition, many offer expertise in safelycleaning and restoring damaged photographs. >ot all conservators offer thesame services, but most will make referrals to other specialists in the field.

+f you live near a museum with a large collection of photographs, that&s a goodplace to start your search for a conservator. nother source is the professionalgroup +$, which provides a referral service. or more information, pleasevisit the +$ website at http:BBwww.conservationus.orgB (clicking the link willopen the +$ site in a new window.)

hoto Preservation

/any of our family memories are captured in photographs. %hether they are from last month&s vacationor are treasured heirlooms from generations past, you&ll want to preserve them for the future. 0ut how doyou do this; ?emember that photos are basically paper, so the actions you would take to preservedocuments apply also to photos.

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/4Emost harmful agent in photo degradation isa"idbecause, over time, it will deteriorate (age) a photoand cause it to become brittle. /any plastics and papers, as well as !e9magnetic!e9 photo albums, usematerials that are not acid free. "o you might want to !e9dig!e9 out your wedding pictures and albums offamily snapshots and make sure that they are stored in albums made from the proper materials. "omepreservation tips:

•

 ll albums, storage containers, envelopes and the like must be archival *uality, meaning acid free.• The paper you put the photo on should also be acid free and lignin free. 2ignin is a substance found in wood

fibers of untreated paper. ver time it breaks down into acids that will harm photos and documents.

•  void !e9gluing!e9 original pictures on a page, rather, use acidfree photo corners for mounting. This allows

removal without damaging the picture.

• Excessive temperatures will accelerate the aging process. Try to store photos below 6C. "o your attic is

out, or anywhere near a furnace or similar heat generating appliance.

• 1igh humidity areas should also be avoided as this can cause mold or fungi development. Ever look at a

book stored too long in a basement; <uckD +magine your pictures looking like that. "o avoid basements,garages, or a closet in your bathroom.

• %ater and fire can ruin an entire collection. eep pictures away from fire places, hot water tanks and thelike. void water damage by storing them up off the floor and not in a basement.

• #rolonged exposure to light, especially natural sunlight, can cause fading due to 87 rays. This doesn&t mean

you can&t display your pictures, though. Two suggestions are to display a copy, or if you must use a oneofakind original, have it framed with 87protection glass at a frame shop.

• <ou may want to consider making a copy of the pictures you want to show most often. The copy can take all

the wear and tear of handling while your original sits safely in its archival storage location. There are manyways to get copies of a picture if you do not have the negative:

o 1ave a photographic copy made, either by a studio, or even with your own camera.

o "canning to create a digital file that can be printed. nother benefit with scanning is that the

electronic file can be put on a $@ for storage.

o 8se a odak #icture /aker, often found in photo processing centers.

o  void photocopying as this process uses heat and intense light.

• /inimi-e handling as your fingers can leave dirt and oil that can cause damage. lthough you may not see

your fingerprints when you touch a picture, you&re leaving a residue that might show up over time. +f youmust handle a valuable picture, wear cotton cloves.

• Try not to write on the picture, especially the picture side, as it&s a detraction. +f you must write, do it on the

back with an acid free pen (don&t press too hard or the pen indentation will be visible on the picture side), orpencil. n alternative is to write on the paper next to the picture.

Protect your family photographs

Photographs document history in a special way. And as we collect them, they complement our

family papers, providing a visual link to the past.

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Photography was developed in France and England in the 184s. Although the materials have

changed over the years, the !asic components of a photographic print have generally remained

the same. A photographic print consists of a !ase material coated with a light sensitiveemulsion. "he earliest form of photographic print, the daguerreotype, used a copper sheet

coated with silver. #any $ivil %ar photos were am!rotypes, which utili&ed glass as the !ase and

a syrupy li'uid called collodion as the emulsion. Another early type of photograph, the al!umen

print, had paper as the !ase and egg whites and salt comprising the emulsion.

For more information on the history photography development, visit our (aguerreotype to

(igital page at our Photo E)hi!its page.

#ost photographs have

all the pro!lems of

paper, plus the added

pro!lems of dyes and

emulsions.

#odern photographic prints tend to have a paper !ase and gelatin emulsion. *lack and white

photographs use silver or platinum particles floating in the emulsion to form the actual picture.

