8

Photographs and Other Visual Records [by Laura Coles, 1988]

Photographs Acquiring photographic materials Appraisal Accessioning Arrangement Description Sample Inventory for Photographs Sample Main Entry Card for Photographs Sample Index Cards for Photographs Sample Main Entry and Index Cards for Individual Photographs Conservation Storage Copying photographs Other Visual Records Photograph albums Sample Photographic Reproduction Regulations Form Sample Photographic Reproduction Charges List Sample Photographic Reproduction Request Form Postcard collections Film and videotape Sample Main Entry Card for Films Sample Index Cards for Films Nitrate-based film and photographs Microfilm and microfiche Sample Main Entry Card for Microfilm Prints, paintings and drawing Sample Main Entry Card for Prints, Paintings, and Drawings Sample Index Cards for Prints, Paintings, and Drawings Selected Photographic Processes In many small archives, photographic materials, including prints, negatives, and slides, form the largest and most used part of an archival collection. Photographic materials have unique physical properties which deserve special consideration during all aspects of archival activity, including appraisal, arrangement, description, conservation, and storage. in addition, other types of visual records, such as films, videotapes, original art, even microfilm, require individual consideration. Photographs Acquiring photographic materials Photographs can come to the archives in many ways: as part of a large acquisition with different media items; in groups in shoeboxes found in attics or basements; and, perhaps most often, as one or two photographs donated by themselves. many people do not consider their family photographs valuable to anyone but themselves. Be active in your search for photographic records and explain to potential donors the historical significance of their old albums, prints, and negatives. Contact prominent families or longstanding businesses in the community. Ask the local newspapers or magazines for the photographs from their publications and collect the work of professional or amateur photographers in the area. Approach local organizations and societies for their photographic archives and canvass the local municipal hall for government photographs. Consider purchasing photographs only if they meet the standards of your archives policy and your archives budget. However you acquire new photographs, try to obtain copyright whenever possible, so that you are not restricted when reproducing images. Appraisal Appraise all new accessions according to your archival policy and the criteria listed in Chapter 3.

Also appraise photographs for the following qualities: the potential use of the record the uniqueness of the image the process by which it was produced (vintage print, glass plate negative, and so on) its physical condition its technical quality (clarity, density, and so on) its informational content, including how well documented it is in terms of subject, date, location, and so on its age the importance of the photographer to your community or organization the quantity of photographs the photograph as an art form

See the appendix to this chapter for information on specific types of photographs

Accessioning

Archivists are often tempted to remove photographs from the original accession and organize them individually according to subjects. However, such an arrangement obscures provenance and destroys the original order of the entire collection. Accession photographs along with the acquisition as a whole, regardless of the other media it contains. Do not remove photographs or other media items from a larger unit and accession them separately. if the papers of James Clapton contain eight photographs of New Caledonia and four of Athabaska, do not remove the photographs, accession them separately, and file them as "Photographs of New Caledonia" and "Photographs of Athabaska." instead, give the entire collection an accession number, 986.2, arrange all the materials, then give each photograph an item number: 986.2.1 to 986.2.8. Prepare a main entry card and inventory identifying the entire accession and indicating the existence of the photographs. Then you can store the photographs wherever appropriate, either with the accession or in a separate location. Their relationship to the entire accession will be evidentfrom their accession numbers and from the finding aids. Create index cards with headings such as "New Caledonia-Views" and "Athabaska-Views" so that researchers will be led to the photographs in the accession. As a rule, photographs should be accessioned according to their provenance, arranged according to their original order, described according to subject, and stored according to the needs of the different media.

Arrangement

If the photographs arrive as part of a larger accession, such as in a box also containing letters, diaries, and postcards, they ought to be arranged according to the original order of that larger body. if there is no original order, then the photographs may be arranged within the accession in a logical fashion, such as chronologically, by individuals, or numerically, or by subject.

For example, Brian Millard's personal papers may include fifty photographs kept in no special order. You may organize them into groups such as: family photographs, arranged chronologically; geographic or landscape photographs, sorted alphabetically by location; and miscellaneous photographs, put in an arbitrary numerical order. Remember to indicate on your finding aids whether or not the order of the photographs was established by the creator or was imposed by the archivist.

