{"id":352,"date":"2015-10-15T03:56:39","date_gmt":"2015-10-15T03:56:39","guid":{"rendered":"http:\/\/resources.culturalheritage.org\/pmg-topics\/?page_id=352"},"modified":"2025-05-22T18:35:26","modified_gmt":"2025-05-22T18:35:26","slug":"author-index","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/pmg-topics\/author-index\/","title":{"rendered":"Author Index"},"content":{"rendered":"\n
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Please note that PDFs for Volume 19 are not available online yet<\/em><\/strong>. While supplies last, hard copies of Topics in Photographic Preservation volumes 15, 16, 17, & 19 can be purchased through the AIC store<\/a>.<\/p>\n\n\n\n

A<\/a> | B<\/a> | C<\/a> | D<\/a> | E<\/a> | F<\/a> | G<\/a> | H<\/a> | I<\/a> | J<\/a> | K<\/a> | L<\/a> | M<\/a> | N<\/a> | O<\/a> | P<\/a>  |Q | R<\/a> | S<\/a> | T<\/a> | U | V<\/a> | W<\/a> | X | Y<\/a> | Z<\/a><\/h1>\n\n\n\n

A<\/h1>\n\n\n\n

Abarca, Soledad<\/strong>
Photo Conservation Surveys in Latin America: History, Progress & Evolution, 20<\/strong><\/p>\n\n\n\n

Abdallah, Mervat<\/strong>
Current Photograph Conservation Practices in Egypt: What To Do and What Not To Do<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Abdel-Fattah, Ibrahim<\/strong>
A Novel Non-Adhesive Housing Mat for the Display and Storage of Broken Glass Plates<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Ackerman, Catherine
<\/b>The History and Treatment of the Ivorytype<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Ackerman, J. Luca<\/strong>
Contemporary Approaches to Photograph Conservation, 20<\/strong>
New Originals: Reprints in Fine Art Photography<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Adamopoulou, Adia<\/b>
Same Albums, Different Treatment Approaches: the Conservation of Two Photographic Albums from the First Modern Olympic Games in Athens, 1896<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Adams, Morgan Simms<\/strong>
Evaluation of Ultraviolet Filtration by Glazing and Display Case Materials (Abstract)<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Adams, Richard<\/strong>
Comparison of LED, L-37 Filtered Xenon Arc, and Glass-Filtered Cool White Fluorescent llumination in the Light Fading and Light-Induced Staining of Color Photographs<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Adelstein, Peter Z.
<\/b>Effect of Paper Alkaline Reserve on the Chemical Stability of Acetate Base Sheet Film<\/a>, 7<\/em><\/strong>
Photo Enclosures Research and Specifications<\/a>, 3<\/strong><\/em><\/span><\/p>\n\n\n\n

Ahmad, Ida R.<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong><\/p>\n\n\n\n

Albright, Gary E.
<\/b>Jos\u00e9 Orraca and the Chemical Treatment of Photographs<\/a>, 14<\/em><\/strong>
Purple Haze: The Development and Analysis of Vapor Iodine Treatment for the Reduction of Silver Mirroring<\/a>, 13<\/strong><\/em>
The Story Between Two Covers: The Treatment History of P.H. Emerson’s Cuba Album<\/a>, 13<\/em><\/strong>
Treatment Options for Paper Negatives<\/a>, 10<\/em><\/strong>
A Tentative Method for Consolidating Gelatin Dry Plates<\/a>, 7<\/em><\/strong>
Planning for the Treatment of a Large Collection of Photographs<\/a>, 5<\/strong><\/em>
A Short Review of Crayon Enlargements: History, Technique, and Treatment<\/a>, 3<\/em><\/strong>
Flood Aftermath: The Preservation of Water-Damaged Photographs<\/a>, 3<\/strong><\/em><\/span><\/p>\n\n\n\n

