NEGATIVES ON PAPER

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Identification

identification of the exact process nearly impossible , but not that important for conservation of paper negatives.

(DAFFNER, LEE ANN, 1995; WARE, M.J., 1994, p 37)

Coated negatives can be easily distinguished from uncoated (magnification helpful).

(DAFFNER, LEE ANN, 2005)

[edit] some clues for identification

  • printed-out negatives: very small, colloidal silver particles, different image hues possible, particle smaller than wavelengths of the visible light, developed-out paper negatives: neutral, black image hue, printed-out: more reddish

(WARE, M.J., 1994, p 17; COE, BRIAN; HAWORTH-BOOTH, MARK, 1983, p 17)

  • waxed negatives sharper than unwaxed, mostly thinner paper

(DAFFNER, LEE ANN, 1995)

  • negatives made by Le Gray’s Waxed-Paper Negative Process are sharper then negatives that are waxed after processing (image develops on the surface not in the paper fibers like in calotypes)

(Jennings, Katherine: Research into the Conservation of Nineteenth-century Paper Negatives, unpublished typescript, Andrew W. Mellon Fellowship, Avanced Residency Program in Photograph Conservation, George Eastman House, Rochester 2003, p 46 (cited JENNINGS ET AL., 2005))

  • one-sided marbling of the paper can be evidence for floating of the paper on solutions during preparation

(DAFFNER, LEE ANN, 1995)

  • identification of the paper difficult, besides there are watermarks

(DAFFNER, LEE ANN, 1995)

  • tears out of production time mostly with wet paper processes

(DAFFNER, LEE ANN, 1995)

  • shadow of an U shaped adaptor visible at three edges of the negative: Eastman negative paper (adaptor for use in plate cameras), mostly yellowed paper through oil from processing

(COE, BRIAN, 1986, p 23 et seqq.)

[edit] identification of stabilization or fixing method

(WARE, M.J., 1994, p 30 et seqq.)

  • image hue: pink, violet highlight areas by stabilization of sodium chloride (dark brown shadow areas), yellow, brownish by solution of potassium bromide, dark brown by sodium thiosulfate (no darkening, white highlights)

(HANSCH, MARTIN, 1985, p 90; REINHOLD, NANCY, 1993)

  • yellow highlights by potassium iodide stabilization

(REINHOLD, NANCY, 1993)

  • slightly grey highlight areas by bromide stabilization (more used with bromide sensitized negatives than with chloride sensitized)

[edit] References

  • COE, BRIAN, 1986. Das erste Jahrhundert der Photographie 1800-1900. Bindlach: Gondrom
  • COE, BRIAN; HAWORTH-BOOTH, MARK, 1983. A Guide to Early Photographic Processes. London: Victoria and Albert Museum
  • DAFFNER, LEE ANN, 1995. Examination and Investigation of the 19th Century Paper Negatives. A Study of the Process, Materials and Deterioration Characteristics. Topics in Photographic Preservation, 6, 1-10
  • DAFFNER, LEE ANN, 2005. Coatings on Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 66-77
  • HANSCH, MARTIN, 1985. Frühe Photographien - ihre Technik und Restaurierung. Überherrn/Saar: Kabinett-Verlag Uwe Scheid
  • JENNINGS ET AL., 2005. Jennings, Katherine; Chen, Jiuan-jiuan; Albright, Garry E.. The Treatment of Wax-impregnated Paper Negatives. In: Constance McCabe ed. Coatings on Photographs. Washington D.C.: AIC. 255-266
  • REINHOLD, NANCY, 1993. The Exhibition of an Early Photogenic Drawing by William Henry Fox Talbot. Topics in Photographic Preservation, 5, 89-94
  • WARE, M.J., 1994. Mechanisms of Image Deterioration in Early Photographs: The Sensitivity to Light of W.H.F. Talbot's Halide- Fixed Images, 1843-1844. London: Science Museum and National Museum of Photography, Film & Television
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