Photographs which arrive singly or in small groups are accessioned as separate units and arranged according to any existing organization or logical relationship. if there is no order evident they can simply be numbered sequentially.

Once the photographs have been sorted into an order appropriate to the accession, label each item with a sequential item number. Using a soft pencil or crayon, write the accession and item numbers gently on the back upper right hand corner of the photograph, the edge of the negative, on the envelope containing the image, and on the border of a slide.

If there is both an original print and negative, give both the same number, and perhaps label one P for print and the other N for negative. If you receive several copies of an image in the accession, choose one (either the actual original or the clearest copy) as the "original" and mark it with the accession and item number. Number the other prints with the same number and add an identifier, such as "copy 1" or "copy 2." If you make duplicate prints for reference purposes, label them with the same accession and item number as the original and give them an identifying name or code, such as "reference print 1" or "reference negative 1."

These codes may be helpful if you have a large number of photographs and need to distinguish different types. Once the codes are added to main entry or index cards, you will not have to see the image itself to know if it is a positive, negative, or copy. If you wish, you can use other codes for different photographic materials, such as colour prints (CP), slides (S), or postcards (PC).

Description

identifying photographs individually is a time-consuming process, but in many archives, photographs are the most popular and most used holdings, and item-level description of important or popular photographs is often worth the effort. However, consider the use and value of all photographs before beginning any descriptive system. Try to prepare inventories for large accessions of photographs before providing item identification of significant photographs. Also determine if there is an existing identification or numbering system in a particular collection of photographs which might be used or adapted, saving time and maintaining the original organization.

Finding aids for photographs will follow the principles outlined in Chapter 5. include the following elements in all finding aids, whether of individual photographs or groups of images. (Also include the accession number).

Include any other relevant information about the photograph(s), such as the existence of a caption or notes, any signatures or inscriptions, and any other accompanying material.

You may also wish to indicate whether the archives has made copies of the image, and what type. Some archives include a photocopy or other reproduction of the image, such as a contact print, on the catalogue card or in a binder so researchers can look at the image and determine its suitability without having to use the original. The main entry card is filed under the title of the accession. Some archivists file another set of cards in accession number order, as a control in case photographs are misplaced or lost. Base additional index cards on a specific list of subject headings, as described in Chapter 5. Photographs might be indexed under headings such as photographers, buildings, geographical areas, events, animals, or time periods, even type of photograph. These can become more specific as your collection of photographs grows. Base subject headings on the standardized terms used for your general subject headings list and add terms related to photographs. Some sample terms include:

The recommended standard for the description of photographs is Elisabeth W. Betz, Graphic Materials: Rules for Describing Original Items and Historical Collections (Washington, D.C.: Library of Congress, 1982).

Conservation

Photographs are far more fragile than most other archival materials. They are vulnerableto many environmental hazards such as fluctuating temperature or humidity levels, an unstable or polluted atmosphere, ultraviolet or excessive light, and moulds, fungi, insects, and rodents. in addition, photographs are particularly sensitive to the dangers of acid, deteriorating mounting and storage materials, and residual amounts of processing chemicals on the image. But the greatest danger to photographs is improper handling. in order to secure photographs against deterioration and damage, keep them in the best environmental and storage conditions possible and always handle them carefully. (For more on conservation in general, see Chapter 6.)