Ali, Maha<\/strong>
Current Photograph Conservation Practices in Egypt: What To Do and What Not To Do<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Ali, Mona F. <\/strong>
Preservation and Conservation of the Photographic Archive of the Coptic Museum in Cairo, 20<\/strong>
Assessment of the Effect of Environmental Factors on the Mechanical and Chemical Properties of Photographic Films, 20<\/strong><\/p>\n\n\n\n

Allen, Sarah<\/strong>
Conserving the Knights-Whittome Negative Collection: A Pain in the Glass?<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Al-Reweny, Youssef H.<\/strong>
Virtual Restoration of the Bio-Deteriorated Image: Applied on the Gelatin Photographs Back to 1950s, 20<\/strong><\/p>\n\n\n\n

Alvarez Frigola, Gloria C.<\/strong>
Integral Management of Photographic Collections for Conservation. Case Museum of
Photography in Cuba<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Andraud, Christine<\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong>
Identification of Chromogenic Colour Photographic Prints Brand by Spectral and
Statistical Analysis<\/a>, 17<\/strong><\/p>\n\n\n\n

Andrews, Theresa<\/strong>
SFMOMA Artist Initiative: Interdisciplinary research on reprinting color photographs as a preservation solution<\/a>, 18<\/em><\/strong>
Preservation of Deborah Luster\u2019s <\/a>One Big Self<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Appiah, Krystal<\/strong>
The Jessie Fuller Scrapbook: Balancing Access and Context in the Treatment of an Important Black Sorority Scrapbook from 1949 with a Unique but Damaging Structure, <\/a>19<\/strong><\/p>\n\n\n\n

Arai, Hideo<\/strong>
Examination of an Antifungal Agent for Use on Photographs<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Argomedo, Paula
<\/b>The Effect of Aqueous Treatment on The Properties of Silver Gelatin Prints<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Arida, Zeina<\/strong>
The Middle East Photograph Preservation Initiative 2011-2013: Mapping Photograph Archives and Training Collection Keepers<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Artaker, Anna <\/strong>
The Impact of Early Photography and Electrotyping Media on the Creation of Images and Contemporary Art, 20<\/strong><\/p>\n\n\n\n

Aseeva, Anna <\/strong>
Justified Risk or the Secrets of Photographic Layers, 20<\/strong><\/p>\n\n\n\n

Atkinson, Patrick <\/strong>
Rare findings \u2013 Pannotypes in the Design Registers of the Board of Trade Collection at The National Archives<\/a>, 19<\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

B<\/h1>\n\n\n\n

Baas, Valerie<\/b>
Tip: Localized Light Bleaching with a Fiber Optic Lamp<\/a>, 13<\/strong><\/em>
The Effects of Multiple Wet Treatments on Cracking in Albumen Prints<\/a>, 7<\/em><\/strong>
Ongoing Investigations into Chemical Image Enhancement of Faded Vintage Printing-out Photographic Prints<\/a>, 5<\/strong><\/em>
The Effects of Sodium Borohydride Solutions on Silver-Based Photographic Materials: An Update<\/a>, 4<\/strong><\/em>
<\/span>Treatment Notes<\/span><\/a>,<\/span> 1<\/strong><\/em><\/span><\/p>\n\n\n\n

Baldwin, Ann<\/strong>
Pilot Project for the Treatment of Photogravures on Gampi Paper by Edward S. Curtis
(1868-1952)<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Barata, Carolina<\/strong>
Digitizing collections – A reflection on negative archive collections, prioritizing procedures and what is lost<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Barbagallo, Ron
<\/b>Mickey, Donald, Goofy & Pluto: What\u2019s Breaking Up That Old Gang of Mine?<\/a>, 6<\/em><\/strong><\/p>\n\n\n\n

Barbisan, Sophie<\/strong>
Camera Work: One Size Treatment Does Not Fit All<\/a>, 19<\/strong><\/p>\n\n\n\n

