Fixing a Moment in Time

Photographs are a window to the past, forever capturing a moment in time and fixing it to a physical carrier that can be preserved and cherished. But how can we ensure that our photographs will be around for generations to come? And what do we do when our precious photographs begin to fall apart?

This exhibit explores the magic of photograph conservation and highlights the conservation treatment of three panoramic photographs from the City of Coquitlam Archives.

1 - Before treatment, raking light showing splits in the paper support and cracks in the gelatin emu Opens in new window

Before treatment, raking light showing splits in the paper support and cracks in the gelatin emulsion (C11.003)

2 - After treatment, recto showing reduced deformations and the tape has been removed (C11.003)

After treatment, recto showing reduced deformations and the tape has been removed (C11.003)

What can happen to a photograph?

A physical photographic print is a chemically complex item. Its physical makeup dictates how it ages, how it will degrade over time, and how best to store it to avoid damage and decay. We have yet to invent a permanent photograph, so it is important to take steps to ensure that we can slow the deterioration of our photographs to maintain them as long as possible.

Essentially, a photograph is the result of light hitting a photosensitive surface, which is then fixed in place through a chemical process. If housed in poor conditions and left untreated, photographs will fade, become discoloured, and/or experience silver mirroring.

In overly humid environments, photographs can grow mold or be attacked by insects. In low humidity environments they will curl, become brittle, and crack. Photographs can even be damaged by the oil in our fingers or simple carelessness with a cup of coffee.

3 - Silver mirroring (Coquitlam Dam scrapbook, Page 23, IT.0001) Opens in new window

Silver mirroring (Coquitlam Dam scrapbook, Page 23, IT.0001)

5 - Curling edges (C11.002) Opens in new window

Curling edges (C11.002)

7 - Surface dirt (Riverview Hospital Historical Society collection, C5.0620)

Surface dirt (Riverview Hospital Historical Society collection, C5.0620)

4 - Close-up showing significant crack in the image (C11.002)

Close-up showing significant crack in the image (C11.002)

6 - Discolouration (Riverview Hospital Historical Society collection, C5.0620)

Discolouration (Riverview Hospital Historical Society collection, C5.0620)

8 - Coffee Stain (Riverview Hospital Historical Society collection, C5.0620)

Coffee Stain (Riverview Hospital Historical Society collection, C5.0620)

Conservation Treatment

Each year, the City of Coquitlam Archives reserves a portion of its budget to address any pressing conservation issues of records in the collection. In 2019, we identified three panoramic photographs that were in need of extra care.

Like many historical panoramas, these three photographs had been stored rolled up, which had caused significant damage. When we acquired them, we could not safely view the photographs and we were unable to properly digitize them because of the damage and the curling nature of the paper.  Given these concerns, we felt these three panoramas were optimal candidates for conservation treatment.

9 - Rolled Panorama (F40.001) Opens in new window

Rolled Panorama (F40.001)

10 - Panorama unrolled with weights (F40.001)

Panorama unrolled with weights (F40.001)

The photographs showed serious signs of decay that would only get worse over time if left untreated. The photographs were soiled and had tears and cracks of varying severity. The folds that had developed over years of being rolled had caused the gelatin emulsion layer to crack and separate from the rest of the photograph. One of the photographs had also had tape applied to it in the past to repair a crack. The tape had accumulated dirt and debris and was beginning to create a stain on the image.

11 - Before treatment, raking light showing splits in the paper support and cracks in the gelatin em Opens in new window

Before treatment, raking light showing splits in the paper support and cracks in the gelatin emulsion (C11.003)

12 - Before treatment, verso showing tape on the bottom edge, engrained dirt and splits in the suppo

Before treatment, verso showing tape on the bottom edge, engrained dirt and splits in the support (C11.003)

According to the Northeast Document Conservation Centre (NEDCC), the goal of conservation treatment is “to stabilize the item in the collection so that it survives over the long term and is available for use, while at the same time changing its physical characteristics as little as possible.”

Ideally, repairs will remain visible to some degree so as not to suggest that the item was never damaged. It is important to remember that the damage is part of the story of the record but conservation treatment ensures that the damage does not get any worse.