Follow these guidelines: Keep the temperature and humidity consistent, ideally at about 19 to 20º C (66 to 68º F) with a relative humidity of no more than 40 to 45 per cent (ideally 30 to 40 per cent). When possible, keep photographic materials out of damp basements or rooms with no temperature control or air circulation. Minimize ultraviolet and high energy light in the storage area, placing curtains over windows, adding sleeves to fluorescent lights, or storing photographs in light-proof containers. Use metal shelves and file cabinets instead of wooden. Always use pH neutral or acid-free paper materials or inert plastic materials, made especially for use with photographs. Always handle photographs carefully. Wear white cotton gloves at al I times. Never touch the face of a photograph or the emulsion side of a negative; hold it by the edges or the underside. Do not try to unroll large or long photographs which resist; contact a conservator for advice and assistance. Do not remove the frames from photographs without checking the type and condition of image first. Some types of photographs (such as colour prints) may be removed from their frames, and others (such as daguerreotypes) ought to be kept in their containers. Write gently on the backs of photographs, using only a soft lead pencil or crayon. Don't press into the emulsion on the other side of the photograph. Place a piece of glass under the photograph to provide a firm base for writing. Never eat, drink, or smoke near photographic materials. Avoid exhibiting original photographs. Use copies instead. if originals are displayed, cover them with a sheet of UV3 plexiglas, which shields them from ultraviolet rays. Also keep the light level low and exhibit the images for as little time as possible. If the atmosphere in your area is particularly polluted or dusty, try to install appropriate filter systems or air conditioners.

The conservation of photographs can be an expensive and highly sophisticated activity, often requiring expertise and facilities beyond the scope of almost all archives. If you have any photographic material in need of special conservation treatment, contact a conservator for advice. (See the bibliography for references about the conservation of photographs.)

Storage

Ideally, each photographic image will be stored individually in an acid-free envelope or sleeve. Then the envelopes are stored in a box or drawer and placed on a shelf or in a cabinet. The three levels of storage allow for extra physical protection from dust, excessive handling, and changing environmental conditions.

There are special envelopes and sleeves made for archival photographs. A common type of photographic enclosure is an acid-free or buffered paper envelope. Suitable plastics enclosures include cellulose triacetate, polyester (polyethylene terephthalate), and polyethylene. Contact an archival or photographic supply store to order these envelopes and make sure they realize they will be used for long-term archival storage. Do not use polyvinyl chloride (PVC) envelopes, "shrinkwrap" material, or any plastic with chlorine or nitrate in it. Because the seam of an envelope may contain a glue which can damage the image, try to use envelopes with seams on the side rather than across the middle, or store photographs with the emulsion side of the photograph away from the seam on the envelope.

Write the accession number and item number gently in pencil on top right-hand corner of the envelope. Store the photographs by type (prints, negatives, slides) in accession number order in acid-free document boxes or metal file cabinets. Write the accession and item numbers and type of image on the outside of the container. Photographs and negatives in fairly good condition can be stored upright, but items that are particularly fragile or damaged are better kept flat. Store glass plates upright on edge whenever possible.

Photographic materials may be stored in a variety of archival quality envelopes and containers. Mark the accession number and item number on all envelopes used; if you wish, add descriptive information on the container. Photographic materials are usually stored by type, with slides, negatives and prints kept together. Remember to mark all items with their accession and item numbers before storing them in envelopes and boxes or drawers.

Copying photographs

You may wish to make copies of the photographs in your archives for any number of reasons, including:

	adding copy prints to your card catalogue
	making negatives and prints of damaged or faded photographs
	copying the entire collection so that originals are never exposed or handled
	making negatives of the entire collection and storing copies off-site for safety against fire, flood, theft, or other dangers
	copying photographs loaned to the archives
	making copies for display purposes
	providing copies for research use

Copies can be made outside the archives by a reputable processing firm or a qualified professional photographer. Be rigorous in your selection of photographers. Always check on the quality and reliability of the organization doing the copywork. Ask for archival quality rag paper, not resin coated stock, for archival copies. Keep accurate records of all materials sent out and returned to the archives and check for discounts for large or on-going copying projects. Prepare a contract or written agreement with the person or organization copying archival photographs, ensuring standards and quality control and prohibiting the processor from keeping copies of the photographs without permission.

Some archives choose to establish in-house photographic facilities, thus keeping the photographs in the archives, maintaining control over the reproduction process (especially the handling of fragile originals) and perhaps reducing costs. It can be expensive to outfit a photographic darkroom, but many archives make special arrangements such as offering darkroom or meeting space in the archives to amateur photographic clubs in exchange for assistance from club members or use of their photographic equipment. In addition, archival volunteers may have photographic experience, and members of the community may donate money or equipment for the darkroom. Again, always ensure that anyone working with original photographs is knowledgeable, capable, and careful.

