Tag Archives: photo documenation

Fun with PhotoDoc – Edition 4

The amazing enclosure made by our very own conservation technician, Chris Voynovich, for volume 1 of the W.S. Porter Collection.

We very recently returned a two volume collection of photographs taken by William S. Porter, known as the W.S. Porter Collection, to the Public Library.  William S. Porter is known in Cincinnati as one of the two photographers responsible for the 1848 Cincinnati Panorama (you can read more about and even explore this amazing daguerreotype panorama here). Volume one of the collection consists of 7 cased photographs (including daguerreotypes, ambrotypes, and tintypes) and 1 non-cased tintype, all reportedly taken by W.S. Porter, while volume 2 consists of one framed daguerreotype of W.S. Porter and a preservation print of that photograph.  When these photographs arrived in the Lab for treatment, many of the cases were damaged (especially along the spine – some broken completely, one previously “repaired” with tape, etc.), the framed photograph needed re-packaging, and the collection needed two custom enclosures (vol. 1 & 2) to safely store all the photographs.

(Left) Before “bench” photos of one of the cased photographs labeled “John Wesley Lever”, (Right) After photos of the mended case.

Now, as anyone who does photographic documentation will tell you, taking treatment documentation photos of photographs is a pain, especially on the copy stand (i.e. from above) and especially when you were trained in-house in a book and paper lab.  Glass objects just aren’t as common around these parts.  During PhotoDoc glass just acts as a mirror, reflecting all your light and even your camera lens and obstructing the actual photograph you are trying to capture.  But we knew that we wanted some good quality photos of the photographs to print as surrogates and to also use in the enclosures.  Black foam core and an Olfa rotary cutter to the rescue!  Using these two supplies I created a non-reflective black surface to place around the camera lens to help reduce reflections and absorb light.

In order to mount this black foam core on the camera lens I measured the diameter of our lens and the distance from the edge of the lens to the neck of the copy stand when the camera was in place.

The foam core allows enough flexibility for the deflector to just slide past the UV filter and snap into place securely.

 

 

 

 

 

 

 

 

With the black non-reflective board in place, I was able, with guidance from our conservator, to get some pretty good shots of the photographs to be used as surrogates.  The photos were also printed out and attached to the back of individual tuxedo boxes for each cased photograph.  Instructions to “store face down” were placed on the front of each tuxedo box to assist patrons in proper storage.  (The glass on all of these photographs is degraded and if stored face up the glass can actually weep onto the photograph causing significant damage, therefore cased daguerreotypes/ambrotypes/tintypes are generally stored up-side-down to prevent further damage to the actual photograph).  All of the tuxedo boxes for volume 1 were housed within a two-tiered clamshell box with two removable trays made by our resident “Box Master”, Chris Voynovich.  It should be noted that it’s a miracle this enclosure made it out of the lab and back to the Public Library, because several staff members were so enamored with it and thought it would make the best jewelry box!  I mean, it kind of would, wouldn’t it?

Here are the images I was able to obtain using my homemade non-reflective board:

Jessica Ebert (UCL) – Conservation Technician

Fun with PhotoDoc – Edition 1

Since I am the conservation technician who carries out most of the photographic documentation in the lab I think that pretty much all PhotoDoc is fun.  With all the different tools in the toolbox it really doesn’t get much better than when you get to bust out the ultraviolet radiation to reveal something that is otherwise not so obvious under normal illumination (like a stain, handwriting, etc.).  And then when you can transform those normal and UV before photos into a gif…well, that just makes for a fun Friday, if you ask me!

classphoto_uv_gif

This photograph is part of the Henry R. Winkler Center for the History of the Health Professions collection and arrived in the lab with the original glass broken and partially attached to the photo. It is obvious under normal illumination that the photograph endured some kind of spill or water damage, but under UV florescence you can better make out the path that the water or perhaps beverage created and even note splotches of possible mold damage (which flourese purple).  Now that’s it’s photographed I’ll turn it over to Ashleigh, our conservator, to determine what’s happened to this poor thing and the best course of action when it comes to treatment and storage.

Jessica Ebert (UCL) – Conservation Technician

How to set up a Digital Photography Documentation Studio

A picture is worth a thousand words.

First of all, you might be wondering. Why do conservation labs conduct photography?

The reason is because the most descriptive way for conservators to accurately document the physical changes made to an object during treatment is to photograph it.

In conservation, producing photographic documentation is a conservation professional’s ethical obligation. In conjunction with written documentation, the photographs help to more accurately and efficiently document the examination, scientific investigation, and treatment of special collection materials.

Afterwards, the photography becomes an important part of the treatment record for a rare object and it is permanently archived with the treatment report. This information is saved with the object in hopes of aiding future scholars and conservators in understanding an object’s aesthetic, conceptual, or physical historical characteristics.

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