(ue to the 'ualities of these metals, !lack and white photographs have the potential to last

many years. $olor photographic prints have three layers of emulsion, one for each of three

colors + yellow, cyan !lue-green and magenta. /nfortunately, the dyes for color photographs

are not sta!le, and color photographs do not last as long as !lack and white.

"hese three images are of the same photograph. After !eing on display over a few years, it

has 0yellowed.0 "his is !ecause the three !ase colors yellow, cyan and magenta do not

fade at the same rate.

Following is a discussion of preservation suggestions to e)tend the life of traditional photographs,

!oth !lack and white and color. For information on film, prints and digital photograph printers for

pictures that will last, see 02tarting out right choosing the media for your purpose.0

Traditional Photography

A num!er of things can !e done to help to e)tend the life of photographs, !oth !lack and white

and color.

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Negatives and slides

3eep your negatives. "hese are the originals of your photograph, and from them, prints can

repeatedly !e made.

2lides and negatives can !e stored in either polyester sleeves or acid free paper envelopes.

"here are storage enclosures made specifically for them. either slides nor negatives have apaper !ase, so they do not have the same acids inherent in them as do prints with a paper !ase.

5owever, they can !e affected to some e)tent !y the same things that affect prints. /se the

same storage and handling guidelines for your slides and negatives as you do for your prints.

Environment

"emperature and humidity are !oth very important considerations when storing photographs.

 5ot, moist air encourages the growth of mold on !oth the paper and the emulsion. 5eat can

affect the paper on which the photograph is printed, making it !rown and !rittle. 5igh humidity

can affect the dyes in color photographs, making them change hue. $hanges in temperature andhumidity will cause photographs to e)pand and contract. *ecause paper e)pands and contracts

at a different rate than does the emulsion, changes in temperature and humidity can lead to

cracking and curling photographs.

Attics are poor storage areas for photographs, as they tend to !e very hot in the summer and

very cold in the winter. *asements are also poor storage areas for photographs, as they tend to

!e damp and moldy. 6ther poor storage areas are those that contain a washer and dryer or

machinery that gives off heat, and areas directly a!ove air conditioning units or heat vents. $ool

and dry conditions are the !est for photographs slowing the acidic reaction and discouragingmold growth. Florida temperatures and humidity make it hard to reach the optimal storage

levels of 7 Fahrenheit and 97: humidity. egatives also re'uire a cool, dry storage

environment. A small refrigerator, used only for negative storage, is one option.

;n hot, humid conditions, good ventilation provides a cooling effect and inhi!its mold from

attaching to photographs. "o facilitate air flow and filter the air in your photograph area, use a

high efficiency filter such as a 5EPA filter. 5EPA filters are availa!le at local hardware and

department stores.

5EPA filters can take pollutants, mold, and dust out of the air. (ust particles can scratch

photographic negatives, which will affect any prints made from them. (ust also can scratch slides

and the emulsion on prints. Pollutants, such as sulfur dio)ide from car e)haust, will also damage

photographs. 2ulfur dio)ide, when mi)ed with water humidity, creates sulfuric acid, which can

eat away at photographic emulsions.

3eep food and drink away from photographs. $rum!s and sticky spots attract !ugs to paper.

<i'uids can distort the gelatin emulsion and can stain photographs permanently.

Photographs are e)tremely sensitive to light. Avoid direct light sources. Florescent lights andsunlight contain harmful ultraviolet rays that will fade photographs. <ight sources also can give

off heat. 2tore photographs in !o)es or al!ums and out of !right lighting and sunlight. "ry to

place framed photographs out of direct lighting.

Storage

2tore photographs, slides and negatives in acid free !o)es. Acids from inferior paper !o)es like

shoe !o)es can migrate onto your photographs, making them !rown and !rittle. A wellfitting

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acid free !o) can help to keep photographs from curling, even in Florida=s hot, humid climate.

2toring the photographs in acid free envelopes or folders will help even more. (o not store the

photographs 0face to face,0 as emulsions will easily stick together on humid days and will !edifficult to separate.