Whatever method you choose for copying photographs, observe the following: Use a standardized negative and print size whenever possible to save money and effort (2¼" x 2¼" negatives are the minimum recommended size and 4" x 5" or 8" x 10" are preferable for prints) and use high quality chemicals and papers to ensure long-lasting copies (fibre- or ragbased photographic papers are best). Consider making extra copies or research copies on resin-coated paper, which is less expensive than the higher quality rag paper. Identify reference copies of prints and negatives by inserting the same accession number and item number as the original and adding "reference print" or "reference negative." Store copy prints and copy negatives separately from originals, for security in case of accident, damage, or theft. Indicate on all finding aids whether the archives has made copies of the photographs. If making prints or negatives for researchers, clearly outline the researcher's responsibility, such as determining and abiding by copyright restrictions, paying any applicable charges or fees, or acknowledging the archives in any publication using the photographs.

You may also make photocopies of prints for reference or security purposes. Make only one photocopy from the original print, and use that photocopy to produce other copies, so you do not expose the original to light too often.

Other visual records

There are many other types of visual records that can come into your archives. Some of the major types are described below.

Photograph albums

Photograph albums are deliberate collections of photographs, created and organized by the original owners. When acquiring albums, consider whether all the photographs suit your archives policy and, if not, whether you will accept the entire album or perhaps only copy specific images. Number albums as part of the entire accession, with their own item numbers. Number the album pages in case the album comes apart. Surface dirt can be removed with an artgum eraser, and you may want to separate the pages with acid-free tissue before storing the album flat on a metal shelf. if possible, copy photographs which are in poor shape. You may disassemble albums if they or the photographs in them are deteriorating, damaged, or acidic. Always record the order of items in the album before removing them and record any information written on the album, such as the captions or notes, on all relevant finding aids.

Postcard collections

Appraise postcards by the same criteria used for photographs. Add an accession number and item number to each image, perhaps with a suffix PC for postcard. Pay special attention to any personal message written on the back of a postcard. Note this information on any finding aids or retype it and file it with the postcard, if the original is faded or deteriorating. Store postcards vertically in acid-free envelopes. Take particular care with cardsthat appear hand-tinted or coloured; wrap these in acid-free tissue and store them carefully. Postcards may be filed in accession order number along with photographs, unless you have a particular reason for storing them separately.

Film and videotape

Motion pictures are often published items, like books or maps, produced and distributed to a wide audience. Try to secure copies of films made in or about your community or involving local people. Check for films or videotapes in local government offices, in the publicity bureau of your corporation, or in local television stations. Also look for home movies of families, vacations, and so forth. if you have sufficient funds, you may want to copy relevant films for your archives.

Film

Films are arranged and described based on the provenance and original order of the entire acquisition, but they may be stored in a separate area of your archives, organized on the shelf in order of their accession. With larger quantities of film, you may wish to arrange them on the shelf by reel size to use the shelf space more efficiently.

Describe films according to the standards outlined for photographs. Also include the following information:

Names and positions of people involved in the production, such as producers, directors, actors, and so on

Production and release dates

Physical description, including:

	width of film (35 mm or 16 mm, and so on)
	colour or black and white
	sound or silent
	negative or positive
	running time

The recommended standards for the description of film are Elisabeth W. Betz, Graphic Materials: Rules for Describing Original Items and Historical Collections (Washington, D.C.: Library of Congress, 1982); and Jean Weihs et al., Nonbook Materials: The Organization of Integrated Collections. 2d ed. (Ottawa: Canadian Library Association, 1979).

The best but most expensive way to conserve film is to make a copyprint and store the original in archival storage. Regardless of whether you can afford to make copies, avoid projecting the original whenever possible. if originals must be shown, avoid using poor quality projectors or projectors with sprockets; the film might have shrunk or changed shape and it could tear on the machine. Store film vertically in reels on metal shelves.

No matter how many or how few reels of film you have in the archives, store each vertically, on metal shelves if possible.

