Photo Conservation

Current Status of Treatment Practices in Photograph Conservation
Elia Alejandra Mendoza Olmos

Andrew W. Mellon Fellow, Advanced Residency Program in Photograph Conservation Fifth cycle 2007-2009
Advisor: Grant B. Romer
George Eaman House, International Museum of Photography and Film Image Permanence Initute, Rocheer Initute of Technology
August 2009
Para Hctor
Acknowledgments
The Andrew W. Mellon Foundation and Angelica Rudenine, Grant Romer, for his unconditional support, All the interviewees, for their time, intere and support, Paul Messier, Nora Kennedy, Greg Drake, Ralph Wiegandt and Doug Nishimura for their inrumental observations to my project, Ania Michas, Hyejung Yum, Mirasol Erada, Hye-Sung Ahn, Pau Mayns and Claudio Hernndez, The 5th Cycle Fellows, the a of the Advanced Residency Program, the George Eaman House and the Image Permanence Initute, And Hctor Ouilhet for his conant advice, all the technical and design contributions made to my project.
Abstract Introduction The interviews

Antecedents of the project
The origin of the project Why interviews? Judgment, experience and information Precedent: Other Interview Projects in the field
11 13 17 17 17 17 17 18 18 18 18 18 18 19 19 20 20 20 20 21 21 22 22 22 22
Treatment Practices in Photograph Conservation Interviews

Description of the interviews Desired content Type of interviews The interview questionnaire The interview questionnaire final version Description of the questions Type Aim and order Other questions asked Selection of interviewees List of the interviews performed Technical description of the interviews Capture Levels and tools for dissemination and access The library Academic institutions The blog
The blog: documentation and access

What is a blog?
Characteristics and advantages of a blog
25 25 25 26 26 26 26 27 27 27 27 28 28 28 28
The blog: Conservation Treatment of Photographs

Content and design Technical information: blog and the published interviews Publishing system Characteristics of the published interviews Format: .m4v Processing workflow of the interview files Uploading system for the interviews into the blog: Vimeo Creative Commons License What is Creative Commons? The Creative Commons License used Analysis tools for the blog
Documentation of the Project

Development and transformation of the interview questionnaire Development and documentation of the interviews
Planning phase Rehearsal interviews Conducting the interviews Evaluation phase
33 33 34 34 34 34 35 35 35 35 35
Transformation of the release form Profiling the interviews

Format/size Defining a publishing system
Analysis of Results
Data analysis Philosophical epistemological and ethical- considerations
Terminology: conservation, restoration, treatment, intervention Alteration: deterioration, damage, patina Conservation philosophy and ethics
39 39 47 47 48 48 51 53
Conclusions Bibliography Appendices

Release Form Transcripts
Abract
Abstract
This research is an analysis of the current atus of treatment practices in photograph conservation, based on fteen video taped interviews with senior photograph conservators, conducted from January to May 2009. The interview queions were designed to dene and describe current conservation treatment practices and discuss their transformation over time. Training and future challenges of treatment are discussed briey. The interviews and the documentation of the research process are available in the blog Conservation Treatment of Photographs <http://photograph-conservation. blogspot.com/>.
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Introduction
Introduction
Treatment is an activity that characterizes and dierentiates photograph conservators from other closely related specialis, such as conservation scientis, collection managers, curators, process hiorians and photography researchers. It is underood that appropriate treatment options for photographic materials depend on a combination of complex case-by-case variables (considering not only the materiality of the object but also its present and future context and use) and the present accepted guidelines for practice. Therefore, it is the conservators role to gather the proper information, propose the mo appropriate treatment possibilities and, if collectively agreed with the objects owner or ewards on a treatment, intervene on it. However from these few sentences, we can infer that if the meaning of appropriateness and adequacy is time, place, object, owner and conservator dependant, then describing the current atus of treatment practices in Photograph Conservation becomes a challenging, almo unattainable, endeavor. Due to the professional challenge of this inquiry and my deep devotion to photograph conservation, I designed this project with the goal of underanding, documenting and communicating the ways in which treatments are approached, decided, conducted and evaluated, both within initutions and in private practice. I deliberately designed this project considering that personal knowledge, experiences, recollections and examples can be explain treatment implementation, hiory and development. I believe that the information contained in this research is fundamental not only to a better underanding and explanation of our present professional situation, but also will prove useful for future conservators in tracing the path that led to their own. My research materials include: fteen video taped interviews with senior photograph conservators thirteen working in the United States and two working in Europe- conducted between the months of January and May of the year 2009; a set of complete transcriptions of the interviews, allowing the interviews to be bibliographical resources; an analysis of the information contained within the interviews; and a complete documentation of the project. All of these are made readily available through the blog entitled Conservation Treatment of Photographs <http://photographconservation.blogspot.com/>, also as a product of my research.
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The interviews
The Interviews
The interviews
This chapter contains information that describes the process by which I decided to conduct the interviews as well as the explanation of the process followed to obtain them, and a description of their content and the way it was processed.
Antecedents of the project

The origin of the project
When dening my project, my r proposal included the assessment and denition of evaluation criteria for conservation treatments of photographs. However, in developing this idea, I faced a fundamental queion that is inherent to the nature of conservation treatments: How to art proposing evaluation criteria when each treatment context is so particular and each photograph treated dierently? With this basic queion, I realized that to begin proposing evaluation methods I had to better underand and articulate the current atus of treatment practices in our eld: What treatments are being done? Where? Why? How are they being juied and evaluated? As I recognized that experienced conservators were a rhand source of information to do so, the idea to perform the interviews originated.
Why interviews? Judgment, experience and information

An interview is the formal queioning of a person, or a conversation in which information is elicited.1 Interviews are commonly performed by journalis and reporters, but also by numerous researchers in all the branches of the social sciences. They represent a unique research tool that provides special information, otherwise dicult to obtain, since the interviewee plays a key role in the udy. Thus an interview can be seen as a conduit of personal judgment, experience and information.
Precedent: Other Interview Projects in the field

In the eld of Conservation of Cultural Heritage, diverse projects that include interviews have been developed in recent decades, from which the Oral Hiory Project of the Foundation of the American Initute for Conservation (launched in 1975)2,3 and the Oral Hiory of Photograph Conservation (arted in 2001)4 and out. However, these previous projects were meant to produce oral hiory, which is a specic type of interview that aims to syematically collect individual teimonies about personal experiences.5 The Oral Hiory Association,6 among many other initutions
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that conduct this type of interviews,7 has specic guidelines as how to conduct these interviews and their desired characteriics. Other important early projects of this sort, related to photographs and photography, are lied in the article entitled Oral Hiory Material on Photography, published in 1975.8 When available, this annotated liing provides the following information: interviewees name (usually a photographers), interview date, interviewers name, a topical summary, the name of the initution that holds the interview material (recording and/or transcription), information about the format of the interview recording, and every eort to give full particulars about the condition of access and use.9
Treatment Practices in Photograph Conservation Interviews

Description of the interviews
Fifteen video taped interviews with senior photograph conservators were conducted between the months of January and May of the year 2009 as the core product of this project. In the following sections, the main characteriics of the interviews and their content will be described.
Desired content
The main topics addressed during the interviews are lied below. The process by which these were chosen is described in a later section. Denition of treatment Criteria or Need for treatment Type and Aim of treatments Treatments performed and frequencies Degree/Extent of intervention Methodology for treatment Evaluation of treatment results Transformation of treatment practices External inuences for treatment decision-making Hiory of treatment practices Specic treatment topics: * Daguerreotype cleaning * Chemical intensication * Unmounting/remounting of photographs * Modern and contemporary photographs Training and education Future challenges for the eld in terms of treatment
Type of interviews
I decided to conduct semi-ructured interviews, whose main characteriics are: a. The queions and development of the interview were pre-planned, but with a certain degree of freedom to approach new themes that may come up during its course. b. Usually, a template (protocol) was followed to help the interviewer maintain a preeablished model.10
The interview questionnaire

The interview questionnaire final version
This is the queionnaire that was sent to the interviewees prior to their interview; it also served as a guide during the recording. a. Could you please tell me your name, job title and aliation? b. When was this conservation lab eablished and for how long have you been working here? (if applicable) c. Could you describe your clientele? (if applicable)
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The Interviews
Denition 1. How do you dene treatment? Need 2. How do you determine the need for treatment? 3. Would you propose the eablishment of a regular treatment program for the collection? (if applicable, for initutions) Type & Aim 4. What is the scope of treatments that you perform and the types of photographs you treat mo frequently? 5. What is the aim of the treatments? 6. Could you describe, as an example, the intervention of a photograph you treated (methodology followed)? 7. How do you evaluate treatment results? Degree/Extent of intervention 8. What do you consider as a minor, moderate and major intervention? 9. Do you consider the creation and application of secondary housings as conservation treatments? Transformation 10. What changes overtime do you perceive in the way treatments are approached and performed? 11. Do you perceive changes in the level of intervention? 12. Do you consider that the perception of how a photograph should look, in terms of its condition, has changed through time? External interactions/inuences 13. What is your observation of the work performed in other initutions and in private practice in relation to the work performed here? Do use and context of photographs dene their treatment approach? 14. Does market (value/trends) inuence treatment decision-making and performance? Issues in treatment/specic treatment topics Daguerreotype cleaning 15. What is your opinion about daguerreotype cleaning? Chemical intensication 16. What is your opinion about chemical intensication of photographs? Unmounting/remounting of photographs (including disassembly of albums) 17. In what circumances do you consider un-mounting photographs can be juied? Modern and contemporary photographs 18. What has been your experience with treatment of contemporary photographs? Final queions: Treatment experience/training & future 19. Do you consider that treatment prociency is central to the competences of a photograph conservator? 20. In terms of treatment, what are the major challenges that the eld faces?
Description of the questions Type

The majority of the queions asked were open-ended queions (queions to which there is not one denite answer). Responses to this type of queion are more dicult to catalogue and interpret;11 however they are normally more informative and thus more useful to achieving my projects goals. Although seven queions in the queionnaire were dichotomous (queions that only have two possible responses, in this case yes/no queions), they were designed to be followed by a how or why open-ended queion.
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Aim and order

