This paper was written on assignment for LIS 688-02 Preservation Management at UNC-G.
Abstract
Since the mid-nineteenth century, photography has captured the world. Photographs are able to capture life as it happens, faster and more widely available than portrait artists can paint. Over the last 200 years, photography has become increasingly more accessible and is now part of everyday life. People share pictures of everything from meals to new shoes. This phenomenon did not begin with camera phones and social media, however. This is just a modern version that evolved from photographs printing on paper, making them easier, cheaper, and more shareable, without thought to longevity. A recently inherited photograph collection consisting of primarily Kodak deckle edged photographs from the 1950s will be the focus of this look into the preservation and long-term accessibility of these popular social photos.
Keywords: photography, preservation, archives, cultural heritage
Preserving the Social Photography of 1950s Kodak Paper Prints
When photography began, it took a lot of math, science, and training to create the perfect portrait (and only if the models did not move). The large, expensive equipment printed on metal plates. The oldest of these photos still in existence was created in 1826 through a long process by inventor Joseph Nicephore Niepce. The pewter plate scene of the view outside his Le Gras estate in Saint-Lup-de-Varennes, France, is barely visible today (Jarus 2017). Over the last two centuries, scientists, photographers, and hobbyists continued to improve on the photographic process. Not to make pictures longer lasting, but quicker, cheaper, and more accessible. As the field began to evolve, companies such as George Eastman’s Kodak began to pop up. Eastman became determined to see photography become increasingly accessible by lowering costs and simplifying the photographic process.
With accessibility came popularity. Photography was a part of social occasions from weddings to deaths. Marie Harris, assistant curator of photographs at the Getty Museum, acknowledged the social aspects created by accessible photography. “With a lot of photographs in [the Paper Promises: Early American Photography exhibit], you can see that they were folded and sent through the mail, or they were quite small and could be easily shared,” says Harris. “You really get that sense of it becoming more and more available as a social tool because it can be made in multiples” (Burgess, 2018). This accessible photography has allowed thousands of people to document events large and small, the daily life of working-class people.
Within the focus collection are 63 black-and-white photos printed on Kodak deckled edged paper. These photos were taken between 1950 and 1960, though some were not printed until later. Once Kodak introduced their color film in the 1960s, black-and-white photos slowly began to fall out of favor with social photographers. Color portraits were no longer for the wealthy alone.
Format Description
The photographs in this collection are 3-inch by 3-inch pictures, though some were cut before placement in the photo albums. Each has a smooth texture with luster to matte sheens.
They are printed on Kodak’s fiber-based baryta-coated paper of the 1940s through the early 1960s. The baryta coating covered the paper base with a gelatin, allowing for a smoother cleaner finish. This process was completed before adding the emulsion. During the time this collection was being created Kodak was using a two-coat system for their black-and-white paper (Funderburk, 2009).
There is some speculation as to the amount of dye that went into creating the photo paper of that time. Kodak’s raw base paper was dyed depending on paper choice. Among others, tints included Old Ivory, White, and Silver from the 1930s through the 1960s (Funderburk, 2009). A special publication on Kodak black-and-white papers by Gawain Weaver Art Conservation points out some of the chemical components that would have affected the original photo’s composition.
The barium sulfate did not have a high refractive index and the color of the raw base was visible through the baryta layer… it may be that the dye was added to both the raw base and baryta coating or it may simply have been an indication that the baryta coating was on a raw base that was Cream or Buff tinted…
Like Sheen, a variety of descriptors were used at different times for the support tint. Below is a list of some of the tint descriptions.
• Snow White
• White
• Pensé (pearly white)
• Natural White
• Warm White
• Cream White
• Old Ivory / Ivory / Buff
There has been uncertainty about when and to what extent optical brightening agents (OBA) were used in Kodak fiber base black-and-white papers…
After melamine formaldehyde was introduced as a wet strength agent in the raw base in the early 1940s, it was well documented that formaldehyde continued to volatize from the raw base for long periods of time. (Funderburk, 2009).
It is uncertain specifically which of Kodak’s papers were used for the photos of this particular collection. A strong possibility is the Kodabromide Paper, as the pictures are lightweight with a smooth, luster-like finish.
Effects on Format
Environment: Heat and humidity can wreak havoc on photographs regardless of what specific format was used. Fluctuating temperatures can cause photos to become brittle and crack. Sunlight (UV light) can also cause fading and discoloration. Dirt, dust, and oils can add to deterioration as well. Even something as small as the oil in a fingerprint can have a lasting negative effect on a photo.
Wear and Tear: As discussed previously, social photography is generally created to be shared. Pictures are not produced with longevity in mind, but to distribute. This means that not only does the photography equipment need to be cheap to be accessible, so does the paper on which the finished product is printed. The paper is lightweight and small, carried in wallets and pockets, and physically mailed to others who handle them. They are not made to physically stand up to the tests of time. This means the need for physical preservation if they are to continue to last. Use of common items such as pens and paperclips can cause holes, scratches, and emulsion separation.
Chemical Reactions: Use of acidic storage materials affect the chemical composition of photographs. Acid can be found in most items — envelops, boxes, card stock, other papers, and especially old photo albums. Acidic materials can cause discoloration and even chemical burning. Use of invisible tape to hold pictures in place is commonly seen in family photo albums. Tape can not only be acidic, it also leaves a sticky residue, attracting dirt and dust, along with some bugs as well.
Risk Factors. This collection was stored on shelves of an interior hallway, meaning it has been exposed to very little UV light over the years. While it was housed in a climate-controlled home, the house is located in an area that experiences frequent tropical storms and hurricanes. This means, generally speaking, at least once a year there is a loss of electricity. In the case of larger storms, this time without power is extended. Hurricane Hugo in 1989 meant the area was without electricity for over two weeks, creating hot, humid conditions within the house and a poor environment for the photographs.
This collection was housed in the same set of albums for 50+ years. The albums in use were not acid free and some have magnetic pages. This has led to discoloration. There is evidence that these photos have been shared among family members. They have been written on in ink — one even requests a photo be returned as it was a favorite, proving they were passed around. Others have cracks and creasing from folding and much handling.
Some of the photos were taped into place. Others which were written on in ink has scarring in the emulsion. Greeting cards and newspaper clippings were not kept separately. Some of the album pages saw overlap of these acidic items onto the photos as adhesive gave way and they shifted on the page.
Preservation Methods. While no photograph is made to last forever, the typical print can easily last an estimated 25-50 years. This lifespan increases when care is taken to reduce exposure to deteriorating risks.
The first point of preservation for this collection will be removing photographs from the acidic photo albums. Since the photos were placed randomly in albums through the years and swapped from album to album by family members, there is no distinct order to their placement.
During removal, each photograph should be assessed for cleaning and/or repairs. Acid free papers and adhesives will be used in this process. Finding suitable acid free photo albums to house the pictures will help with longer preservation, while still providing family access to the pictures.
Before photos are rehoused, each will be scanned into the computer for digital storage. This will allow for damaged photos to be digitally restored. It will also allow for colorization, if desired, in the future. Once the photos are digital, they can be shared with frequency, without fear of damage. This will perhaps be the biggest step in making family photos accessible to all family members. They can be accessed through emails, texts, or social media platforms.
While cloud storage is not necessarily a bad thing, it is not a guaranteed one either, since there is a dependence for hosting on an outside source. With this in mind, the original scans will be downloaded onto an external hard drive, which will in turn be stored in a fireproof safe with other items of value.
Conclusion
While photographs are not created with longevity in mind, they can still be shared for generations to come. With understanding and forethought, properly stored and cared for photographs can help connect researchers to the past and family to lost ancestors. Early preventative care can keep deterioration at bay. Proper storage and handling can ensure access for centuries. Access without fear of damage allows history to be experience with being lost.
References
Burgess, Anika. (2 March 2018). How Photographs Printed on Paper Changed 19th-Century America. AtlasObscura.com. Retrieved May 27, 2020, from https://www.atlasobscura.com/articles/how-paper-photography-shaped-19th-century-america
Eastman Kodak Company. George Eastman. Kodak.com. Retrieved May 27, 2020, https://www.kodak.com/US/en/corp/aboutus/heritage/georgeeastman/default.htm#
Funderburk, Kit. (2009). A Guide to the Surface Characteristics: Kodak Fiber Base Black-and-White Papers. Gawain Weaver: California. Retrieved May 27, 2020, from https://gawainweaver.com/images/uploads/Guide_to_Surface_Characteristics_FINAL.pdf
Jarus, Owen. (14 September 2017). What is the World’s Oldest Photograph? LiveScience.com. Retrieved May 27, 2020, from https://www.livescience.com/60410-what-is-the-oldest-photograph.html
Science and Media Museum (8 March 2017). The History of Photography in Pictures. Scienceandhistorymuseum.org.uk. Retrieved May 27, 2020, from https://www.scienceandmediamuseum.org.uk/objects-and-stories/history-photography
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