"he dyes in color photographs can !e affected !y the alkaline !uffering in paper. ;f you store

color photographs, slides, or negatives in paper envelopes or sleeves, check to see that theenclosures are un!uffered.

(isplay photographs in al!ums made to open flat, and with polyester display sleeves or acid free

pages. #agnetic al!ums and al!ums with vinyl sleeves are very !ad for photographs> theadhesive which makes an al!um ?magnetic@ is acidic and vinyl deteriorates, affecting the

emulsion of the photographs as it does so. #any photograph al!ums come with decorative paper

!acking. $heck to see that the paper is acid free, lignin free and p5 neutral. For more

information on paper, see ?*u&&words in the Archival ;ndustry.@ 

%hen !uying storage or display materials for photographs, !e sure they have passed the PA".

 ?PA"@ stands for Photograph Activity "est. %hile many manufacturers advertise that their

product is ?Photo 2afe,@ this is not the same as having passed the Photograph Activity "est. "he

term ?Photo 2afe@ has no standards applied to it and has !ecome a !u&&word in the commercialscrap!ook and family heirloom markets. "he PA" was developed in conBunction with the

American ational 2tandards ;nstitute A2;, and products which have passed the PA" must

conform to very high standards. ;f the product has not passed the PA", it is not ?photo safe.@ 

Another display and storage option is preservation matting and framing. "his method is used !y

museums when they display photographs, which can then !e stored in their mats. Please see

05ow to mat a piece of art0 for more information.

2crap!ooking is an interesting and vi!rant way to display photographs, !ut it is not the !est way

to store them. /se copies of your photographs in your scrap!ooks, rather than the originals.

3eep the originals, especially the negatives, in storage containers which have passed the PA",

and know that they are safe. For more information on archival scrap!ooking, see 0#aking

Archival 2crap!ooks.0

For information on where to purchase storage materials and al!ums, please see $onservation6n<ine.

Handling

5old photographs and negatives !y the edge. Avoid touching the emulsion surface with your

fingers, as your fingerprints can !ecome a permanent part of the surface.

<a!eling photographs is very important, to ensure an accurate record. ;dentifying people !y

their names and relationships, and noting the date, place, event, and photographer for each

image, will help future generations to understand them. %hen la!eling, use a soft pencil on theedge of the !ack of the photograph. #any inks are not as permanent as pencil, and !all point

pens can push through the !ack, creating !umps in the emulsion. Another method is to la!el theenclosure, rather than the photograph. <a!el the folder or envelope, or !uy al!um sleeves which

have areas for la!eling of photographs.

Pressure sensitive tapes such as ?magic tape@ or ?masking tape@ have acidic adhesives. "hey will

turn yellow, and will turn the paper yellow as well, !efore falling off and leaving !ehind a sticky

residue. Although it is !est not to use any sort of tape on photographs, there is no very good

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home alternative for fi)ing a torn photo. ;f the negative is still availa!le making a new print is

the !est !et. ;f it is not availa!le, and the photograph is very valua!le and old it might !e

worthwhile to consult a conservator. ;f this is not feasi!le, there are some types of ?archival'uality@ tapes availa!le at art supply or scrap!ook stores. <ook for tapes that are acid free,

made with acrylic adhesive, and have passed the PA". %hen applying tape to any tear, keep in

mind the following tips>

• Always tape the !ack of a photograph never apply any glue or tape to the emulsion.

• /se the least amount of tape you can possi!ly use to mend the tear i.e. donCt use a D

inch strip to cover a three inch tear.

• ;f possi!le, snip a small !its of tape from the roll and tack the tear together. 6nce the

photograph is tacked together, it can then have a new negative made from it. "his will

ensure that it will last longer than the tape that is holding it together.

An alternative to using tape is to make your own mending strip with a piece of acid free paper,

and some acid free white glue. Apply a thin coating of glue to a thin strip of paper, gently press

the strip into place on the !ack of the photograph, and wipe away the e)cess glue with a cotton

swa!. Place the photograph face down on a soft, flat surface and dry it under weight. A good

weight for mending photographs is a small candy tin filled with **s. "horoughly wash and drythe !o) !efore filling it, then tape it shut so the **s won=t fall out if you drop the !o).