Barcella, Caroline<\/strong>
The Cons<\/a>e<\/a>rvation Project of the Manilla Daguerreotypes (Abstract)<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Barger, M. Susan
<\/b>Daguerreotype Research at the Materials Research Laboratory, The Pennsylvania State University: 1979-1984<\/a>, 13<\/strong><\/em>
The Examination, Surface Analysis, and Retreatment of Eight Daguerreotypes Which were Thiourea Cleaned in 1977<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Barro, Lisa<\/b>
Blue Pigment Inclusions In Salted Paper Prints<\/a>, 18<\/em><\/strong>
<\/b>New Insights into the Composition and Permanence of the Silver-Platinum Satista Paper and the Satista Prints of Paul Strand<\/a>, 16<\/em><\/strong>
Pigment-Based Photographic Processes: A Technical Study of Pictorialist Works in the Metropolitan Museum\u2019s Collection (Abstract)<\/a>, 15<\/em><\/strong>
An Initial Investigation into Japine: William Willis\u2019 Proprietary Paper<\/a>, 15<\/em><\/strong>
Contemporary Photographic Materials at the Solomon R. Guggenheim Museum<\/a>, 12<\/em><\/strong>
The Deterioration of Paul Strand\u2019s Satista Prints<\/a>, 10<\/em><\/strong><\/span><\/p>\n\n\n\n

Barton, Jenny
<\/b>NPS Service-Wide Initiative for the Preservation of Film-Based Media: Project Update and Presentation of Multimedia Training Program (Abstr.)<\/a>, 14<\/strong><\/em>
NPS Service-Wide Initiative for the Preservation of Film-based Media (Abstract)<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Bartz, Marissa<\/strong>
Investigation of Portrait with Applied Oil Color<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Beauchamp, Marie-Lou<\/strong>
Once upon a time; The history of the photograph conservation lab at the Art Institute of Chicago<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Becka, Martin<\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong><\/p>\n\n\n\n

Beeman, Karina
<\/b>Surface Matters: the Treatment Challenges to Retain the Surface Characteristics for Gelatin Silver Developing-Out Photographs (Abstr.)<\/a>, 14<\/strong><\/em>
Treatment of an American Political Tintype Badge, Case-Study<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Beeman, Mark<\/strong>
Preservation System for Housing Bare Plate Daguerreotypes<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Bernier, Brenda M.<\/b>
Disaster Recovery of Flood Damaged Glass Plates<\/a>, 18<\/em><\/strong>
<\/b>New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/em><\/strong>
The Preservation Challenges of Historic Scientific Photographs (Abstract)<\/a>, 15<\/em><\/strong>
Salted Paper Print Initiative at Harvard University: Preliminary Report (Abstract)<\/a>, 14<\/em><\/strong>
The Preservation of Panoramas at Harvard University<\/a>, 14<\/em><\/strong>
Tip: The Use of Inkjet Copiers to Transcribe Historical Inscriptions<\/a>, 13<\/em><\/strong>
Polaroid Vectographs<\/a>, 13<\/em><\/strong>
A Case for Preservation: Revisiting the Agassiz Collection of Daguerreotypes from the Peabody Museum Archives at Harvard University<\/a>, 13<\/em><\/strong>
Issues in Humidification and Drying of Gelatin Silver Prints<\/a>, 11<\/em><\/strong>
<\/span>A Study of Poly(vinyl chloride) Erasers Used in the Surface Cleaning of Photographs<\/a>, 7<\/em><\/p>\n\n\n\n

Berselli, Silvia
<\/b>Conservation and Restoration of The Family of Man<\/a>, 4<\/em><\/strong><\/span><\/p>\n\n\n\n