In order to stabilize the photographs and make them safe to handle, we engaged Sarah Duffy, a paper conservator from Fraser/Spafford Ricci Art & Archival Conservation Inc.

The panoramas were photographed and examined under raking light, which is very bright light that helps to reveal the extent of any damage. The photographs showed severe deformations, cracks and splits, as well as delamination and loss in the emulsion layer.

13 - Before treatment, raking light showing severe deformations (F40.001) Opens in new window

Before treatment, raking light showing severe deformations (F40.001)

14 - Before treatment, raking showing cracks and deformations (C11.002) Opens in new window

Before treatment, raking showing cracks and deformations (C11.002)

Treatment began with humidification of the photographs so they could be unrolled and repaired. After they were flattened, pressure sensitive tape was removed very carefully from one of the photographs. A wheat starch consolidant was then applied to press the gelatin layer back down where it had separated from the paper on all three photographs. The conservator found that the local tear repairs were not strong enough to prevent further warping and cracking, so she decided to reinforce the photographs by fully lining them with Japanese tissue and wheat starch paste.

15 - Carefully removing tape from recto (C11.003) Opens in new window

Carefully removing tape from recto (C11.003)

16 - Applying wheat starch paste to cracks (C11.003)

Applying wheat starch paste to cracks (C11.003)

17 - Preparing for lining (C11.002) Opens in new window

Preparing for lining (C11.002)

18 - Consolidating delaminating paper around the edges of each photograph with wheat starch paste (C

Consolidating delaminating paper around the edges of each photograph with wheat starch paste (C11.002)

Some minimal painting with matching pigments was done to fill in cracks where the emulsion was lost during consolidation. Once the photos were relaxed and repaired, the conservator performed dry surface cleaning using a soft brush and a white vinyl eraser to remove any remaining dirt on the photographs.

19 - Minimal in-painting (F40.001) Opens in new window

Minimal in-painting (F40.001)

20 - In-painting close up (C11.003)

In-Painting close up (C11.003)

21 - Burnishing repairs (C11.003)

Burnishing repairs (C11.003)

22 - Dry surface cleaning the back of each photograph to remove loose dust and dirt

Dry surface cleaning the back of each photograph to remove loose dust and dirt

The Results

As a result of the specialized conservation treatment, the photographs are now clean, strong, and stable. They lie flat and have been encapsulated in plastic to protect them. They can now be safely handled and we were able to digitize them without risking further damage. The thee panoramas are now available through Quest, the Archives’ online search portal.

26 - After treatment, verso after cleaning, tape removal and linging to evenly repair splits and tea

After treatment, verso after cleaning, tape removal and lining to evenly repair splits and tears (C11.003)

Tips for Preserving Photographs

So what can you do at home to make sure your photographs have a long and healthy life? Photographs do best in cool, dry, and stable environments that experience as little fluctuation as possible. This means that basements and attics do not make good storage environments for photos.

Ideally, photos should be kept in acid-free enclosures. You can use acid-free paper envelopes or plastic sleeves, or acid-free photo albums. These can be a bit pricier than standard photo albums, but they will ensure your photographs are protected over time.  Keep in mind that colour photographs will deteriorate faster than black and white so it is especially important to keep them in dark, cool, and dry environments.

27 - Options - Acid-free photo envelopes Opens in new window

Options - Acid-free photo envelopes

28 - Archival binder with plastic photo sleeves (Harris Family fonds, City of Coquitlam Archives)

Archival binder with plastic photo sleeves (Harris Family fonds, City of Coquitlam Archives)

Avoid using any inorganic adhesives likes tape, glue, or magnetic photo albums – those ones with the sticky backs and plastic sheets popular in the 1980s and 1990s. Adhesives contain damaging acid that can cause photographs to yellow at a premature rate. The magnetic albums also tend to get stickier over time, which can cause damage or prevent removal of the photographs altogether.

It’s always a good idea to provide some identifying information for photographs because you may not be the one looking at them in the future.  Consider putting them in an archival-quality album with accompanying notes, or provide information directly on the back of the photographs. If you do intend to write on the back of a photograph, make sure to use a soft #2 pencil and remember not to press down too hard, as this can cause damage to the emulsion side of the photograph.

With these storage and handling tips, photographs will be protected and will last for many generations to come, fixing precious moments in time.