(o not use paper clips, ru!!er !ands, or even plastic clips on photographs.

2canning photographs has !ecome very popular and is a good idea for dissemination. 5owever,

it is not necessarily a permanent solution for preservation of photographs. 2canning

photographs creates into digital images, which cannot !e seen without aid of a computer or other

device unless printed out. "here have !een some advances in the printers, inks, and papers used

to print digital photographs. For more discussion on these, please read the (igital

Photographs section of 02tarting out right choosing the media for your purpose.0

%hen framing photographs, use acid free mat !oard and acid free !acking. 5umidity can cause

emulsions to stick to glass, so keep a !it of space !etween the photograph and the glass !y

using a mat, or even a dou!le mat. 5umidity can cause emulsions to stick to glass. For more

information on framing, please see ?Preservation #atting and Framing 6verview .0 For

information on (isplay of photographs, see> 05anging and (isplay of %orks of Art and

Photographs.0

Quick Tips for Preserving Photographs:

- Identifying the subject of a photograph is the rst step toward preserving it. Use a proper permanent

marker to gently write on the back of the print.

- Avoid touching photographs with your ngers, especially the image side. kin oils can attract dirt that

leads to the growth of damaging mold spores.

- !ever store photos in "magnetic" photo albums. Invest in archival photo bo#es and acid free papers

to store large $uantities of photographs.

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- Always avoid e#treme temperature %uctuations, humidity and e#cessive light when storing and

displaying photos.

Photo Collections

&ots of people collect photographs. 'ld bride photos, which cross over into wedding collectibles, for

instance. (ost of them aren)t dated or identied in any way but it)s hard to cast aside a lady on one of

the happiest days of her life so a collection begins.

'ther photo collections focus on babies, historic places, famous people and numerous categories

clever collectors create to accommodate their whims. 'ther collections catalog the life and times of a

family. *hether a collector is ac$uainted with the people in a photo collection or not, there are some

important things to know about making these images last for future generations to enjoy.

+laire (a#well, resident of the aylor +onservation and eritage ociety and a director of the

*illiamson +ounty istorical +ommission located in +entral e#as, often talks with groups about

photographic preservation. In her informative presentations to historical societies, genealogical groups,

museums and non-prot organi/ations, she emphasi/es identication, handling and storage.

Start with Identication

 o aid in identication, write as many details as possible on the back of the photo, including who is in

the picture along with where it was taken, the date and ages of the people in the photo, if known. Any

other information, such as a description of an occasion or special event, will be appreciated by those

who might own the photo in the future.

(a#well notes that using a ballpoint pen to label photos, especially modern e#amples, should be

avoided. hoto paper used today has a plastic coating that keeps the ink from being absorbed into thepaper so it easily bleeds onto other surfaces. 0earing down on the photo to make sure the ink adheres

can break the seal and dent the photo as well.

Instead, she advises her audiences to invest in a permanent marker available at photo supply stores

but suggests making sure the ink is dry before stacking photos to avoid damage.

Handle with Care

andling photos should be done sparingly. *hen it is necessary, avoid touching the image side. 'ils

ngers leave behind cause dirt to collect and can provide a haven for mold spores, according to ahandout (a#well uses in her presentations. he recommends wearing light cotton gloves when

working with photos to minimi/e contact with the the image side of a print of any age.

(a#well also encourages supporting photos during handling since older, heavy photos are prone to

breaking and "all photos su1er structurally over time with uneven support."

Tackling the Storage Issue

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Improperly storing photos can cause all types of problems down the road. "hat really is the one I

usually hammer home," said (a#well referring to the importance of proper storage.

 he most common mistake people make is putting photographs in "magnetic" photo albums which are

actually cardboard covered with adhesive and a plastic cover. hese albums cause problems in three

ways.

2irst, the cardboard used to fabricate magnetic albums is acidic, which causes deterioration in photo

paper. econdly, the adhesive on the pages is also acidic. his reaction causes the backs to stick

permanently as time passes, which not only ruins the photographs when they are removed, but any

information written on them is lost as well. 2inally, the plastic cover contains polyvinyl chloride which

releases gases causing photographs to fade, wrinkle and stick to the plastic. "ut those three things

together and it)s like a pressure cooker for a photograph," said (a#well.