Bezur, Anik\u00f3<\/strong>
19th Century Photography in a Modern Chemistry Lab<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Bigelow, Nicholas<\/strong>
A Summary of the National Science Foundation (SCIART) Supported Research of the Daguerreotype<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Bigourdan, Jean-Louis<\/b>
Understanding Temperature and Moisture Equilibration: A Path Towards Sustainable
Strategies for Museum, Library and Archives Collections<\/a>, 17<\/em><\/strong>
<\/b>Effect of Paper Alkaline Reserve on the Chemical Stability of Acetate Base Sheet Film<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

Binder, Victoria<\/strong>
Digital Fills for Photographs with Glossy Surfaces<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Binnie, Nancy E.<\/strong>
Disinfection of Photographic Materials with Ethanol Vapours: Preliminary Evaluation of the Innocuity on Chromogenic Prints<\/a>, 19<\/strong><\/p>\n\n\n\n

Bischoff, Judith J.
<\/b>Ongoing Investigations into Chemical Image Enhancement of Faded Vintage Printing-out Photographic Prints<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Bisi, Sara
<\/b>Purple Haze: The Development and Analysis of Vapor Iodine Treatment for the Reduction of Silver Mirroring<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Boatright, Ryan<\/strong>
The Graphics Atlas<\/a>, 15<\/strong><\/em>
The Graphics Atlas: Applied (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Bogan, Mary Patrick (MP)<\/strong>
Preserving Ernest Hemingway\u2019s Photograph Albums and Scrapbooks at the Finca Vig\u00eda<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Bogomolova, E.V.
<\/b>Micromycetes Complexes on Photographs from Old Collections (1839-1912)<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Bone, Sara <\/strong>
Mass-treatment of E.S. Curtis\u2019 The North American Indian Photogravures<\/a>, 19<\/strong><\/p>\n\n\n\n

Borrego, Sof\u00eda<\/strong>
Mold on Stored Photographs and Maps: A Case Study<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Breitung, Eric<\/b>
Refining the Daguerreotype Package<\/a>, 18<\/strong><\/em>
<\/b>Scratch Repair on Acrylics Used in Face-Mounted Photographs: A Survey of Materials and Techniques<\/a>, 12<\/em><\/strong>
Survey of Abrasion Resistant Acrylics and Polycarbonates for Face-Mounted Photographs<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Brogdon-Grantham, Shannon<\/strong>
A Context-Based Approach to Conserving Photographs On Textiles<\/a>, 18<\/strong><\/em>
New Approaches to Cleaning Works on Paper and Photographic Materials<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Brostoff, Lynn<\/strong>
19th Century Glass Manufacture and Its Relevance to Photographic Glass Stability<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Brown, Barbara N.
<\/b>Four Metallic Photographic Prints From The Harry Ransom Center Collection<\/a>, 11<\/strong><\/em>
Curatorship and Conservation at The Harry Ransom Humanities Research Center: the Evolution of a Process<\/a>, 5<\/em><\/strong>
The Treatment of H.P. Robinson’s Bringing Home the May, 8 19th-Century English Albumen Print<\/a>, 3<\/strong><\/em>
Early Commercial Photographic Papers in the Wentzel Collection at the George Eastman House<\/a>, 2<\/em><\/strong>
Notes on a Preliminary Investigation into Bronze Powder Deterioration of Albumen Prints<\/a>, 1<\/em><\/strong><\/p>\n\n\n\n

Brown, Heather<\/strong>
The Niepce Heliograph, at the Harry Ransom Center<\/a>, 19<\/strong><\/em>
Extending Our Reach: Effective Methods for Engaging Allied and Public Audiences with Photograph Preservation<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Brown, Sarah<\/strong>
Re-visiting Strip Lining of Large Format Photographs (Abstract)<\/a>, 15<\/strong><\/em>
TIP: Collaboration, Learning, and a Positive Response to Disaster: Preparing a Collection of 16mm Film for Digitization<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Br\u00fcckle, Irene
<\/b>The “Perfect” Fill for the Tintype<\/a>, 9<\/em><\/strong>
Photo Buttons on the Mind: Repairing Large Splits in Photo Buttons<\/a>, 9<\/em><\/strong>
Immediate and Long-term Effects of the Treatment of Silver Mirroring on the Surface of Photographs<\/a>, 8<\/strong><\/em>
Update: Remoistenable Lining with Methyl Cellulose Adhesive Preparation<\/a>, 7<\/strong><\/em><\/p>\n\n\n\n

