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prescribe conditions for its storage or exhibition that will help ensure its preservation, and it is difficult as well to determine appropriate conservation treatment". However, certain best practices emerge within the conservation-restoration field to provide a blueprint. Acid-free boxes are a commonly recommended source for the storage of dye diffusion transfer prints. In addition, containers of polyester, aluminum, or glass may also provide adequate housing. Individual prints should be stored separately in sleeves or envelopes that are made of polypropylene or paper with high quantities of alphacellulose. In the unfortunate circumstance that prints must be stored together, they should be stored vertically to avoid warping or bending. It is critical that prints be completely dry prior to storage. Best practices indicate that storage conditions remain about 70°F (21°C), and the relative humidity be kept between 30% and 50%.
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surface material peeling away, and laypersons should be advised to consult advice before attempting such work on their own. In the circumstance that a print is in good condition, simple cleaning strategies may be employed to care for its condition. If the print is dry, any dirt may be carefully brushed off. If the print is wet, then it may be briefly submerged in a room temperature water bath (68°-86°F or 20°-30°C), to wash away any debris. After an initial wash in this technique, prints may be rinsed, and be set out on a flat, dry surface where dust cannot settle on the surface.
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causes." Current best practices in this paradigm involve considering how to avoid the agents of deterioration, initially identified by
Charlie Costain in 1994, as a list of key threats to artifacts. While some of these agents pose more of a concern to dye diffusion transfer prints than others, they are all potentially problematic towards them and must be considered.
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from directly contacting them, such as in repairing a crack or tear, separating them from materials that may adhere to them, including other prints, cleaning their surface, to establishing a protocol for storage as discussed above. Typically, the use of nitrile gloves to protect both the print and the person working to treat it would apply in this work.
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One commonly occurring threat to dye diffusion transfer prints is cracking. Among the techniques that trained conservator-restorers may employ to mend them is filling the crack. One technique entails supporting the crack with
Japanese paper, applying gelatin in careful phases, humidifying the object,
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One of the most important ways to help artifacts of all kinds is to consider their storage both when they are being used and when they are packed away. Researchers Dusan Stulik and Art Kaplan acknowledge: "without knowing the chemical nature and physical structure of a photograph, it is difficult to
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in 1981. Dye diffusion transfer prints are useful in private and professional spheres, as well as in places they intersect. This value can be understood by considering the ways in which they are woven throughout modern civilization. For example, they can function as a way to document everyday life,
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Another threat to dye diffusion transfer prints is water damage. Water damage is known to erode the surface of prints, and within two days, it may also encourage the conditions for mold growth. If the water damage is suspected, and the surface of a print is sticky to contact, then it should not be
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The agents of deterioration are ten key factors that are identified to contribute to the risks faced by artifacts. While just one of these dynamics could cause irreversible damage, improper conditions or events could cause more than one of them to occur in tandem, effectively multiplying problems.
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Preventive conservation is a dimension of conservation-restoration that accounts for the need to prevent or mitigate artifacts from incurring damage. In short, the practice recognizes the point made by Philip Ward that: "deterioration is not inevitable...Deterioration is reduced by controlling its
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If dye diffusion transfer prints are not cared for though the tenets of preventive conservation, they may need to receive treatment. Generally, any work associated with physically altering a print would be the domain of a conservator-restorer. Treatment for dye diffusion transfer prints can range
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and determining when and what type of treatments might be required, if necessary. In some circumstances, conservator-restorers may take a unique avenue to improve images of dye diffusion transfer prints in poor condition: using digital technology. Even this method is not a foolproof technique, as
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Water, which can be a physical or chemical force, can bring about softening, swelling, staining, or physical forces to dye diffusion transfer prints. The impact of water damage can range from minimal to significant, such as in the formation of condensation or when the artifacts may be completely
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Thieves and vandals can cause both dissociation and damage. Outright theft of dye diffusion transfer prints can at worst be a total loss for the artifact as a relic of cultural heritage or at best, simply a lapse in collections care before it is recovered. Vandalization can include the problems
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Sometimes, dye diffusion transfer prints may require cleaning. In certain cases, this work would need to be supervised or completed by a professional conservator-restorer, but in other cases an untrained individual may be able to do the work. Attempts to clean a damaged print could lead to the
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Fire is a potentially great risk for dye diffusion transfer prints in that it can either directly cause their complete destruction via burning or melting, or it may yield indirect damage through smoke exposure. Means of extinguishing nearby fires may cause water or chemical damage as well.
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Dye diffusion transfer prints are objects vulnerable to dissociation, or the way in which the items themselves or data associated with them may be lost. Due to their relatively small size, approximately 10.75 x 0.1 x 8.85 cm, they may be fall into crevices, or become otherwise misplaced.
