Árbók Hins íslenzka fornleifafélags

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Árbók Hins íslenzka fornleifafélags - 01.01.1996, Qupperneq 56

Árbók Hins íslenzka fornleifafélags - 01.01.1996, Qupperneq 56
60 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.
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