Bulat, Elena Simonova<\/b>
Photography in Seismology: An Overview of Physical Media Used and Ways to Assess Distortion in Data Extracted from Them, 20<\/strong>
Specular Reflection FTIR for Chemical Analysis of Historic Photographs<\/a>, 18<\/em><\/strong>
Disaster Recovery of Flood Damaged Glass Plates<\/a>, 18<\/em><\/strong>
\u201cLarger Than Life\u201d- Edwin Forrest Mammoth Daguerreotype Conservation Challenges<\/a>, 18<\/strong><\/em>
<\/b>A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/em><\/strong>
New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/em><\/strong>
TIP: Rubber Cement Reduction Surface of Gelatin Silver Photographs (DOP) Effects<\/a>, 14<\/em><\/strong>
TIP: Burnished Scratches Reduction on Some Silver Gelatin Photographs<\/a>, 14<\/em><\/strong>
The Preservation of Panoramas at Harvard University<\/a>, 14<\/em><\/strong>
A Case for Preservation: Revisiting the Agassiz Collection of Daguerreotypes from the Peabody Museum Archives at Harvard University<\/a>, 13<\/strong>
<\/em>Photograph Preservation in Russia<\/a>, 11<\/strong>
<\/em>Facsimilation of Paper Negatives<\/a>, 10<\/em><\/strong><\/p>\n\n\n\n

Burandt, Jan<\/strong>
It\u2019s All That: Standardization of the material characterization of photographs in the age of the extended medium field<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Burge, Daniel M.<\/strong>
Evaluations of Drying Techniques for Inkjet Prints after Water Emergencies, 20<\/strong>
Examination of the Effects of Various Water Emergency Scenarios on Inkjet Prints Past to Present<\/a>, 19<\/strong><\/em>
When Inkjet Prints Get Wet: First Contact to Weeklong Submersions<\/a>, 17<\/strong><\/em>
Key Components of the Recent Major Revision of ISO 18902 Imaging Materials \u2013 Processed Imaging Materials \u2013 Albums, Framing and Storage Materials<\/a>, 16<\/strong><\/em>
Further Studies in Digital Print Preservation (Abstract)<\/a>, 15<\/em><\/strong>
Effects of Enclosure pH on Cyanotypes and Blue Prints (Prussian Blue) (Abstract)<\/a>, 15<\/em><\/strong>
The Effects of Acidic, Alkaline, Buffered, and Non-Buffered Enclosures on Cyanotypes<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Burger, Jennifer<\/strong>
Evaluations of Drying Techniques for Inkjet Prints after Water Emergencies, 20<\/strong><\/p>\n\n\n\n

Burgess, Helen D.
<\/b>Evaluation of Paper Products: With Special Reference to Use with Photographic Materials<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Burnett, Nicholas<\/strong>
The Transformation and Printing of Claude Marie Ferrier’s Albumen on Glass Negatives by Robert Jefferson Bingham<\/a>, 19<\/strong><\/p>\n\n\n\n

Burton, Robert<\/strong>
Cataloging Is Preservation: An Emerging Consideration in Photograph Conservation Programs<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Bush, Peter<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Butler, Savannah<\/strong>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

C<\/h1>\n\n\n\n

Caen, Joost<\/strong>
Evaluation of Atmospheric Plasma as a New Conservation Treatment for Historical Photographs using Advanced Electron Microscopy<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Caldararo, Niccolo
<\/b>Restoring Ansel Adams<\/a>, 13<\/em><\/strong>
Preliminary Reports on the Conservation of Slides with Special Reference to the Removal of Mold<\/a>, 9<\/em><\/strong>
The Examination and Treatment of an Early Twentieth Century Photographic Collage<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Campbell, Lynn<\/strong>
Earthquakes and their Aftermath: Lessons Learned from the Canterbury Quakes 2010-2011<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Cane, Deborah<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong>
<\/p>\n\n\n\n