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Radiation including visible, ultraviolet, and infrared light can affect dye diffusion transfer prints. Visible light is one of the most significant threats among the Agents of
Deterioration for dye diffusion transfer prints, and can fade colors, a problem that cannot be reversed through
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in 1947, who called the technique the
Polaroid-Land process. These initial prints were made in sepia tone, and as chemistry progressed, true black and white prints were launched by 1950, and color prints followed in 1963. Sometimes, dye diffusion transfer prints are referred to as
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The issue of temperature being too high, too low, or simply fluctuating can cause problems for dye diffusion transfer prints. Incorrect temperature alone can cause cracking, yellowing, or distortion, but also correlate with flammability and humidity problems.
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Pollutants can affect dye diffusion transfer prints both from external sources and through the breakdown of internal structures. Whether the agent is airborne, transferred by contact, or is intrinsic, damages can include erosion, deposits, or discoloration.
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is a field in which trained professionals work in managing the long-term care of artifacts for the purpose of obtaining knowledge for current and for future generations. This work includes negotiating the best practices of preventive-conservation in
28:, and other museum professionals. This practice includes understanding the composition and agents of deterioration of dye diffusion transfer prints, as well as the preventive conservation and interventive conservation measures that can be taken.
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conservation-restoration. Ultraviolet light can cause materials to weaken, and infrared can raise temperature, which in addition to the problems outlined above can magnify the damage by visible and ultraviolet light.
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Incorrect relative humidity or fluctuations in humidity can be a problem for dye diffusion transfer prints. Problems can include expansions of different layers of the film, as well as deterioration of colors.
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Physical forces are largely caused when there is impact between objects. In the case of dye diffusion transfer prints, threats include cracking, chipping, abrasion, or structural failure, such as ripping.
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Caple, C. (2000). Conservation skills: Judgement, method and decision making. London: Routledge, Redondo, M. Is
Minimal Intervention a Valid Guiding Principle? e-conservation Magazine. No. 5, June 2008.
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From microorganisms to rodents, pests pose a threat to dye diffusion transfer prints. Not only can they create cavities within the prints, they can leave byproducts on the materials leading to erosion.
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during a 2012 exhibition of his work exemplifies a mutual understanding of the need for conservation of dye diffusion transfer prints by himself and gallery conservator Katy
Whitman.
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of caring for and maintaining dye diffusion transfer prints to preserve their form, and the information they contain. It covers the processes that can be taken by conservators,
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some prints, notably those made from film available at the end of the 1970s, experienced deterioration nearly immediately, and the ability to care for them can only go so far.
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Ctein. (2017). Digital restoration from start to finish how to repair old and damaged photographs. New York, NY: Routledge, Taylor & Francis Group.
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Stulik, D. C., & Kaplan, A. (2012). Collaborative
Research. Conservation Perspectives, 72, 1st ser., 1-32. Retrieved March 15, 2019, from
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Shelley, M. (1987). The care and handling of art objects practices in the
Metropolitan Museum of Art. New York: Metropolitan Museum of Art.
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were early adaptors of the artform, even partnering with camera manufacturers to have their own equipment tailor-made to their needs.
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Albright, G. & Fischer, M. Care of
Photographs. Retrieved February 18, 2008, from Northeast Document Conservation Center website
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Dye diffusion transfer prints are photographs made through a process where film containing chemical reagents is developed by an
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https://www.acs.org/content/acs/en/education/whatischemistry/landmarks/land-instant-photography.html#color_instant_photography
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handled. However, if the surface appears intact, then the print may be rinsed in cool, clean water and then set aside to dry.
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American
Institute for Conservation & Foundation for Advancement in Conservation. (n.d.). Retrieved April 21, 2019, from
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in 2016, conservators had to account for the presence of humidity and physical pressure to ensure that they were protected.
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provide critical up-to-the minute medical or investigatory data, or may be used as a form of art. Professionals such as
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specifically designed for that purpose. The practice that created dye diffusion transfer prints was first introduced by
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Art Gallery Ontario (2012, March 29). How to Conserve a Polaroid: IAIN BAXTER&: Works 1958-2011. Retrieved from
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Ward, Phillip R. 1986. Nature of Conservation, A Race Against Time. Santa Monica, CA: The J. Paul Getty Institute.
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Wilker, A. (2004). The Composition and Preservation of Instant Films (Tech.). Austin, TX: University of Texas.
