AIC 53rd Annual Meeting

In the field of art conservation, understanding of an artist's chosen materials and their creative  application is fundamental. This holds true for photograph conservation, where a profound grasp of the historic evolution and chemistry of photographic processes is crucial for discerning and identifying each technique. However, deeper learning is achieved through hands-on engagement in the darkroom. Delving into the intricacies of photographic processes not only unveils the technology, tools, and chemistry underpinning their production  but also serves as an invaluable experiential learning tool. Darkroom practice enables observation and critical thinking  about a photograph’s evolution from its initial creation to potential display, and how these factors influence its long-term preservation. It also facilitates an understanding of the differences between genuine deterioration and intentional alterations made by a photographer. Creating photographs in the darkroom can combine research into the history and chemistry of photography with research into photographers, studios, and businesses utilizing these techniques today. The sensitivities of different emulsions can also be experimented with and observed. The addition of toners or other chemical baths in the darkroom can be understood by seeing the change in color of a print and its stability over time. This immersive exploration equips conservators with a dynamic perspective that informs their decision-making in the outreach, preservation, and treatment of photographic materials.  When creating albumen prints for example, the paper curls at all stages of production from the first application of the egg-salt mixture to the final wash bath. This demonstrates the inherent qualities of these prints and though we may consider curling damaging and work to keep the print flat, it is also an unavoidable part of the making process. While striving to maintain flatness, historically, albumen prints would be mounted to a paper board. This mounting process, though keeping the print from curling, could potentially introduce cracking in the emulsion over time. The tendency of the print to curl and potential cycles of curling and flattening demonstrate its sensitivity to moisture and the need for a stable environment and safe housing for long term preservation. Additionally, through making albumen prints, the similarities to the salted paper print process are clearly identifiable. The recipes for chemical baths and steps in the darkroom are nearly equivalent. It is understandable why their identification might be challenging. Finally, the darkroom also serves as a platform for outreach, where sharing the art and science of photography through workshops and social media can enhance public understanding and appreciation of art conservation. This is increasingly important in an era when images are so easily captured, duplicated, and distributed.




Images to be included on the poster:

•    Creating albumen prints: fresh untoned print, fresh gold toned print, historic aged print

•    Creating additive color screen plates: results from experiment, diagram of the layers

•    Creating tintypes: the “negative” pre-fixer, final positive product

•    Creating gelatin DOP: contaminated fixer resulting in pink print

•    Outreach: social media- QR code to share, creating salted paper prints and leading workshops at SUNY Buffalo and WUDPAC photo block