Cannarella, Fabien<\/strong>
Conservation of Three Collodion Glass Plate Negatives Made by Charles Marville (C. 1865): Research on Cleaning and Strengthening of the Collodion Varnished Image Binder (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Cannon, Alice<\/strong>
Investigation of Fusion 4000 as an Alternative to Lascaux for Hinging Inkjet Prints<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Canosa, Elyse<\/strong>
Investigation and Optimization of Electrochemical Treatment for Daguerreotypes<\/a>, 17<\/em><\/strong>
Carbon Isotope Analysis of Waxed Paper Negatives<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Caro, Ma\u00eblle <\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Carver-Kubik, Alice<\/strong>
Evaluations of Drying Techniques for Inkjet Prints after Water Emergencies, 20<\/strong>
Advancements in Image-Based Condition Reporting for Daguerreotypes: Optimizing Microscopy to Accompany High Resolutions Images, and Sharing them in the Daguerreotype Research Portal<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Carey, Kathryn Myatt<\/strong>
A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Carta, Carolyn<\/strong>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Casella, Luisa<\/b>
Reassembly of Deborah Bright\u2019s \u201cCrow Agency: Battle of the Little Big Horn\u201d Panorama, 20<\/strong>
Investigation of Portrait with Applied Oil Color<\/a>, 18<\/em><\/strong>
<\/b>Treatment of Oversized Photographs and Tracing Linens for George Keyt\u2019s \u201cLanka Matha\u201d Glass Panels<\/a>, 16<\/strong><\/em>
<\/b>Behavior of Autochrome Color Screen Dyes under Anoxic Conditions<\/a>, 14<\/em><\/strong>
<\/a><\/b>Display of Alfred Stieglitz and Edward Steichen Autochrome Plates: Anoxic Sealed Package and Lighting Conditions<\/a>, 14<\/em><\/strong><\/b>
Preliminary Results for Anoxia Light-Fading<\/a>, <\/em>Autochrome Research at the Metropolitan Museum of Art: Testing Methodology and <\/a>13<\/em><\/strong>
<\/strong>Research on Methods for Cleaning Face-Mounted Photographs<\/a>, 13<\/strong><\/em><\/strong><\/p>\n\n\n\n

Casto, Sarah<\/strong>
Pictorialist Experiments of Karl Struss<\/a>, 18<\/strong><\/em>
Hinging and Float Mounting 20×24\u201d Polaroid Prints and Negatives<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Castro, Laura<\/strong>
Digitizing collections – A reflection on negative archive collections, prioritizing procedures and what is lost,<\/a> 18<\/strong><\/em><\/p>\n\n\n\n

Cattaneo, Barbara<\/strong>
Two case studies of the treatment of photographic albums: between emic and etic approaches<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Centeno, Silvia A.<\/strong>
Blue Pigment Inclusions In Salted Paper Prints<\/a>, 18<\/em><\/strong>
Visualizing the nanoscale: new developments in the understanding and preservation of the daguerreotype image<\/a>, 18<\/em><\/strong>
New Insights into the Composition and Permanence of the Silver-Platinum Satista Paper and the Satista Prints of Paul Strand<\/a>, 16<\/em><\/strong>
Pigment-Based Photographic Processes: A Technical Study of Pictorialist Works in the Metropolitan Museum\u2019s Collection (Abstract)<\/a>, 15<\/em><\/strong>
An Initial Investigation into Japine: William Willis\u2019s Proprietary Paper<\/a>, 15<\/em><\/strong>
The Effect of Environmental Pollutants on the Deterioration of the Daguerreotype Image (Abstract)<\/a>, 15<\/em><\/strong>
Characterization of Chlorine Induced Alterations on Daguerreotypes by SEM-EDS, XRF, and Raman Spectroscopy (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Chan, Lisa H.<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em>
Using Electron Back Scattered Diffraction (EBSD) & Energy Dispersive Spectrometry (EDS) to Characterize the Surface of 19th Century and Modern Daguerreotypes<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Charette, Sean<\/strong>
Advancing the Conservation of Photographs in Central, Southern, and Eastern Europe Using a Model of Extended Learning<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Chemali, Yasmine<\/strong>
Digitization as a Tool for Preventative Conservation and a Key Role for Sustainability<\/a>, 16<\/em><\/strong>
The Fouad Debbas Collection (Lebanon) in the Core of a Regional Emergency Preparedness Strategy<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Chen, Jiuan-Jiuan
<\/b>A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/strong><\/em>
<\/b>Development and Testing of a Fluorescence Standard for Documenting Ultraviolet Induced Visible Fluorescence<\/a>, 16<\/em><\/strong>
<\/b>Condition Documentation and Monitoring of an Exhibition of Daguerreotypes at the State Hermitage Museum<\/a>, 16<\/strong><\/em>
<\/b>Surface Matters: the Treatment Challenges to Retain the Surface Characteristics for Gelatin Silver Developing-Out Photographs (Abstract)<\/a>, 14<\/em><\/strong>
<\/a><\/b>Surface Characterization and Monitoring of Surface Changes after Conservation Treatments of Silver Gelatin Photographic Papers Using Confocal Microscopy<\/a>, 14<\/em><\/strong>
<\/b>Preservation System for Housing Bare Plate Daguerreotypes<\/a>, 14<\/em><\/strong>
<\/b>Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/em><\/strong>
<\/b>Treatment Options for Paper Negatives<\/a>, 10<\/em><\/strong>
<\/b>The “Perfect” Fill for the Tintype<\/a>, 9<\/em><\/strong><\/b><\/p>\n\n\n\n

Cheung, C. S <\/strong>
Rare findings \u2013 Pannotypes in the Design Registers of the Board of Trade Collection at The National Archives<\/a>, 19<\/strong><\/p>\n\n\n\n

Chipman, Alisha<\/strong>
The Treatment and Preservation of the Emily Howland Photograph Album<\/a>, 19<\/strong><\/em>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em>
The Last Full Measure: An Exhibition of American Civil War Photographs from the Liljenquist Family Collection at the Library of Congress<\/a>, 15<\/em><\/strong>
Separate but Equal: Testing Treatment Techniques to Separate Water-Damaged Blocked Film-Based Negatives from the Henry Clay Anderson Collection of the Smithsonian National Museum of African-American History and Culture<\/a>, 15<\/em><\/strong>
The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration (Abstract)<\/a>, 15<\/em><\/strong>
Inexcusable but Appropriate: the Technical Analysis of Hand-Painted Tintypes from the Smithsonian National Museum of American History and the Winterthur\/University of Delaware Program in Art Conservation Collections<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Christie, Nicole<\/strong>
Separation Anxiety: Kiss Your Acetate Goodbye!<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Ciliberto, Enrico <\/strong>
Aluminum Foil as a Cathodic Protector to Prevent Silver Mirroring on Silver Based Photographic Materials<\/a>, 19<\/strong><\/p>\n\n\n\n