Items such as glue, tape, staples, rubber bands and paper clips can cause stains, scratches and dents

to photos as well, and should always be avoided. *ood and wood products, like cardboard and paper,

harm photographs and should only be used if labeled "acid-free."

3ven framing should be done with care. Using acid-free mats to prevent photos from touching the

glass and acid-free backboards to deter deterioration of the image help protect and preserve.

'ther safe ways to store photos include plastic sleeves void of 4+ purchased at photo supply stores.

lastic sandwich bags are also a good, ine#pensive resource. (a#well suggest storing large numbers of 

photos layered between sheets of 566 percent cotton bond acid-free paper in metal or acid-free

cardboard bo#es.

Enemies to void

*hen you)re trying to avoid ruining anti$ues, temperature, humidity and light are the three greatest

enemies. his is especially true when it comes to photographic materials. A good rule of thumb is

storing photos where you are also comfortable. In other words, not too hot, cold, wet or dry, according

to (a#well. his means keeping them out of attics, garages and basements where they)ll be subject to

e#treme temperature %uctuations and e#cessive humidity. ince damage to photos can only be

reversed through e#pensive conservation methods, avoiding harmful handling and storage really pays

o1. 0e kind to your photos and they)ll last a lifetime, or two.

!elated rticles

•

reserving 7our recious 2amily hotos and 4ideos• ow to tore torage of hotographs - &earning ow to tore torage hotogr...

• In a 0ind - ome torage olutions

• hotos and ostcards - 'nline 8enealogy

• hoto reservation

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Photo Preservation

by: Your Family Legacy

http:""www#we$%&'#com

Photo from e!ecca <udens

;Cve !een thinking a!out preservation lately. o, not a!out me;Cm not that oldyetG. *ut a!out your treasure of ancestor

pictures. %henever ; get in touch with a new found ?cu&@, ;

always ask if they have any photos of ancestors. Hettingnames, facts, and stories a!out your family is great fun, !ut

putting a picture to an ancestor !rings them to life.

*ut how do you preserve these treasuresI Just remem!er that

the most harmful agent in photo degradation is A$;( !ecause, over time, itwill deteriorate the photo. #any plastics and papers, as well as ?magnetic@

photo al!ums, use materials that are not acid free. 2o you might want to ?dig@ out your wedding pictures and al!ums of family snapshots and make

sure that they are stored in al!ums made from the proper materials.

2ome preservation tips>

/se al!ums that are archival 'uality, meaning acid free.

"he paper you put the photo on should likewise !e acid free and lignin free.<ignin is a su!stance found in wood fi!ers of untreated paper. 6ver time it

!reaks down into acids that will harm photos and documents.

2torage !o)es, envelopes and the like should also !e archival 'uality.

(o not store your pictures in high temperature or high humidity areas, as

this can cause mold or fungi development and increase the chemical reaction

in the photos. 2o avoid attics and !asements to store your preciousmemories.

%ater and fire can ruin an entire collection. 3eep pictures away from fire

places, dryers and the like. Avoid water damage !y storing them up off the

floor and not in a !asement.

Avoid prolonged e)posure to light to minimi&e fading.

8/16/2019 Conservarea fotografiei vechi

http://slidepdf.com/reader/full/conservarea-fotografiei-vechi 13/13

/se tapes or photo corners that are acid free to mount them on pages.

"ry not to write on the picture, especially the picture side, as ; think itCs adetraction. ;f you must write, do it on the !ack with an acid free pen donCt

press too hard or the pen indentation will !e visi!le on the picture side. An

alternative is to write on the paper ne)t to the picture.

5ave your pictures scanned and put on $(.

Kou may want to consider making a copy of the pictures you want to show

most often. "he copy can take all the wear and tear of handling while youroriginal sits safely in its archival storage location.

Lins:

For more information on photo preservation, visit the ational Park 2ervice$onserve6Hram

athttp9::www.cr.nps.gov:csd:publications:conserveogram:conserv.html

5ave an old photo that needs restoredI 2eehttp9::www.maine.com:photos:

"o learn more a!out the history of photography, visithttp9::www.eastman.org: