Árbók Hins íslenzka fornleifafélags - 01.01.1996, Page 56

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ÁRBÓK FORNLEIFAFÉLAGSINS
Klaus B. Hendriks. Fundamentals of photograph Conservation: A study Guide, Lugus
Publications, National Archives ofCanada, 1991.
Klaus B. Hendriks and Brian Lesser. American Archivist/Vol 46, No. 1 Winter 1983,
Disaster Preparedness and Recovery, photographic materials.
Jesper Stub Johnsen & Jonas Palm. Fotografiske Teknikker 1939-1920, Konservatorskolen,
Det Kongelige Danske Kunstakademi, Kobenhavn, 1984.
Mogens S. Koch. Fotografisk materiale, Revideret udgave fra Bevaringshándbogen,
Konservatorskolen, Det Kongelige Danske, Kunstakademi, Kobenhavn, 1990-1994.
Kirsten Korff. Wilsesamlingen ved Norsk Folkemuseum, Afgangsopgave, Konservator-
skolen, Det Kongelige Danske Kunstakademi, Kobenhavn, 1988.
Ljósmyndasafnið h.f. Kaldal Ljósmyndir, Lögberg Bókaforlag, Reykjavík, 1982.
Jane Richter & Grethe Jorgensen. Biologiske nedbrydning i museer og arkiver,
Konservatorskolen, Det Kongelige Danske Kunstakademi, Kobenhavn, 1993.
Garry Thomson.The museum of Environment, Butterworths & Co, Great Britain, 1978,
1986 og 1988.
SUMMARY
The article examines the preservation of photographic materials. It falls into two parts. In
the first, the author describes the basic properties ofnegatives and the findings ofher stu-
dy (a final dissertation for a diploma in Conservation from the Royal Danish Academy of
Fine Arts — School of Conservation) of the collection made by the photographer Jón
Kaldal (1896-1981), which contains c. 100,000 negatives.The author describes the nature
and causes of damage to photographic materials and the correct methods of preservation,
as well as discussing how to respond to damage by fire and water.
The second part consists of a survey of the storage facilities in the National Museum
of Iceland and the Reykjavík Photographic Archives.The author catalogues and classifies
incidences of damage in the Kaldal collection. A large proportion (85%) of the collection
is damaged in some way. The main types of damage are silver mirror (70.6%), scratches
and damage caused by fire and water (24.8%).
The author’s main conclusion is that to ensure the best preservation of photographic
materials, it is necessary to replace acid-containing boxes, envelopes, etc, with acid-free
materials. The best strategy, from the point of view of methods and finances, is to draw
up conservation schedules for periods of 5-10 years. General handling of the materials
should be the first consideration, after which it is essential to separate nitrate-, acetate and
collodion negatives from other photographic materials. Finally, attention should be given
to external facilities such as housing, security systems, etc. The most effective means of
economy is to prevent damage from occurring.