Videotape

Videotape, a visual image produced by an electronic signal on magnetic tape, is an archivally unstable format, lasting only about twenty years. While videotape may be a valuable and useful way to produce inexpensive reference copies of films, do not use it to make archival copies or original films. If you acquire videotapes, store them vertically in their original containers and describe them according to the guidelines for films.

Nitrate-based film and photographs

Nitrate-based photographic material is made with nitrocellulose, a chemically unstable substance. First used in 1889 and popular into the 1930's and 1940's, this material is easily flammable. Check any film negatives made before 1950; they are likely nitrate. Check the edge of the film for the word "safety," which indicates safety, not nitrate, film. if you do not find "safety" on the film, cut a small sliver from a margin and light it on fire. if it burns quickly and continues until nothing but black ashes are left, then it is likely nitrate. Film that burns slowly and goes out or leaves a melted part instead of all ashes is probably acetate or safety film. Place nitrate film in containers which allow plenty of air circulation and store the film separately from your other archival material. Check it regularly for any deterioration or change. Do not project nitrate film; copy it onto safety film as soon as possible. Contact conservators or film archivists for more advice on disposing of nitrate film.

Microfilm and microfiche

Microfilm and microfiche require specialized equipment for reading and printing. When considering the acquisition of microforms, consider not only the suitability of the contents but also whether or not you have adequate equipment to store, view, and preserve the material.

If the microforms are of publications, they will be described like publications, with a reference indicating that the form is film or fiche. If they are of historical material, copies from another archives or your own repository, they may be described as the originals were, with added information about the film itself: negative or positive, the width and length of the film, or the number of sheets if microfiche, and the location of the original documents. indicate clearly on all finding aids that the material is in microform. Store microfilm and microfiche in a cool room, on reels and in acid-free boxes. Do not attach the film to the reel with staples, pins, string, or rubber bands. if you have anything microfilmed yourself, request archival quality film and proper handling of the originals.

Store microfilm on reels and in boxes. Be sure to write the accession number on the box and add a description of the contents if possible.

Prints, paintings, and drawings

Prints, paintings, and drawings are a type of visual record which requires individualized care and treatment. if you are offered original art, consider not only how it fits in with your archives policy but also how you can look after it and how it will be preserved and used. Remember that the chief reason for collecting art in archives is for its historical and documentary value, not its artistic worth or aesthetic value. If you are considering accepting any original art, have it appraised for its value, both archival and monetary, by an expert in the field, perhaps from a nearby art gallery. Acquaint yourself with curators in the art galleries in your area; they may be able to help you with questions about original art and you might reciprocate by advising them on their archival materials.

Arrange original art according to provenance and original order when applicable and give each item an accession and item number. Like photographic materials, prints, paintings, and drawings will be stored according to their physical needs. Remove items from weak frames or acidic containers and remat them on acid-free paper then store them in acid-free paper or in boxes designed for works of art. if the frame is stable and secure, hang the art in a cool room with little light or store it upright in a clean place. Check all framed and unframed works yearly for damage or deterioration. if you display original art, use low-level lights and ultraviolet filters for protection. (For information on handling and storing original art, see the references in the bibliography.)

Describe original art as suggested for photographs and films; include information about:

	Artist
	Dimensions
	Medium (oil, watercolour, canvas, paper)
	Whether it has been published or printed
	Physical condition
	Date of creation

Create index cards for subjects, artists, and different media. The recommended standard for the description of prints, paintings, and drawings is Elisabeth W. Betz, Graphic Materials: Rules for Describing Original Items and Historical Collections (Washington, D.C.: Library of Congress, 1982).

If you cannot hang original art, wrap items in acid-free paper and store them upright in a clean place. Damaged or fragile items should be laid flat by themselves on metal shelves.

Sample Inventory for Photographs

Sample Main Entry Card for Photographs

Sample Index Cards for Photographs

Sample Main Entry and Index Cards for Individual Photographs

Sample Photographic Reproduction Regulations Form

Sample Photographic Reproduction Charges List

Sample Photographic Reproduction Request Form

Selected Photographic Processes

Back to Top