The eectiveness of the queions could only be judged after performing the interviews, however, in every case, they had initial targeted aims. It is important to mention that not all the queions were asked during the r three interviews; some were developed later to improve subsequent interviews. Also, some queions were addressed only to particular subjects, based on their answers and reactions and/or their pre-identied personal expertise and experience. The aim for the queions asked fall into one or more of these categories:12 To serve as introductory queions To obtain information relative to the denition of terms To address and describe current treatment practices answering the fundamental queions of knowledge who, where, when, why, how much, how often To address areas of intere relative to treatment of photographs, including: transformation/hiory, external interactions/inuences, training/education, future To address specic treatment topics, which can be labeled as controversial, but are/ were frequently performed, discussed, inveigated and published about To inveigate the process and argumentation by which judgment and ethical considerations are reached To serve as nal/closing queions
Other questions asked

As mentioned, additional queions were individuated based on earlier responses. Queions asked in the majority of the interviews include: How do you measure/weight treatment risks again its potential benets? What is your opinion about reprinting contemporary photographs that present major damages? How do you think we gain treatment prociency? Do you think we can evaluate treatment prociency? How?
Selection of interviewees
The primary selection parameters for the interviewees were based on experience and geography: senior photograph conservators working in the U.S. (practicing conservators or current heads of conservation departments or research/educational initutions). In September 2008, a li of potential interviewees was created with the help of Grant Romer. Following a second revision, a li with 23 names was delivered to Paul Messier, Nora Kennedy and Grant Romer, for each to select 13 suitable candidates (since they were to be included, the nal sample size was comprised of 16 names). After reviewing their selections, a li of the potential interviewees was eablished. Personal invitations and explanations of the project were extended to the candidates. After consideration of their responses and availability, as well as available resources (time/money) for the project, the individuals were grouped by city or area, and a denitive li was produced. Later, two European conservators not included in the initial selection process were invited to participate when their planned visits to Rocheer were conrmed.
List of the interviews performed

Key: number, date, interviewees name, interviewees title, main initution name, initution location; (Interview location, if dierent from the r). 1) Monday January 26, 2009 - Tom Edmondson, Conservator in private practice, Heugh-Edmondson Conservation Services LLC, Kansas City, Missouri; (Tucson, Arizona). 2) Wednesday February 4, 2009 - Gary Albright, Conservator in private practice, Honeoye Falls, New York. 3) Saturday February 7, 2009 - Grant Romer, Director of the Advanced Residency Program in Photograph Conservation, George Eaman House, Rocheer, New York.
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The Interviews
4) Wednesday February 11, 2009 - Peter Muardo, Conservator in private practice, The Better Image, New Jersey-New York City; (New York, New York). 5) Thursday February 12, 2009 - Nora Kennedy, Sherman Fairchild Conservator of Photographs, The Metropolitan Museum of Art, New York, New York. 6) Tuesday February 17, 2009 - Debbie Hess Norris, Chair of the Art Conservation Department, University of Delaware, Newark, Delaware; (New York, New York). 7) Thursday February 19, 2009 - Lee Ann Daner, Andrew W. Mellon Foundation Conservator of Photographs, The Museum of Modern Art, New York, New York. 8) Monday March 9, 2009 - Barbara Lemmen, Senior Conservator of Photographs, Conservation Center for Art and Hioric Artifacts, Philadelphia, Pennsylvania. 9) Wednesday March 11, 2009 - Martin Jrgens, Conservator in private practice, Hamburg, Germany; (Rocheer, New York). 10) Wednesday March 18, 2009 - Paul Messier, Conservator in private practice, Paul Messier LLC, Conservation of Photographs and Works on Paper, Boon, Massachusetts. 11) Thursday March 19, 2009 - Brenda Bernier, Paul M. and Harriet L. Weissman Senior Photograph Conservator, Weissman Preservation Center, Harvard University, Cambridge, Massachusetts. 12) Friday March 20, 2009 - Monique Fischer, Senior Photograph Conservator, Northea Document Conservation Center, Andover, Massachusetts. 13) Thursday April 16, 2009 - Pau Mayns, Conservator in private practice, Corebarna, Conservaci I Reauraci de Bns Culturals, Barcelona, Spain; (Rocheer, New York). 14) Saturday May 9, 2009 - Jos Orraca, Conservator in private practice, Sharon, Connecticut. 15) Thursday May 21, 2009 - James M. Reilly, Director, Image Permanence Initute, Rocheer Initute of Technology, Rocheer, New York.
Technical description of the interviews

Capture
The interviews were videotaped using a miniDV 1080i HDV Canon camera. A backup capture le (.mov) was produced simultaneously, using the built-in iSight camera of a MacBook laptop computer, using QuickTime Pro Software.
Interview with Jos Orraca
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Levels and tools for dissemination and access

From the inception of the project, dierent levels of dissemination and access were projected for the interviews. After inveigating viability, the following three levels were reached. Each interviewee decided through a release form, the level of dissemination allowed for their interview (see Release forms and licensing).
The library
The Richard and Ronay Menschel Library at George Eaman House keeps the original tapes and transcripts, and a DVD access copy, available for research and educational purposes.
Academic institutions
A copy of the tapes and transcripts was given to with those academic initutions that impart Photograph Conservation Studies.
The blog
The content of the interviews was included in the blog Conservation Treatment of Photographs <http://photograph-conservation.blogspot.com/>, under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License (see The blog: documentation and access).
1. Interview. Word Reference Online Language Dictionaries, <http://www.wordreference.com/denition/interview> (accessed May 30, 2009).
2. Joyce Hill Stoner. Documenting Ourselves: The Hiory of Twentieth-Century Conservation. IIC Bulletin 2, April 1998, 1-4. 3. Over 165 transcribed interviews are now available to researchers housed in the Winterthur Museum archives. Li of dates in the hiory of art conservation. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/ wiki/Li_of_dates_in_the_hiory_of_art_conservation> (accessed June 1, 2009).
4. Pau Mayns and Grant B. Romer. A Research into the hiory of Photograph Conservation: George Eamans Legacy. Pa Practice, Future Prospects, British Museum Occasional Papers 145, September 2001, 151-158. And Pau Mayns and Grant B. Romer. Documenting Conservation through Oral Hiory: A Case Study. ICOM-Conservation Committee Meeting, Brazil, 2002.
5. Judith Moyer. Step-by-Step Guide to Oral Hiory. Do Hiory Website, created by Film Study Center,
Harvard University and hoed by Center for Hiory and New Media, George Mason University, 1993, Revised 1999, <http://dohiory.org/on_your_own/toolkit/oralHiory.htmlWHATIS> (accessed May 31, 2009).
6. The Oral Hiory Association, <http://www.oralhiory.org/> (accessed May 31 2009). 7. The International Oral Hiory Association, <http://iohanet.org/> (accessed May 31 2009). 8. James McQuaid, David Tait, and Steven Lewis. Oral Hiory Material on Photography. Image, vol. 18,
no. 2, 1975, 1-12.
9. Ibid.1. 10. Tipos de Entrevia. Universidad Francisco de Vitoria, Departamento de Orientacin e Informacin al
Empleo, Madrid, 2009.
11. Arlene Fink. How to ask survey queions. Thousand Oaks, SAGE Publications, 1995, 105 pp. 12. A andard interviewing process can be divided into six phases: introduction, warm-up, general issues, deep
focus, retrospective, and wrap-up. Mike Kuniavsky. Universal Tools: Recruiting and Interviewing. In Observing the user experience. A practitioners guide to user research, Morgan Kaufmann Publishers, San Francisco, 2003, 118.
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What is a blog?
A blog (contraction of the term weblog) is a type of website, usually maintained by an individual with regular entries of commentary, descriptions of events, or other materials such as graphics or videos. Entries are commonly displayed in reverse-chronological order.1 There are many dierent types of blogs, diering in the type of content and also in the way content is delivered or written. Therefore blogs can be typied by genre, by media type, by device, etc.
Characteristics and advantages of a blog

In 1999, the proliferation of free weblog-creation programs made blogs accessible for anyone to create. Before this, mo weblogs were hand-coded by web developers or by individuals with certain knowledge of Hyper Text Markup Language (HTML).2 Nowadays, blogs represent one of the easie web tools for knowledge sharing, allowing users to syematically publish their ideas to an extended audience, without the need of technical underanding or experience. Furthermore, a blog platform enables knowledge to be dynamic by letting invitees or users to express their opinions as comments. Another important feature of a blog is the ability to syndicate its content, in other words, the ability to make content available to multiple other sites.3 Content syndication is an eective way of adding greater depth and immediacy of information to a website,4 transcending rerictions set by format or design. Syndication drives exposure across numerous online platforms, generating new trac for the site,5 representing a vital feature for collaboration and content sharing. After ten years of free blogging, the core values of personal or corporate blogs have been eablished as authenticity, passion, transparency, credibility, individualism, creativity, originality, relevance, and integrity;6 however, these remain relative to the content, context and users of each blog.
Posting window from Blogger.com
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The blog: Conservation Treatment of Photographs

The blog Conservation Treatment of Photographs <http://photograph-conservation.blogspot.com/> was created in October 2008 to document and make accessible my research process. At that time, the possibility to use the site to publish the interviews was proposed, but a deeper analysis was needed to inform the interviewees about the specications of the tool.
Interview blog post
Content and design

The main sections of the blog are: Blog title Blog pos: po date, title, content, labels Right column sections: * License * What is this blog about? * Labels * Blog archive * About me * Contact * What can I nd in this blog? Footer: Author name and title, license
Technical information: blog and the published interviews

Publishing system
Blogger is the blog publishing syem selected for my project.7 Created by Evan Williams and Meg Hourihan (Pyra Labs) and launched in Augu of 1999,8,9 it was purchased by Google in February 2003. The service itself is located at <www.blogger.com>, and blogs that do not publish to their own websites are hoed by Google at subdomains of blogspot.com (as is mine: <http://photographconservation.blogspot.com/>).
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After a short technical evaluation of the project characteriics (data to be hoed, data transfer, economic invement and projected life), I decided to use a public blog platform, such as Blogger, versus a hoed platform on my domain (alejandramendoza.info) due to the robu infraructure that public blogs have reached and maintained.
Characteristics of the published interviews

After the corresponding technical assessment and trials (see Proling the published interviews), this is how the interviews were uploaded to the blog:
Format: .m4v
The video les produced were exported as .m4v video les. M4v is a QuickTime format produced by Apple, based on the MPEG-4 Part 2 compression.10 The compression codecs used in .m4v les are H.264 and AAC.11 The dimension or resolution of the videos is 640x360, with a 4:3 ratio.
Processing workflow of the interview files

From capture to export, these were the processing eps followed: 1. The les were exported from the video camera tape original (miniDV) to an iMac computer using iMovie software 2. The video length was trimmed as necessary (beginning and end of the recording, intermediate pauses) 3. The frame was cuom cropped, if necessary 4. Color editing was performed as needed (white balance, hue and saturation) 5. Titles and frame transitions were added 6. The videos were exported as medium size (640x360 dimension) .m4v les.
Uploading system for the interviews into the blog: Vimeo

After exporting, the les were uploaded to the blog through Vimeo. (Other upload options were evaluated, see Proling the published interviews). Vimeo is a video-centric social network site (owned by IAC/InterActiveCorp), which launched in November 2004. The site supports embedding, sharing and video orage for regiered users. Vimeo does not allow commercial videos, gaming videos, pornography, or anything not created by the user to be hoed on the site.12 Vimeo has gained a reputation as catering to a high end, artiic group of users because of its higher bit-rate, resolution, and relative HD support.13
Display from vimeo.com
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Creative Commons License

What is Creative Commons?
Creative Commons is a non-prot organization that works to increase the amount of creativity (cultural, educational, and scientic content) in the commons the body of work that is available to the public for free and legal sharing, use, repurposing, and remixing.14 Creative Commons provides free, easy-to-use legal tools that give everyone from individual creators to large companies and initutions a simple, andardized way to grant copyright permissions to their creative work. The Creative Commons licenses enable people to easily change their copyright terms from the default of all rights reserved to some rights reserved.15
License Conditions from Creative Commons
The Creative Commons License used

The license selected for the blog and its content is a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License.16
Attribution-Noncommercial-No Derivatives
Analysis tools for the blog

Google Analytics is a free service that generates detailed atiics about the visitors to a website.17 It allows tracking of referrers (including search engines), geographical position and visit time.18 On June 14, the blog was regiered in Google Analytics to collect and analyze its trac and activity. After two months, 247 people (through 794 visits and 1,825 page views) from 28 countries have accessed the site.
Data displays from Google Analytics
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The Interviews
1. Blog. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/Blog> (accessed June 2, 2009). 2. What are blogs, and how did they become so popular? Ask Yahoo, 2002 <http://ask.yahoo.com/20021115.
html> (accessed June 2, 2009).
3. In broadcaing, syndication is the sale of the right to broadca radio shows and television shows to multiple individual ations, without going through a broadca network. Broadca syndication. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/Broadca_syndication> (accessed June 2, 2009). Web syndication is a form of syndication in which website material is made available to multiple other sites. Web syndication. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/Web_syndication> (accessed June 2, 2009).
4. Internet Content Syndication Council, <http://internetsyndication.org/about/index.html> (accessed June 2, 2009). 5. The two main families of web syndication formats are RSS and Atom. 6. Steven Streight. 18 Characteriics of Good Blog Content. April 30, 2005, <http://blogcorevalues.blogspot.
com/2005/04/18-characteriics-of-good-blog.html> (accessed June 2, 2009). And Webdesigner Depot. 13 Characteriics of Outanding Blog Design. <http://www.webdesignerdepot.com/2008/12/13-characteriics-of-outandingblog-design/> (accessed June 2, 2009).
7. Other blog publishing syems are: Gandi, LiveJournal, MySpace, Open Diary, Wordpress.com, Skyrock,
Tumblr, TypePad, Typo, Vox, Windows Live Spaces, and Xanga.
8. Blog. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/Blog> (accessed June 2, 2009). 9. The Story of Blogger. Blogger, Google, <http://www.blogger.com/about> (accessed June 2, 2009). 10. The Moving Picture Experts Group (MPEG), the working group within the International Organization
for Standardization (ISO), dened MPEG-4, which was nalized in 1998, became an international andard in 2000 and included in QuickTime in 2002. MPEG-4: The container for digital media. Apple Inc., <http://www. apple.com/quicktime/technologies/mpeg4/> (accessed May 31 2009). MPEG-4. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/MPEG-4> (accessed May 31 2009).
11. H.264: Stunning clarity from 3G to HD. Apple Inc., <http://www.apple.com/quicktime/technologies/h264/>

(accessed May 31 2009).
12. Vimeo guidelines. Vimeo, <http://vimeo.com/guidelines> (accessed May 9 2009). 13. Marshall Kirkpatrick. Vimeo Oering HD Video Option. Red Write Web, October 16, 2007, <http://www.
readwriteweb.com/archives/vimeo_hd.php> (accessed May 31 2009).
14. What is CC? Creative Commons, <http://creativecommons.org/about/what-is-cc> (accessed April 6 2009). 15. Ibid. 16. Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. Creative
Commons, <http://creativecommons.org/licenses/by-nc-nd/3.0/> (accessed April 6 2009).
17. Google Analytics. Wikipedia, The free encyclopedia, <http://en.wikipedia.org/wiki/Google_ Analytics> (accessed July 17 2009).
18. Google Analytics. Google, 2009, <http://www.google.com/analytics/> (accessed July 17 2009).
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Documentation of the project
This chapter describes documentation aspects that have not been addressed, focusing on the transformation of the end products of the project.
Development and transformation of the interview questionnaire

Developing a queionnaire about treatment is not an easy task. Intrinsically, treatment is not an oral subject but rather a practical one, and in the end, even after the treatment action, it is the object and the materials that prevail. The interview queionnaire is the nal version of six drafts. As the title of my project ates, my purpose was to describe the current atus1 of treatment practices in photograph conservation. However, from the beginning, I intended to develop queions that focus on the philosophical and theoretical aspects of treatment and not the descriptive details of treatment procedures, which in, my opinion, could not be addressed orally through this particular project. The r part of the queionnaire,2 through its ve versions, consied of queions that address the fundamental queries: Who? Where? Why? Which? For whom? For what? How much? The progressive iterations serve to chart my process of improving the formulation of queions (with relatively small variations), always working to move closer to a queion conruction with the desired characteriics of clarity and brevity.3 The section Transformation derives from the idea that to describe a present ate you have to describe previous and project future ones. Comparison helps to better underand the present: what has changed and why? The section External interactions/inuences was created following the same thread of thought. The section entitled Issues in treatment/Specic treatment topics was probably the one that changed the mo during this process. It was created, as mentioned earlier, to address treatment topics that have caused controversy or a dierence of opinion, both in and outside the conservation eld. These topics have been frequently performed through the hiory of conservation treatment of photographs except for the topic of treatment of contemporary materials- and have been the subject of signicant professional discussion, research and publication. Based on these considerations, I determined that multiple discussions of these controversial topics would compose a valuable source of opinion-based information that might otherwise be dicult to obtain, underand and disseminate. The approach to these topics changed through the dierent queionnaire versions. At the beginning, uncertain on how to tackle them, I formulated queions using hypothetical treatment
33
proposals for specic objects. For example, the intensication of a severely faded family gelatin silver print or the disassembly of a 19th-century well-known album. However, this format proved to be unusable, as it seemed rather contentious and open to misinterpretation by others, and very limited in the scope of potential answers it would produce. Inead, the mo general queion possible was introduced: What is your opinion about this treatment? And an introductory paragraph to each topic was added to provide some context to both the interviewees and the future lieners. Follow-up queions were formulated, to be asked if considered pertinent. During the queionnaire development process, a bibliographic search was performed, both for guidance to select queion topics and to juify the actual selection. While doing so, I transcribed direct quotations from texts that I considered particularly valuable due to their content, their rarity, or my personal intere. The preliminary and nal versions of the queionnaire are available in the blog as individual poings searchable under the label of Documentation of the process. Initially, the bibliographical quotations, with their corresponding citation information, were poed into the blog. However, these were later removed both to avoid issues related to copyright and because at subsequent ages of the research there were many more consulted sources than those poed.
Blog label: Documentation of the process
Finally, it is worth saying that, while conructing and reviewing the queions, special care was taken to avoid double negatives and both loaded and leading queions, given such formulations are the bane of all social research since they inject the prejudices of the person asking the queion into a situation that should be completely about the perspective of the person answering it. [] But avoiding directed queioning is easier said than done.4
Development and documentation of the interviews

Conducting interviews is a complex process that requires planning, rehearsal, implementation, and interpretation phases.5
Planning phase
The initial planning of the interviews included the already described queionnaire development and interviewees selection. Besides these, other adminirative aspects, such as scheduling and conrming the interviews, and the later follow-up with the interviewees, required time, preparation and extensive communication.
Rehearsal interviews
As a means of rehearsal I conducted three formal interviews, recording the r two with the builtin camera of a laptop computer and the la with the miniDV Canon camera I planned to use for the ocial interviews. In all cases, the fth version of the queionnaire was followed. The interviewees, current or previous Andrew W. Mellon fellows at the Advanced Residency Program, were Anna Michas, Hyejung Yum and Taina Meller.
Conducting the interviews

I created a simple materials checkli with the items I needed to bring or have for conducting the interviews. Later, in the corresponding venue, I followed an action checkli before, during and after each interview. Both lis proved useful for purposes of preparation and consiency.
34
Evaluation phase
An individual informal assessment was performed after each interview to evaluate its outcome, identify eective queions and approaches, and also miakes made. After all the interviews were completed, the content was synthesized and discussed.
Transformation of the release form

The Principles and Standards of the Oral Hiory Association ates that interviewees should be informed of the mutual rights in the process, such as editing, access rerictions, copyrights, prior use, royalties, and the expected disposition and dissemination of all forms of the record, including the potential for electronic diribution, and that they also should be informed that they will be asked to sign a release.6 Following these guidelines and in accordance with my projects intention of dissemination, I developed a release form prior to conducting the interview. For this, I followed the format and content of the form developed by Pau Mayns in 2000, which he used for the Oral Hiory of Photograph Conservation Project.7 This release form was used for the r three interviews, however after further research and subsequent conversations with the interviewees,8 I designed a second release form, with more detailed and specic information (see Release Form). This form, ultimately used for all the ocial interviews, allows the interviewee to eablish the level of dissemination desired for the documents produced. This level of specicity was particularly important since the interviews were to be published online. Therefore, the Creative Commons license chosen for the Internet dissemination of the interviews rerictive to the blog only- was included in this denitive release form.
Profiling the interviews

In April, after conducting the majority of the interviews, I needed to dene the characteriics of the les that were to be published in the blog. Several formats, sizes and publishing syems were evaluated as explained below.
Format/size
The nal decision to export the videos as .m4v les (640x360) was reached after several trials with formats and resolutions. The decision was based on the resolution obtained (as observable in a computer screen) versus the resulting le size (in megabytes), considering that the length of the actual videos ranged from 30 to 90 minutes. The decision also was made considering the capabilities of the publishing syem as described in the next section. Sizes and formats tried include: *.3gp (176x144), *.m4v (480x272, 640x360 and 960x540), *.mov (640x480), and *.mp4 (176x144, 640x360 and 1280x 720HD). The le sizes produced (.m4v les, 640x360) range from 350MB (30 minutes) to 1GB (90 minutes). Interviews longer than 90 minutes were exported into two les.
Defining a publishing system

The selection of the publishing syem to be used to upload the interviews into the blog was also reached after a short experimental phase. The r option tried was to upload the interviews directly to the blog (not as embedded les). Although possible and tried, this option only allows the upload of small size les (maximum 100MG), resulting in very poor resolution clips which, on top of all, dont have edition options. The next option tried was YouTube.com. This is a good publishing syem that allows the embedding and editing of video les. A clip of a rehearsal interview (with Anna Michas) was uploaded to the website and a link embedded in the blog for a period of two months. Neither the video nor the blog were formally promoted yet 35 people viewed the video in this time, though none
35
poed a comment. Among the disadvantages noted during the trial was that a video uploaded to YouTube may lose its context since the related videos that are linked to it may be contrary or completely unrelated in content. Also, a certain reluctance was observed when random subjects (some interviewees included) were asked their opinion about being uploaded to YouTube. Therefore the decision to use a publishing syem with ner editing options and publishing rerictions was made, which led to the selection of vimeo.com. A Vimeo Plus account was created, which allowed the poing of video les of up to 1GB in size, and provided subantial setting options regarding embedding and privacy.
Rehearsal interview uploaded to YouTube
1. Status seen as a ate at a particular time. 2. Queions a, b, c, and 1 through 9. 3. Catherine Courage and Kathy Baxter. Interviews. In Underanding your users. A practical guide to user
requirements. Methods, Tools and Techniques, Morgan Kaufmann Elsevier, San Francisco, 2005, 264.
4. Kuniavsky. Universal Tools. 119. 5. Courage. Interviews. 247-311. William M.K. Trochim. Interviews. Research Methods Knowledge Base
Website, 2006, <http://www.socialresearchmethods.net/kb/intrview.php> (accessed June 1, 2009).
6. Principles and Standards of the Oral Hiory Association. Oral Hiory Evaluation Guidelines, Oral History Association, Pamphlet Number 3, Adopted 1989, Revised Sept. 2000, <http://www.oralhiory.org/do-oralhiory/oral-hiory-evaluation-guidelines/> (accessed June 1, 2009).
7. The initial age of the Oral Hiory of Photograph Conservation Project took place from the year 2000 to
2001, with thirty-two interviews. However, the project has been continued, at dierent rates, for one decade by the Advanced Residency Program Fellows and Pau Mayns. The original format of its release form was modied in 2009 for the two interviews conducted by the 5th Cycle Fellows. This modication, towards greater specicity, was made with the mutual agreement of the author and Pau Mayns.
8. Other in-house release forms consulted include The L. Jerey Selznick School of Film Preservation Release Form and the George Eaman House Permission to Record.
36
Analysis of results
Analysis of Results
Analysis of Results
Data analysis
The following graphic and textual analysis is a personal synthesis and interpretation derived from the data obtained through the interviews. For specic answers and complete opinions, I rongly encourage watching the interview videos. The percentages are calculated from 15 answers, or otherwise noted.
Interviewees affiliation type

7% 13%
Private practice Art Museum

13% 47% 20%
Academic instituion Conservation center Archives and libraries
Interviewees years of experience in the field

7%
27%
> 35 years 26 - 35 years 16 - 25 years < 16 years

46% 20%
39
Establishment of Conservation Laboratories

2004 2000 1989 1981 1973 1968 1975 1977 1991 1994
Total: 13
This graph includes the establishment of Photograph conservation laboratories and Paper conservation laboratories, where photographs were initially treated. Only the laboratories mentioned during the interviews are graphed.
Types of clientele
Not specic for each interviewee, in alphabetical order: Archives Artis/arti udios Auction houses Dealers Eates Galleries Government agencies Hiorical societies Insurance companies Libraries Museums (Art, Archeology, Ethnology) Private corporations Private individuals/private collectors
Definition of treatment
The denition for treatment provided by each interviewee fall into one of the following: Deliberate, direct intervention of a photograph, designed to abilize its condition or improve its legibility or aehetic presentation Any direct action that alters an objects physical or chemical nature Any action that changes an object or secures its future (including preservation measures).1
Aim(s) of treatment(s)
Stabilization (allow safe handling and increased access, promote short or mediumterm preservation and ideally long-term preservation) Improve legibility/aehetic presentation/appreciation Promote long-term preservation.
Factors that determine the need/performance of treatment

Categories in order of frequency of mention: Client needs: present use (access, research, personal use) or projected use (imaging, exhibition, sale) Materiality of the object: condition (damage, deterioration), composition, ructure, nishing Characteriics of the treatment: possibility to be performed (dened by the treatment), individual abilities, knowledge of the treatment eectiveness, practical implications, risk assessment.
40
Analysis of Results
Photographs treated
Categories in order of frequency of mention: Prints: gelatin-silver prints, albumen prints, platinum prints, salt prints, chromogenic prints, digital prints, carbon prints, cyanotypes, others Cased objects: daguerreotypes, ambrotypes, tintypes, others Negatives: calotypes/paper negatives, gelatin dry plate negatives, plaic roll lm (acetate and nitrate), collodion negatives, others.
Treatments performed
Not specic for each interviewee, in alphabetical order: Accretions removal Bleaching Case repair Chemical intensication Consolidation (of cracks, binders, and surface coatings) Cosmetic inpainting Crease reduction Electro-cleaning of daguerreotypes Filling of losses Flattening (with or without humidication, heat, weight/pressure, ress) Lining Mold remediation Removal of poor quality secondary supports or housings Silver-mirroring reduction Stain reduction Surface cleaning Tape removal Tear repair Washing
Factors to determine the degree of an intervention

Degrees of intervention (set by the queion): minor, moderate and major. The factors that determine the degree of an intervention according to the answers of the interviewees are: time involved, risk to the photograph, and degree of the produced alteration. Based on these factors, I developed a schematic model to help in the description of our assignment (as conservators) of the degree of an intervention. This model does not intend to be absolute and the initial values used are arbitrary. For modeling purposes, I gured that if I assigned initial values for each factor (from one to three, with one meaning low, two medium and three high) and a range of values for the degrees of intervention (minor from 3 to 4, moderate from 5 to 6, and major from 7 to 9), then the sum of the values of the factors can numerically represent the degree of an intervention. In this model, the seven possible outcomes (values ranging from 3 to 9) can be reached through 27 combinations of factors. From these, 4 (or 15) fall into the category of minor, 13 (or 48) into moderate and 10 (or 37) into major interventions. (It is intereing to note, that for two interviewees, all interventions are major interventions.) For example,
Time involved 1 2 1 3 Risk to the photograph 1 2 3 3 Degree of alteration 1 1 1 2 = 1+1+1= 2+2+1= 1+3+1= 3+3+2= Intervention Degree 3 (minor) 5 (moderate) 5 (moderate) 8 (major)
15% 37%
48%
41
This is an interpretation schematic model. Its intended use is theoretical/conceptual and not mathematical.
9 8 7 6 5 4 3 2 1 0
Example 1
Major
Moderate
3 2 1
3 2 1 2 1
Minor
Time involved 1 1 2 3
Risk to the photograph 1 3 2 3
Degree of alteration 1 1 1 2
Intervention Degree 3 5 5 8
Series1
Example 2
Series22 Example Example 3 Example Series33

Example 4 Example 4 Series4
Creation and application of housings

Do you consider the creation and application of secondary housings as conservation treatment?
25%
Yes No
50%
Part of treatment or only if it involves direct attachement to the object
25%
General methodology (or protocol) followed for treatment

1. 2. 3. 4. 5. 6. 7. 8. 9. Discussion with the client Inspection of the object/condition report Research about the object/consultation with colleagues, when needed Treatment proposal Agreement with the client Advanced documentation Treatment Treatment report Evaluation, oral or written.
Evaluation of treatment results

None of the interviewees follow an eablished method or xed criteria for evaluation, but certainly they perform treatment evaluation through one or more of the following ways: Objectively (or quantitative, semi-quantitative or qualitative): Material characterization: Did the material characteriics of the photograph remain conant (when desired)? Measured in terms of size, shape, color, gloss, texture, thickness, hardness, and composition. Ecacy: Were the proposed treatment eps followed as planned? Was the treatment nished in the expected time frame?
42
Analysis of Results
Subjectively (or relative to individual judgment) Eectiveness: Does the treatment meet its goals? How, why? Appearance: Does the outcome look right? Why? Client satisfaction: Is the client satised? Does the treatment outcome meet the expectations? Adherence to the code of ethics.
Transformation
What changes over time do you perceive in the way treatments are approached and performed? The answers to this queion address both general tendencies in the eld and personal changes. General transformation tendencies in the eld: Increased levels of documentation Increased knowledge and underanding of the objects (in terms of materials, history, meaning, use) Greater appreciation for cultural context Stronger implementation of treatment evaluation (addressed previously) Decreased levels of intervention (see next queion) Incorporation of new materials for treatment Development of new treatment techniques Incorporation of treatment materials and techniques from other branches of conservation and allied disciplines (arts, craftsmanship, material science). Personal transformations: Increased knowledge and skill levels Development of predetermined (habitual) treatment methodologies (which can be benecial or harmful when carrying out treatment procedures) Increased or decreased condence levels Eablishment of a solid clientele base. Do you perceive changes in the level of intervention?
24% Yes, decreased No 58% 18% In the field in general, not particularly in the last decade
What changes over time do you perceive in the way treatments are approached and performed? Yes, towards: Increased acceptance and appreciation of the photograph as an object Greater acceptance of signs of natural deterioration (aging) of objects. However, a factor that directly inuences the perception of what can be considered acceptable condition for a photograph is age. For an individual born in the digital era and used to priine surfaces and retouching before printing, aws have become less comprehensible. Similarly, natural aging of contemporary materials is not expected and thus not underandable (although it has been observed in dierent degrees/times, some which can be considered objectionable). From the answers to this queion, I can conclude that there is no agreement in the use of the word patina for photographs. The answers range from the complete acceptance and routine use of this term when describing photographic materials to the absolute rejection of its use and its appropriateness, regardless of the type of photographic material in queion (and of the age of the respondents).
43
External interactions/influences
What is your observation of the work performed in other initutions and in private practice in relation to the work performed here? Do use and context of photographs dene their treatment approach? Initutional work can be considerably less treatment oriented, for various reasons: the initutions mission, the condition of the collection, the use of the collection, the outsourcing of (private) conservation laboratories to perform treatment when needed The eablished clientele base of private laboratories determines the type of photographs treated and the treatment procedures that are carried out. Therefore, the levels of intervention are aected by these factors Within an initution, the treatment approach for a given object can be inuenced (and/or changed) by a deeper (or revealed) underanding of the objects context(s) and meaning(s). Does market (value/trends) inuence treatment decision-making and performance? All the answers to this queion were armative, but diered in the way the interviewees perceive the inuence: It has an inuence only to objects with high market value It denes what objects are treated in their practices It doesnt inuence treatment performance, but inuences the level of documentation It has a positive inuence in the eld of photograph conservation as a whole, setting tendencies and priorities, raising andards Value not only monetary- inuences the treatment approach to be followed, among various possibilities.
Specific treatment topics Daguerreotype cleaning

What is your opinion about daguerreotype cleaning? The term daguerreotype cleaning normally refers to wet or chemical cleaning methods of plates. It is not only the r treatment performed to photographs but also one that has transformed immensely over time. It was initially performed by photographers, sellers/dealers and collectors, and later by curators and conservators which doesnt mean that it is no longer conducted by the r three. Current cleaning methods include: Dry * Removal of loose particles with air. * Removal of local accretions with a ne brush/needle. Wet * Water wash (with or without ammonia, warm water). * Electrolytic cleaning (without external current). * Electro-cleaning (with current). Plasma cleaning. To some interviewees, the hiory of photograph conservation can be described or evaluatedthrough daguerreotype cleaning, while to others, it reects individuals professional attitude and practice habits. Whatever the case, it is a topic that produces mixed feelings across the conservation eld. Many of us are familiar with the frequently told 19th-century anecdote2 that describes the reaction of a widow in front of the freshly cleaned daguerreotype of her husband, which was completely covered with a lm that there was nothing to be seen and I [the photographer] brought it up as good as it was originally.3 And also with the later account which narrates the unfortunate and dramatic cleaning of the famous Dorothy Draper portrait, performed by John H. Gear in 1934 in which for some reason that I am unable to sugge, a kind of milky bloom appeared.4 These inances exemplify the results that have been and can be produced by daguerreotype cleaning be it cyanide, thiourea, ammoniated water, or other. They also illurate the origin of the current conicting positions.
44
Analysis of Results
Some opinions expressed by the interviewees include: The case for the need to clean a daguerreotype plate can undoubtedly be made. Hiorically, many daguerreotypes have been cleaned In general, daguerreotype cleaning is not frequently warranted or performed in the present The risk for the object involved during the treatment is too high and its eects are not completely underood The eectiveness of the treatment is dicult to interpret Private individuals, whose desire is to see (or use) the daguerreotypes they own and value, represent the greate need for this treatment Upcoming results of research and characterization projects will provide information for a deeper underanding of daguerreotypes, in all levels. Wash Electro-cleaning
no 36% yes 64%
yes 27% no 73%
Percentages calculated from 11 answers
Chemical intensification
What is your opinion about chemical intensication of photographs? Chemical treatment of photographs is a term that has been used to include treatments (chemical intensication, bleach and redevelopment, sodium borohydride, etc.) that aim to rengthen/recover image characteriics or reduce/remove alterations like silver mirroring, yellowing and ains. By convention, in photograph conservation chemicals treatments include those that, through a single or series of reactions, produce a photograph that is potentially dierent in chemical composition or in image particle morphology.5 However, in my opinion, chemical treatment is a general term that does not clearly dene the group of treatments it encompasses since almo any treatment can, or does, t into this category (in other specialties of conservation it is used as a general term as well). During the interviews, this topic meant to address those treatments that aim to alter rengthen, improve, recover- the image of photographs, as exemplied by the use of the term chemical intensication in the initial queion. This goal was achieved in all conversations, though in some cases discussions about other treatments such as silver mirroring removal or light bleaching- were also addressed. Intensication of photographs is a hiorical reoration treatment inherently related to one of the major deterioration manifeation of photographs: fading. Therefore, it has largely transformed through conservation epochs (conservation as a social phenomenon and later as a professional eld), and has been a complex at times controversial- subject, practice and research topic.6 It is important to note that the term chemical intensication is used to refer, generically, to those treatments that aim to rengthen or recover photographic images, regardless of the specic chemical reactions they might include. The variety of opinions and remarks expressed by the interviewees include: As with daguerreotypes, the individual case for the need to intensify a photograph can undoubtedly be made Potentially, a faded image can misrepresent the values of a photograph as much as any other form of deterioration
45
Chemical intensication treatments are technically dicult to predict, conduct, reproduce and evaluate During these treatments, the risk exerted to the photograph is very high. Philosophically, these treatments raise issues of authorship or authenticity Hiorically, one of the reasons for the objection of the performance of these treatments was the change of monetary value of the treated photographs The misrepresentation of photographs that are socially considered as art works has produced complex reactions. Finally, the following oppositional opinions, were expressed: Chemical intensication treatments belong to a hiorical age of photograph conservation practice and research Chemical intensication treatments have a place in photograph conservation, and might play a more important role in the future.
Unmounting/remounting of photographs (including disassembly of albums)

In what circumances do you consider unmounting photographs can be juied? Finishing mounting and framing included- has always being an essential part of creating, displaying and marketing photographs. Extensive hiorical and modern literature on the diverse mounting syems and materials is available.7 However removing a photograph from its mount is a practice that has clearly transformed during the pa decades of photograph conservation. Perhaps once considered routine or required practice (mainly for abilization purposes), now it is closer to being considered the exception. On the other hand, the temporary or permanent disassembly of albums to allow the individual display or sale of prints is a controversial practice, yet performed. The interviewees recollections and opinions on this topic include: A more sophiicated underanding of the causes of deterioration of photographs has produced a decline in the practice and frequency of print unmounting The individual case for the need to remove a photograph form its mount can undoubtedly be made, for abilization or aehetical reasons Unmounting and remounting conitute a major intervention, that involve high time, risk and ress to the materials and ructure of the photograph treated Unfortunately, albums were, and ill are, dismembered for marketing purposes (a practice considered unacceptable and highly unethical within the conservation professional eld).
Modern and contemporary photographs

What has been your experience with treatment of contemporary photographs? Modern and contemporary photographic materials, the tendency for larger formats, and the use of new materials, like rigid supports, plaic laminates and face-mounting syems, have challenged current treatment practices. However, work and research has been performed on contemporary materials over the pa decade.8 Some of the observations of the interviewees who deal with this type of materials, are: Contemporary materials are essentially untreatable; they are not meant to be treated Contemporary philosophical approaches are needed to conserve and document these objects, including, perhaps, the recognition that there are fewer cases where these objects are treatable The eady increase in the complexity levels of mounting syems, inallation requirements, ructure and format of contemporary photographic materials, has produced new conservation concerns and to date, fewer treatment options There is a perceived need for continuous research on the subject.
46
Analysis of Results
Treatment training
Do you consider that treatment prociency is central to the competences of a photograph conservator?
47%
Yes
53%
Central for education, not necessarily for individual professional agendas
Major future challenges

In terms of treatment, what are the major challenges that the eld faces? General: Monitor the eects of treatment over time Continue scientic research for treatment of traditional photographic processes Preserve and disseminate the current knowledge about treatment procedures Address the continued need to pursue new materials and techniques, and improve current ones Build ronger international connections and obtain fundraising for treatment research. Specic: Continue to improve the underanding and characterization of the eects and eectiveness of surface cleaning Continue to improve the underanding of daguerreotype characterization, deterioration and conservation treatments Address the topic of mold remediation Face and overcome the discontinuation of indurial gelatin-silver photographic materials (paper and negatives) to use as te materials for treatment research and for training of future conservators Dene and develop options for treatment of contemporary (including chromogenic color and other chemical color processes) and digital materials.
Philosophical epistemological and ethical- considerations

Terminology: conservation, restoration, treatment, intervention
If names be not correct, language is not in accordance with the truth of things. If language be not in accordance with the truth of things, aairs cannot be carried on to success.9 Confucius
In September of 2008, ICOM-CC, the International Council of Museums, Committee for Conservation, addressed the ill present need for a clear and consient terminology in conservation.10 Although I agree that we shouldnt agonize in pursuing this activity, it is impossible to communicate eectively when using individualized denitions of terms. The denitions and usage of the terms conservation, reoration and preservation (less so treatment) have been discussed at length over decades. However, it is necessary to underand and consider not only how the meanings of these terms have transformed over time, but also the reasons and juications that have generated these changes.12 Using the term treatment for this research was not unintended. It is a word we use on a regular basis to refer to our work, and it avoids the endless debate arising from the dierent interpretations of the terms conservation and reoration. It is an eablished term used in treatment reports, treatment proposals, and other documents that we create to communicate our work.
47
However, the answers to the queion How do you dene treatment? show that there is not a consensus, and that the denition of treatment varies fundamentally in scope. For some interviewees, treatment refers only to the deliberate direct intervention of an object, which produces an alteration, and for others, it includes any action that aims to prolong an object exience.
Alteration: deterioration, damage, patina

The Storyteller (1986) by Je Wall has been in our museum since 1991. [] Subsequently, Je Wall conrmed the poor ate of the cibachrome, and with his help we were able to replace it. Yet it is intereing to note that a cibachrome is supposed to have a life span of between twenty-ve and thirty years, yet this one had arted to fade after ju ten years. []12 Jean-Chriophe Ammann, director of the Museum fr Moderne Kun, Frankfurt
When syematically discussing treatments, the intended meaning of the terms deterioration, damage and patina are highly relevant to documenting the intervention taken with an object, and yet they are used and interpreted in very dierent ways. Researching this, I found a set of extremely valuable denitions presented by Jonathan Ashley-Smith in 1995,13 in which he expresses that:14 Patina, reoration and deterioration are all terms that describe an alteration of an object [] the criteria that denes them are both intention and value. Patina is the kind of alteration, which is unwanted and adds to the objects value. Reoration also contributes to the objects value, but it is a deliberate alteration. On the other hand, only those alterations of the object which actually reduce its value are usually considered as deterioration or damage. Stating that conservation/reoration treatments produce a deliberate alteration of the objects is a simple, yet fundamental philosophical premise that helps both to dene and communicate the meaning of these terms. On the other hand, this simple denition of patina, away from the Renaissance tradition,15 is useful to help underand a term that is both ambiguous and complex16 yet signicantly used in art and conservation vocabulary, inclusive of photograph conservation.
Conservation philosophy and ethics

Conservation theory is mo often related to conservation ethics, although these notions are not synonyms. This is a convention which, even though it is very widespread, is ill a convention. [] It is communicatively very ecient, but the expression contemporary philosophy of conservation would not be inappropriate at all.17 Salvador Muoz Vias
By 2009, many authors have written about the contemporary philosophy of conservation, and elucidated in similar terms the ideas and results explained through my project. Contemporary authors are not aeheticis or architects, like previous creators of the classical theories of conservation, but primarily conservators, trained and active in the present. Current philosophical models, like those by Jonathan Ashley-Smith, Chris Caple and Salvador Muoz Vias, respond to a matured and more cosmopolitan viewpoint of the world and the profession of conservation. Denition of terms and activities, juication for actions, theoretical precepts, guiding principles and ethical codes all form part of conservation philosophy. Photograph conservation, as a denite eld within the profession, follows the general shared current philosophy.18 The application of this generalized philosophy is then adapted to the specic intrinsic problems that photographs present and represent particularities which are exemplied and described at length through the interviews. However, these complex philosophical discernments relative to our profession, particularly ethical ones, cannot be reached on an individual level: ethics is necessarily dened by a given society, time and place.19
48
Analysis of Results
Codes of ethics are necessary in order to provide a basis for making choices, and thus they contribute to the conceptual basis of the profession.20 However, the problem with many of these guiding ethical ideas is the extent to which they can realiically be applied in any given situation. During the la fty years, guidelines for practice changed as the discipline of conservation matured and professionals realized that some ideas (such as true or absolute reversibility) are not achievable. A new generation of ethical ideas such as retratability, minimum needed intervention, and the research and use of able materials has developed.21 As Muoz Vias ates: Adaptive ethics acknowledge that a conservation process might be performed for very dierent reasons and under very dierent circumances, and that subjective factors can be more relevant, as they lie at the core of the activity. These factors are varied, and involve at lea two crucial aspects: a) The meanings or (functions or values) the object has for the aected people; b) The decision-makers willingness to allocate resources to the conservation process. These factors are not the only variables that can have an inuence on a conservation work, but they are the mo important ones, as they are both ever-present and fundamental in ethical and technical decisionmaking.22
1. The third denition includes the second, but not vice versa. 2. Cited in M. Susan Barger and William B. White. The Daguerreotype: nineteenth-century technology and modern science. Smithsonian Initution Press, Washington, 1991, 252; and in Grant Romer, Some Notes on the Pa, Present and Future of Photographic Preservation, Image, vol. 27, no 4, 22.
3. Abraham Bogardus. Trials and Tribulations of a Photographer. British Journal of Photography 36, 1889,
184.
4. Cited in Romer. Some Notes on the Pa. 22. 5. Doug Nishimura, personal communication, July 27, 2009. 6. Chronologically, some references in the topic include: * Louis Alphonse Davanne and Jules Girard. On the Revivication of Faded Positives. Journal of the
Photographic Society 2, no. 32, 21 July 1855, 199-200. * George Shadbolt. Reoration of Fading Proofs. Photographic Journal 6, no. 85, 1 January 1859, 11. * Klaus B. Hendriks and Lincoln Ross. The Reoration of Discolored Black-and-white Photographic Images in Chemical Solutions. Preprints of papers presented at the sixteenth annual meeting New Orleans, Louisiana, June 1-5, 1988, American Initute for Conservation, Washington D.C., 99- 117. * Valerie Baas, J. J. Bischo and L. Stodulski. Ongoing Inveigation into Chemical Image Enhancement of Faded Vintage Printing-out Photographic Prints. Topics in Photographic Preservation, vol. 5, Compiled by Robin E. Siegel, American Initute for Conservation, Washington, 1993, 95-116. * Joe Iraci and Paul Begin. Theory Guides, Experiment Decides: Working with Klaus. In Klaus B. Hendriks, A life Remembered, ed. Mogens S. Koch, The Royal Danish Academy of Fine Arts, Denmark, 2002, 25-30. * Douglas Nishimura. Report on the Chemical Treatment of Photographic Materials Workshop: a Chemis Perspective. Topics in Photographic Preservation, vol. 9, Compiled by Sarah S. Wagner, American Initute for Conservation, Washington, 2001, 1-43. Some conservation references in the topic include:
7.
* Gregory Hill. The Conservation of a Photographic Album at the National Archives of Canada. Journal
of the American Initute for Conservation, vol. 30, no. 1, Spring 1991, 75-88.
* Debbie Hess Norris. The Unmounting of Hioric Photographic Prints: Factors to consider. Typescript, unpublished, 1993, 4 pp. * Jos Orraca. Unmounting is easy not. Typescript, unpublished, 1993, 3 pp. * Stephanie Watkins. Origins and Development of Dry Mounting. The Book and Paper Group Annual, vol. 12, 1993, 66-73. * Sarah S. Wagner. Conservation Tip: A modied Dacron lining Technique for Photographs. Topics in Photographic Preservation, vol. 4, Compiled by Robin E. Siegel, American Initute for Conservation,
49
8.
Washington D.C., 1991, 31-33. * Sarah Wagner and Barbara Lemmen. The Use of Solvent- and Heat-Activated, Pressure-sensitive, and Remoienable Syems in the Mounting of Photographic Materials. Typed notes for the Mellon Workshop in Photograph Conservation: Unmounting and mounting Photographs, unpublished, March 13-17, 2000, 8 pp. Some conservation references in the topic include:
* Sylvie Pnichon and Martin Jrgens. Issues in the Conservation of Contemporary Photographs: the
Case of Diasec or Face-mounting, AIC News, vol. 27, no. 2, 2002, 1, 3-4, 7-8. Also available at <http://www. martinjuergens.net/Assets/download/AIC_News_March_2002.pdf>. * Lee Ann Daner and Chriopher McGlinchey. The Big Picture: Conservation Research Program for Contemporary Color Photographs. Modern Art, New Museums, Contributions to the Bilbao Congress, 13-17 September 2004, Edited by Ashok Roy and Perry Smith, The International Initute for Conservation of Hioric and Artiic Works, London, 2004, 109-113. * Erin Murphy. Basic Care of Face-Mounted Photographs at the Museum of Modern Art. Topics in Photographic Preservation, vol. 12, Compiled by Brenda Bernier, American Initute for Conservation, Washington, D.C., 2007, 160-174. * Peter Muardo. Approaches to Treating Contemporary Photographs. Topics in Photographic Preservation, vol. 12, Compiled by Brenda Bernier, American Initute for Conservation, Washington, D.C., 2007, 126-130. * Nora Kennedy and Peter Muardo. Changing perspectives on color photography. In Diversity in Heritage Conservation: Tradition, Innovation and Participation, 15th Triennial Conference, 22-26 September 2008 New Delhi, vol. II, ICOM-CC, 2008, 689-694. * William Wei. International Research on the Conservation and Reoration of Face-Mounted Photographs. In Diversity in Heritage Conservation: Tradition, Innovation and Participation, 15th Triennial Conference, 22-26 September 2008 New Delhi, vol. II, ICOM-CC, 2008, 702-708. 9. The Analects of Confucius, Book 13, Verse 3, translated by James R. Ware, 1980, <http://www.analects-ink.com/ mission/Confucius_Rectication.html> (accessed June 1, 2009).
10. Terminology to characterize the conservation of tangible cultural heritage. Submitted to the ICOM-CC
membership on the XVth Triennial Conference, New Delhi, 22-26 September 2008, <http://www.ecco-eu.org/ documents/ecco-documentation/index.php> (accessed April 8, 2009).
11. Underood in broad terms, epiemology is about issues having to do with the creation and dissemination
of knowledge in particular areas of inquiry. Matthias Steup. Epiemology. Stanford Encyclopedia of Philosophy, 2005, <http://plato.anford.edu/entries/epiemology/> (accessed June 1, 2009).
12. Jean-Chriophe Ammann. On the Ageing of Works of Art. In Modern Art: Who Cares?, Foundation for
the Conservation of Modern Art/ Netherlands Initute for Cultural Heritage, Amerdam, 1999, 282-283.
13. Jonathan Ashley-Smith. Denitions of Damage. Unpublished talk given in the session When conservator and collections meet at the Annual Meeting of the Association of Art Hiorians, London, April 7-8, 1995, <http://cool-palimpse.anford.edu/byauth/ashley-smith/damage.html> (accessed July 13, 2009).
14. Synthesized by Salvador Muoz Vias in Contemporary Theory of Conservation, Elsevier Butterworth-Heinemann, Oxford, 2005, 101-104.
15. The origin of the Italian word patina is controversial. It r appears in a text printed in 1681in the Vacabolario toscano dellArte del Disegno by Filippo Balduccini, mentioned as a term used to indicate the dark tone that appears on paintings as an eect of time and that sometimes embellishes them. Alessandra Melucco Vaccaro. The idea of Patina. Introduction to Part VII. In Hiorical and Philosophical Issues in the Conservation of Cultural Heritage, Getty Conservation Initute, Los Angeles, 1996, 366.
16. Ibid. 17. Muoz Vias. Contemporary Theory. xii. 18. A signicant document that addressed photograph conservation philosophy specically is: Jos Orraca.
Developing treatment criteria in the conservation of Photographs. Topics in Photographic Preservation, vol. 4, Compiled by Robin E. Siegel, American Initute for Conservation, Washington D.C., 1991,151-155.
19. Ethics. Encyclopdia Britannica Online, Encyclopdia Britannica, 2009, <http://www.britannica.com/ EBchecked/topic/194023/ethics> (accessed April 3, 2009). 20. The r code of ethics for a group of conservators appeared in 1963 with the AIC Standards of practice and
professional relationships for conservators, published in Studies in Conservation in 1964. Many codes have been produced and revised afterwards.
21. Chris Caple. Conservation skills: judgment, method, and decision making. Routledge, New York, 2000, 59-69. 22. Muoz Vias. Contemporary Theory. 202-203.
50
Conclusions
Conclusions
I consider that this project to be successful on many levels. Foremo, it gave me the opportunity to talk with fteen senior photograph conservators, about a topic that is close to my heart. Additionally it gave me the chance to work closely with conservators whom I knew already, and also the opportunity to meet others, build a connection with them, and extend my network within the photograph conservation community. The interviews, the blog and the data analysis produced are useful tools for teaching, explaining and disseminating the current atus of treatment practices in photograph conservation. These I believe to be needed tools and useful for all photograph conservators: for those ju entering the eld, those in current practice, and eventually for conservators of future generations to underand the evolution of photograph conservation practice and philosophy.
About the interviewing process

Interviewing is a challenging skill that one has to develop and improve through practice. Each time I conduct an interview I have a dierent feeling, a dierent energy, and a dierent result. Those who have conducted formal interviews can relate to this atement, which explains why the same questions posed to dierent people in dierent contexts can vary widely in tone and sentiment, as well as response. For those who have not, it may be dicult to underand how personal the interview experience is. The interviews I conducted for this project were not the r I had done and, I suspect, they will not be the la. I sincerely believe that the formal queioning of an individual or a group of people, in an ordered fashion, delivers invaluable information that otherwise might be irreparably lo. I feel that many aspects were successful in this process, and the results conrm it. Many others didnt go as planned as is so often the case- but in the end, the challenge to nd satisfactory solutions has added to my learning experience and professional growth. The success of an interview relies on the involvement of both interviewee and interviewer and their ability to eablish not only a conversation but real communication. Innumerable other factors come into play: the timing, the venue, the surroundings (light and noise levels), etc. Many factors are beyond control, so there can never be a perfect setting. In some of my interviews, I had to face this reality, and on each occasion I decided to take my opportunity and conduct the interview, as compromised as the conditions were. I recognize that the collaboration and intere of all the interviewees made this project possible.
51
About the blog

On one hand, the challenges of dissemination and communication are two obacles to professional development in all elds, and on the other, the rapid and continuous development of web tools in the la decade has evolved exponentially in ways that provide new avenues to dynamically address those obacles. To overcome the former and take advantage of the latter, I proposed and created the blog as part of this project. The blog has proven to be useful, and hopefully will continue to be so. Visits to the blog have been eady and comments from colleagues positive. Important considerations are the need to maintain the blog over time and the potential of technical failures (which are beyond my control). These issues are partially attenuated with the copy sets of the interviews (in DVD format) made available to schools and the complete documentation of the whole process. However, digital preservation is a complex, now universal, problem that needs to be considered.
About the Analysis of Data

One of the mo valuable results of this project is the analysis of the collected data, which provides an easily accessible synthesis of information. I hope that this analysis will serve as reference for future interpretations and research on the subject.
About the philosophy of conservation

We as conservators are not philosophers, but we inevitably and continuously contribute to, conruct and follow a philosophy of conservation. Through this research, I expressed the relevance of underanding and explaining our philosophical considerations. I reiterate my invitation to the readers of this paper as photograph conservators, specialis in allied elds, or akeholders and users of photographs- to reect upon the changing values and meanings of cultural objects, and the eect that these have in conservation practices, treatment in particular. More specically, I invite conservators to consider that our work is not determined in Muoz Vias words- by truth or science, but rather, by the uses, values and meanings that objects have for people.1 Finally, I encourage conservators to completely document their work, fully record their thought processes for decision-making, and make these records as accessible as possible. Conservators mu continually rive to accomplish these mo important activities so that in the future people will underand the changing conservation mindset, and maintain a coherent hiorical record of conservation interventions, and their philosophical basis.
1. Muoz Vias. Contemporary Theory. 202-203.
52
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ASHLEY-SMITH, Jonathan. Risk Assessment for Object Conservation. Butterworth-Heinemann, Oxford-Boon, 1999, 358 pp. APPELBAUM, Barbara. Conservation Treatment Methodology. Elsevier Butterworth-Heinemann, Great Britain, 2007, 437 pp. AVRAMI, Erica, Randall Mason, and Marta de la Torre. Values and Heritage Conservation. Research Report, The Getty Conservation Initute, Los Angeles, 2000, 96 pp. <http://www.getty. edu/conservation/publications/pdf_publications/valuesrpt.pdf> BARGER, M. Susan, and William B. White. The Daguerreotype: nineteenth-century technology and modern science. Smithsonian Initution Press, Washington, 1991, 252 pp. BRCKLE, Irene, and F. Chriopher Tahk, editors. North American Graduate Programs in the Conservation of Cultural Property. Association of North American Graduate Programs in the Conservation of Cultural Property, Bualo, 2000, 170 pp. CAPLE, Chris. Conservation skills: judgment, method, and decision making. Routledge, New York, 2000, 232 pp. CLAVIR, Miriam. Preserving what it is valued. Museums, conservation and r nations. UBCPress, Vancouver, 2002, 295 pp. COURAGE, Catherine, and Kathy Baxter. Underanding your users. A practical guide to user requirements: Methods, Tools and Technique. Morgan Kaufmann Elsevier, San Francisco, 2005, 781 pp. FINK, Arlene. How to ask survey queions. Thousand Oaks, SAGE Publications, 1995, 105 pp. HENDRIKS, Klaus. Fundamentals of Photographic Conservation, A Study Guide. National Archives of Canada, Lugus Publication, Toronto, 1991, 560 pp. KOCH S., Mogens, editor. Klaus B. Hendriks, A life Remembered. The Royal Danish Academy of Fine Arts, Denmark, 2002, 158 pp. MUOZ Vias, Salvador. Contemporary Theory of Conservation. Elsevier Butterworth-Heinemann, Oxford, 2005, 239 pp.
53
REEDY, Terry J., and Chandra L. Reedy. Statiical Analysis in Art Conservation Research. The Getty Conservation Initute, California, 1988, 106 pp. <http://www.getty.edu/conservation/publications/pdf_publications/atiics.pdf> . Principles of Experimental Design for Art Conservation Research. GCI Scientic Program Report, The Getty Conservation Initute, Los Angeles, 1992, 123 pp. <http://www.getty. edu/conservation/publications/pdf_publications/principles_experiment.pdf> STANLEY-PRICE, Nicholas, M. Kirby Talley Jr., and Alessandra Melucco Vaccaro, editors. Historical and Philosophical Issues in the Conservation of Cultural Heritage. Getty Conservation Initute, Los Angeles, 1996, 500 pp. The Imperfect Image: Photographs their Pa, Present and Future. The Center for Photographic Conservation, London, 1992, 379 pp.
Articles
AIC Denitions of Conservation Terminology. The Weern Association for Art Conservation Newsletter, Volume 18, Number 2, May 1996, <http://cool-palimpse.anford.edu/waac/wn/wn18/wn182/wn18-202.html> Also available at <http://www.conservation-us.org/index.cfm?fuseaction=Page. viewPage&pageId=620> AMMANN, Jean-Chriophe. On the Ageing of Works of Art. In Modern Art: Who Cares?, Foundation for the Conservation of Modern Art/ Netherlands Initute for Cultural Heritage, Amerdam, 1999, 282-283, <http://www.incca.org/theory-and-ethics/267-ammannarticle1999> ASHLEY-SMITH, Jonathan. Denitions of Damage. Unpublished talk given in the session When conservator and collections meet at the Annual Meeting of the Association of Art Historians, London, April 7-8, 1995, <http://cool-palimpse.anford.edu/byauth/ashley-smith/damage. html> AVRAMI, Erica, Kathleen Dardes, Marta de la Torre, Samuel Y. Harris, Michael Henry, and Wendy Claire Jessup, contributors. The Conservation Assessment: A Proposed Model for Evaluating Museum Environmental Management Needs. The Getty Conservation Initute, Los Angeles, 1999, 39 pp. <http://www.getty.edu/conservation/publications/pdf_publications/assessmodeleng. pdf> BAAS, Valerie, J. J. Bischo and L. Stodulski. The Eects of Sodium Borohydride Solutions on Silver-Based Photographic Materials: An Update. Topics in Photographic Preservation, vol. 4, Compiled by Robin E. Siegel, American Initute for Conservation, Washington D.C., 1991, 156-160. . Ongoing Inveigation into Chemical Image Enhancement of Faded Vintage Printing-out Photographic Prints. Topics in Photographic Preservation, vol. 5, Compiled by Robin E. Siegel, American Initute for Conservation, Washington D.C., 1993, 95-116. BLACKMAN, Chriabel. Salvador Muoz Vias, New Horizons for Conservation Thinking. e_conservation, the online magazine, no. 6, September 2008, 20-27, <http://www.e-conservationline. com/content/view/627> BOGARDUS, Abraham. Trials and Tribulations of a Photographer. British Journal of Photography 36, 1889, 184. CARRIER, David. Reoration as Interpretation. In Altered States: Conservation, Analysis, and Interpretation of Works of Art, Mount Holyoke College, Massachusetts, 1994, 19-27. Code of Ethics. International Council of Archives, 1996, <http://www.ica.org/sites/default/les/ Ethics-EN.pdf> Code of Ethics and Guidance for Practice. The Canadian Association for Conservation of Cultural Property (CAC) and The Canadian Association of Professional Conservators (CAPC), Ottawa, 2000, 20 pp. <http://www.cac-accr.ca/pdf/ecode.pdf>
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55
. Changing perspectives on color photography. In Diversity in Heritage Conservation: Tradition, Innovation and Participation, 15th Triennial Conference, 22-26 September 2008 New Delhi, vol. II, ICOM-CC, 2008, 689-694. KOCH S., Mogens, et al. Conservation problems of contemporary photography. In Modern Art: Who cares?, The Foundation for the Conservation of Modern Art and the Netherlands Initute for Cultural Heritage, Amerdam, 1999, 349-355. KUNIAVSKY, Mike. Universal Tools: Recruiting and Interviewing. In Observing the user experience, A practitioners guide to user research. Morgan Kaufmann Publishers, San Francisco, 2003, 83-127. MAVER, Ian. Some Research into Methods of Mounting, Lining or Repairing Albumen Prints. In The Imperfect Image: Photographs their Pa, Present and Future, The Center for Photographic Conservation, London, 1992, 311-315. MAYNES, Pau, and Grant B. Romer. A Research into the Hiory of Photograph Conservation: George Eamans Legacy. Pa Practice, Future Prospects, British Museum Occasional Papers 145, September 2001, 151-158. . Documenting Conservation through Oral Hiory: A Case Study. ICOMConservation Committee Meeting, Brazil, 2002. MELUCCO Vaccaro, Alessandra. The idea of Patina. Introduction to Part VII. In Hiorical and Philosophical Issues in the Conservation of Cultural Heritage, Getty Conservation Initute, Los Angeles, 1996, 366-371. MCQUAID, James, David Tait, and Steven Lewis. Oral Hiory Material on Photography. Image, vol. 18, no. 2, 1975, 1-12. MOOR, Ian L., and Angela H. Moor. The Eects of Aqueous Treatments on Photographs. In The Imperfect Image: Photographs their Pa, Present and Future, The Center for Photographic Conservation, London, 1992, 236-244. MURPHY, Erin. Basic Care of Face-Mounted Photographs at the Museum of Modern Art. Topics in Photographic Preservation, vol. 12, Compiled by Brenda Bernier, American Initute for Conservation, Washington, D.C., 2007, 160-174. MUSTARDO, Peter. Approaches to Treating Contemporary Photographs. Topics in Photographic Preservation, vol. 12, Compiled by Brenda Bernier, American Initute for Conservation, Washington, D.C., 2007, 126-130. NISHIMURA, Douglas. Report on the Chemical Treatment of Photographic Materials Workshop: a Chemis Perspective. Topics in Photographic Preservation, vol. 9, Compiled by Sarah S. Wagner, American Initute for Conservation, Washington D.C., 2001, 1-43. NORRIS, Debbie Hess. The Conservation Treatment of Deteriorated Photographic Print Materials. In The Imperfect Image: Photographs their Pa, Present and Future, The Center for Photographic Conservation, London, 1992, 361-366. . The Unmounting of Hioric Photographic Prints: Factors to consider. Typescript, unpublished, 1993, 4 pp. . Current Research Needs in the Conservation Treatment of Deteriorated Photographic Print Materials. Research Techniques in Photographic Conservation, Proceedings of the Conference in Copenhagen 14-19 May 1995, The Royal Danish Academy of Fine Arts, Denmark, 1996, 101-105. . Contributions of Klaus B. Hendriks to the Field of Conservation. In Klaus B. Hendriks, A life Remembered, ed. Mogens S. Koch, The Royal Danish Academy of Fine Arts, Denmark, 2002, 19-21.
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57
The Analects of Confucius, Book 13, Verse 3, translated by James R. Ware, 1980, <http://www.analectsink.com/mission/Confucius_Rectication.html> The Conservator-Reorer: a Denition of the Profession. ICOM Code of Ethics Copenhagen 1984. ICOM Committee for Conservation, Copenhagen, September 1984, <http://www.encore-edu.org/ encore/DesktopDefault.aspx?tabindex=1&tabid=191> Tipos de Entrevia. Universidad Francisco de Vitoria, Departamento de Orientacin e Informacin al Empleo, Madrid, 2009. VAN DE VALL, Rene. Painful Decisions: Philosophical Considerations on a Decision-making Model. In Modern Art: Who Cares?, Foundation for the Conservation of Modern Art/ Netherlands Initute for Cultural Heritage, Amerdam, 1999, 196-200. VAN DE WETERING, Ern. Conservation-Reoration Ethics and the Problem of Modern Art. In Modern Art: Who Cares?, Foundation for the Conservation of Modern Art/ Netherlands Initute for Cultural Heritage, Amerdam, 1999, 247-249. Victoria & Albert Museum Conservation Department Ethics Checkli. 2nd Edition, Conservation Department, Victoria and Albert Museum, London, December 2004 (1 edition by Jonathan Ashley-Smith, 1994) <http://www.vam.ac.uk/les/le_upload/27931_le.pdf> WAGNER, Sarah S. Conservation Tip: A modied Dacron lining Technique for Photographs. Topics in Photographic Preservation, vol. 4, Compiled by Robin E. Siegel, American Initute for Conservation, Washington D.C., 1991, 31-33. WAGNER, Sarah, and Barbara Lemmen. The Use of Solvent- and Heat-Activated, Pressuresensitive, and Remoienable Syems in the Mounting of Photographic Materials. Typed notes for the Mellon Workshop in Photograph Conservation: Unmounting and mounting Photographs, unpublished, March 13-17, 2000, 8 pp. WATKINS, Stephanie. Origins and Development of Dry Mounting. The Book and Paper Group Annual, vol. 12, 1993, 66-73. WEI, William. International Research on the Conservation and Reoration of Face-Mounted Photographs. In Diversity in Heritage Conservation: Tradition, Innovation and Participation, 15th Triennial Conference, 22-26 September 2008 New Delhi, vol. II, ICOM-CC, 2008, 702-708. WHITE, Minor. Care and Preservation of the Old Photographs and Negatives. Image, vol. 4, no. 8, November 1955, 59-60.
Websites and web articles

Ask Yahoo, <http://ask.yahoo.com> Blogger, Google, <http://www.blogger.com> Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. Creative Commons, <http://creativecommons.org/licenses/by-nc-nd/3.0/> Documents on Conservation-Reoration. European Network for Conservation-Reoration Education (ENCORE), <http://www.encore-edu.org/encore/DesktopDefault.aspx?tabindex=17&tabid=284> Ethics. Encyclopdia Britannica Online, Encyclopdia Britannica, 2009, <http://www.britannica. com/EBchecked/topic/194023/ethics> Google Analytics. Google, 2009, <http://www.google.com/analytics/> H.264: Stunning clarity from 3G to HD. Apple Inc., <http://www.apple.com/quicktime/technologies/h264/> Internet Content Syndication Council, <http://internetsyndication.org/about/index.html>
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59
Appendices
Appendices
Release Form
Treatment Practices in Photograph Conservation

I, the undersigned, grant the Richard and Ronay Menschel Library of the George Eastman House, permission to videotape my interview on the subject of Treatment Practices in Photograph Conservation, to contribute to the research with the same title, performed by Alejandra Mendoza, Andrew W. Mellon Fellow of the Advanced Residency Program in Photograph Conservation. The tapes, and their transcript, will be housed in the Library and made available for research and educational purposes. Name of the interviewee: Signature of the interviewee: Subject of recording: Date of interview: Location of the interview: Name of interviewer: _______________________________________ _______________________________________ Treatment Practices in Photograph Conservation _______________________________________ _______________________________________ Alejandra Mendoza
I further grant permission to share a copy of these tapes and transcript with those academic institutions that impart Photograph Conservation Studies. Yes _______ No _______
I also grant permission to include the content of this interview in the blog Conservation Treatment of Photographs, http://photograph-conservation.blogspot.com/, under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. http://creativecommons.org/licenses/by-nc-nd/3.0/
Yes _______
No _______
Note: By request of the interviewee, any portion of the recording may be closed for a specific time period.

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Current Status of Treatment Practices in Photograph Conservation

Elia Alejandra Mendoza Olmos

Advisor: Grant B. Romer

Abstract Introduction The interviews

Treatment Practices in Photograph Conservation Interviews

The blog: documentation and access

The blog: Conservation Treatment of Photographs

Documentation of the Project

Transformation of the release form Profiling the interviews

Conclusions Bibliography Appendices

Antecedents of the project

Why interviews? Judgment, experience and information

Precedent: Other Interview Projects in the field

Current Status of Treatment Practices in Photograph Conservation

Treatment Practices in Photograph Conservation Interviews

The interview questionnaire

Description of the questions Type

Current Status of Treatment Practices in Photograph Conservation

Aim and order

Other questions asked

List of the interviews performed

Technical description of the interviews

Interview with Jos Orraca

Current Status of Treatment Practices in Photograph Conservation

Levels and tools for dissemination and access

The blog: documentation and access

The blog: documentation and access

The blog: documentation and access

Characteristics and advantages of a blog

Current Status of Treatment Practices in Photograph Conservation

The blog: Conservation Treatment of Photographs

Interview blog post

Content and design

Technical information: blog and the published interviews

The blog: documentation and access

Characteristics of the published interviews

Processing workflow of the interview files

Uploading system for the interviews into the blog: Vimeo

Display from vimeo.com

Current Status of Treatment Practices in Photograph Conservation

Creative Commons License

The Creative Commons License used

Analysis tools for the blog

Data displays from Google Analytics

11. H.264: Stunning clarity from 3G to HD. Apple Inc., <http://www.apple.com/quicktime/technologies/h264/>

18. Google Analytics. Google, 2009, <http://www.google.com/analytics/> (accessed July 17 2009).

Documentation of the project

Documentation of the Project

Documentation of the Project

Development and transformation of the interview questionnaire

Current Status of Treatment Practices in Photograph Conservation

Blog label: Documentation of the process

Development and documentation of the interviews

Conducting the interviews

Documentation of the Project

Transformation of the release form

Profiling the interviews

Defining a publishing system

Current Status of Treatment Practices in Photograph Conservation

Rehearsal interview uploaded to YouTube

Interviewees affiliation type

Private practice Art Museum

Academic instituion Conservation center Archives and libraries

Interviewees years of experience in the field