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often used dye diffusion transfer prints in his art. When prints from 1974 to 1983 were on exhibit at the
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https://support.polaroidoriginals.com/hc/en-us/articles/115012363647-Polaroid-Originals-photo-dimensions
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Hofmann, Ana B. Flattening Cracks in Photographs, 1991. Topics in Photographic Preservation 4:166-16
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A consumer guide to traditional and digital print stability. (2008). Paintindia, 47(4), 165–171.
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Museum handbook. (2007). Washington, D.C.: U.S. Dept. of the Interior, National Park Service.
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Druzik, J., & Levin, J. (2004). Newsletter 19.1 (Spring 2004). Conservation, 19.1, 10-11.
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Sposato, B. (2013, February 28). Camera Ready: Artists Play With Polaroid -. Retrieved from
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submerged in water. Many conditions can amplify damage, such as heat or time of exposure.
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http://sites.utexas.edu/ransomcentermagazine/2016/04/27/mounting-andy-warhols-polaroids/
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uses dye diffusion transfer prints as a medium of his art. His partnership with the
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https://www.getty.edu/conservation/publications_resources/newsletters/pdf/v27n1.pdf
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identified by physical forces and may include more than one dimension of problems.
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Exploring the Cultural Impact of Polaroid. (n.d.). Retrieved April 21, 2019, from
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Buck, R. A. (2011). MRM5: Museum registration methods. Washington, DC: AAM Press.
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https://magazine.polaroidoriginals.com/exploring-the-cultural-impact-of-polaroid/
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Canas, D. D. (2016, April 27). Mounting Andy Warhol's Polaroids. Retrieved from
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https://www.fujifilm.com/support/photo_cleaning/other_types/index.html#See_All
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Canadian Conservation Institute (2017, September 26). Agents of deterioration.
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Ulaby, N. (2017, July 30). How To Preserve Your Polaroid. Retrieved from
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as this was the company to first introduce the technology to the public.
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https://www.npr.org/2017/07/30/540359419/how-to-preserve-your-polaroid
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http://www.artnews.com/2013/03/05/artists-play-with-polaroid/
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Polaroid Originals photo dimensions. (n.d.). Retrieved from
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Conservation and restoration of immovable cultural property
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Edwin Land and Instant Photography. (n.d.). Retrieved from
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IAIN BAXTER&: Works 1958-2011. (n.d.). Retrieved from
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Conservation and restoration of movable cultural property
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conservation-restoration of dye diffusion transfer prints
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Digital repository audit method based on risk assessment
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Conservation-restoration of the Sistine Chapel frescoes
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https://ago.ca/exhibitions/iain-baxter-works-1958-2011
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Dye diffusion transfer prints. (n.d.). Retrieved from
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Other Types of Photo Prints. (n.d.). Retrieved from
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due to their quick processing, or by the brand name
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1783:Conservation and restoration of cultural heritage
1729:Conservation-restoration of the Statue of Liberty
865:Mold control and prevention (library and archive)
680:Conservation and restoration of cultural property
235:and then flattening the print in a heated press.
1752:Preservation Metadata: Implementation Strategies
1742:Conservation response to flood of Arno, Florence
1706:Conservation-restoration of Leonardo da Vinci's
1747:Modern and Contemporary Art Research Initiative
1719:Conservation-restoration of the Shroud of Turin
1683:Conservation issues of Pompeii and Herculaneum
840:Integrated pest management (cultural property)
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87:Conservation-restoration of cultural heritage
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1778:Preservation (library and archival science)
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311:http://www.loc.gov/pictures/item/tgm003421/
1248:Books, manuscripts, documents and ephemera
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880:Preservation (library and archive)
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362:https://www.culturalheritage.org/
1734:Conservation-restoration of the
1610:Indigenous intellectual property
845:Inventory (library and archive)
745:Cultural property documentation
1243:Bone, horn, and antler objects
785:Digital photograph restoration
153:Ultraviolet and infrared light
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1428:South Asian household shrines
1126:Reconstruction (architecture)
1056:Cultural property radiography
1013:Registrar (cultural property)
765:Cultural resources management
725:Collections management system
20:is the process undertaken by
1697:Conservation-restoration of
1688:Conservation-restoration of
1061:Detachment of wall paintings
835:Intangible cultural heritage
750:Cultural property exhibition
735:Cultural heritage management
1141:Transfer of panel paintings
266:Canadian conceptual artist
135:Incorrect relative humidity
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1605:Heritage language learning
875:Optical media preservation
1645:Oral history preservation
760:Cultural property storage
755:Cultural property imaging
1692:by Elías García Martínez
910:Sustainable preservation
82:Conservation-restoration
1650:Preservation of meaning
1635:Language revitalization
1303:Illuminated manuscripts
1081:Historic paint analysis
973:Conservation technician
775:Deaccessioning (museum)
715:Collections maintenance
640:Agents of deterioration
108:Agents of deterioration
99:Preventive conservation
1660:Tradition preservation
1313:Iron and steel objects
1202:Outdoor bronze objects
1146:UVC-based preservation
1003:Photograph conservator
968:Conservation scientist
720:Collections management
650:Archaeological science
272:Art Gallery of Ontario
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1665:Traditional knowledge
1630:Language preservation
1238:Ancient Greek pottery
1136:Textile stabilization
998:Paintings conservator
885:Preservation metadata
770:Database preservation
624:historic preservation
144:Incorrect temperature
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22:conservator-restorers
1453:Time-based media art
1263:Copper-based objects
1177:Archaeological sites
1106:Mass deacidification
1051:Cradling (paintings)
963:Conservator-restorer
790:Digital preservation
282:American pop artist
1757:World Heritage Site
1620:Indigenous language
1520:Endangered language
1418:Shipwreck artifacts
1398:Photographic plates
1348:Musical instruments
1101:Lining of paintings
1018:Textile conservator
993:Objects conservator
983:Exhibition designer
890:Preservation survey
815:Found in collection
705:Collection (museum)
675:Calendar (archives)
645:Archival processing
288:Harry Ransom Center
189:Thieves and vandals
1615:Indigenous culture
958:Collection manager
855:Media preservation
850:Inventory (museum)
710:Collection catalog
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1765:
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1714:Pompeian frescoes
1600:Heritage language
1490:cultural heritage
1278:Flags and banners
1223:cultural property
1187:Heritage railways
1167:cultural property
1116:Paleo-inspiration
800:Film preservation
740:Cultural property
730:Cultural heritage
620:Cultural heritage
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1788:Collections care
1701:by Thomas Eakins
1699:The Gross Clinic
1595:Folklore studies
1505:Applied folklore
1478:Wooden furniture
1473:Wooden artifacts
1468:Woodblock prints
1448:Tibetan thangkas
1308:Insect specimens
1197:Outdoor artworks
1192:Historic gardens
825:Heritage science
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1525:Ethnochoreology
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76:Marie Cosindas
46:instant camera
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13:
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1570:Folk medicine
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1298:Human remains
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1165:of immovable
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1066:Desmet method
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830:Inherent vice
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51:
50:Edwin H. Land
47:
38:
31:
29:
27:
23:
19:
1735:
1707:
1698:
1689:
1580:Folk process
1535:Ethnopoetics
1493:preservation
1353:Neon objects
1226:by item type
1217:Conservation
1170:by item type
1161:Conservation
1111:Overpainting
1071:Display case
900:Repatriation
575:
563:
551:
525:
516:
507:
483:
460:
448:
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417:
386:
377:
368:
341:
329:
317:
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257:Case studies
251:
242:
239:Water damage
233:
219:
210:
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183:
174:
165:
156:
147:
138:
129:
120:
117:Dissociation
111:
102:
85:
55:instant film
43:
17:
15:
1736:H.L. Hunley
1515:Early music
1463:Vinyl discs
1458:Totem poles
1393:Photographs
1338:Lighthouses
1328:Lacquerware
1283:Fur objects
1221:of movable
1151:VisualAudio
1096:Leafcasting
1041:Anastylosis
988:Mount maker
948:Art handler
805:Finding aid
655:Archaeology
284:Andy Warhol
278:Andy Warhol
72:Ansel Adams
1772:Categories
1575:Folk music
1555:Folk dance
1488:Intangible
1086:Inpainting
953:Auctioneer
943:Art dealer
895:Provenance
700:Collecting
633:and issues
294:References
180:Pollutants
26:archivists
1690:Ecce Homo
1585:Folk play
1438:Taxidermy
1383:Parchment
1363:Paintings
938:Archivist
422:pp.33-38.
216:Treatment
1676:projects
1590:Foodways
1550:Folk art
1545:Folklore
1443:Textiles
1293:Herbaria
1268:Feathers
1233:Aircraft
1091:Kintsugi
915:Treasure
248:Cleaning
230:Cracking
67:Fujifilm
59:Polaroid
1674:Notable
1378:Papyrus
1323:Judaica
1182:Frescos
1027:Methods
978:Curator
660:Archive
207:Storage
1343:Metals
1258:Clocks
870:Museum
860:Midden
631:Topics
225:Repair
929:Roles
905:Ruins
810:Fonds
198:Water
162:Pests
63:Kodak
1273:Film
670:Book
622:and
126:Fire
74:and
16:The
1774::
534:^
495:^
469:^
395:^
353:^
302:^
612:e
605:t
598:v
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