Clarke, Matthew L.<\/strong>
Removing Residual Iron from Platinum and Palladium Prints<\/a>, 16<\/strong><\/em>
An Initial Investigation into Japine: William Willis\u2019s Proprietary Paper<\/a>, 15<\/em><\/strong>
The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Coddington, James<\/strong>
Surface Classification for Black and White Prints (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Cole, Tatiana<\/strong>
New Originals: Reprints in Fine Art Photography<\/a>, 17<\/em><\/strong>
The Kodak Dye Transfer Process \u2013 How Eliot Porter Captured Color<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Colford, Cindy<\/strong>
Separation Anxiety: Kiss Your Acetate Goodbye!<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Colina, Luis Montes de Oca
<\/b>A New Frontier: Photograph Conservation in Cuba<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Connors-Rowe, Sandra
<\/b>Optical Brightener Loss in Photographic Paper<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Constanzo, Claudia <\/strong>
The Revenant: A New Look on Photographic Albums, 20<\/strong><\/p>\n\n\n\n

Cortes Pereira, Catarina<\/strong>
Digitizing collections – A reflection on negative archive collections, prioritizing procedures and what is lost<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Crockett, Damon<\/strong>
Collection-scale Representation of the Visual Properties of Black and White Paper, 20<\/strong><\/p>\n\n\n\n

Cruz, Cinthya<\/strong>
Fototeca Pedro Guerra:  Conservation of the Photographic Archives<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Curran, Katherine<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong><\/p>\n\n\n\n

Curry, Lynn<\/strong>
Notice to the Reader: Talbot\u2019s The Pencil of Nature <\/em>in Canada<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

D<\/h1>\n\n\n\n

Daffner, Lee Ann<\/b>
Dye Sublimation Prints on Aluminum: A Material Investigation of a New Process, 20<\/strong>
From Here On and Beyond: Researching Objects, History and Collection at The Museum of Modern Art<\/a>, 18<\/em><\/strong>
Characterizing Resin Coated Surfaces and Evaluation of Adhesive Systems to Hinge-
Mount for Photographs and Digital Prints<\/a>, 17<\/em><\/strong>
<\/b>Object: Photo – A Presentation of Deep Data from the Thomas Walther Collection Project at The Museum of Modern Art<\/a>, 16<\/strong><\/em>
<\/b>Retouch Practices Revealed in the Thomas Walther Collection,<\/a> 16<\/strong><\/em>
<\/b>The Proof is in the Print: Characterization and Collaboration in the Thomas Walther Collection Project at The Museum of Modern Art (Abstract)<\/a>, 15<\/em><\/strong>
<\/b>Surface Classification for Black and White Prints (Abstract)<\/a>, 14<\/em><\/strong>
<\/b>Context and Content: Dating of Photographic Prints by Henri Cartier-Bresson Based on Visual Examination and Chemical Analysis<\/a>, 14<\/em><\/strong>
<\/b>New Applications for Paper Fiber Analysis in Characterizing Gelatin Silver Prints (Abstracts)<\/a>, 13<\/em><\/strong>
<\/b>Survey of Cool and Cold Storage Facilities for Fine Art Photograph Collections<\/a>, 10<\/em>
Examination and Investigation of 19th Century Paper Negatives: A Study of the Process, Materials, and Deterioration Characteristics<\/a>, 6<\/em><\/strong><\/b><\/p>\n\n\n\n

Daher, C\u00e9line<\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong>
Accidental Images, The Negative Before Photography?<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Daly, Nathan <\/strong>
Deconstructing the Creation of Daguerre\u2019s Dessins-Fum\u00e9es: A Photographic Process or Just Smoke and Mirrors?<\/a>, 19<\/strong><\/p>\n\n\n\n

Daly, Rose
<\/b>Development of a Conservation Database for the Photographic Collection at the MFA, Houston<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Dantigny, Philippe<\/strong>
Disinfection Treatment of Fungi Damaged Silver Gelatin Prints with Ethanol Vapours<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Danzing, Rachel<\/b>
Pilot Project for the Treatment of Photogravures on Gampi Paper by Edward S. Curtis
(1868-1952)<\/a>, 17<\/em><\/strong>
<\/b>Obtaining Photographic-Grade Gelatin<\/a>, 8<\/em><\/strong>
Alfred Stieglitz: Photographic Processes and Related Conservation Issue<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Dardes, Kathleen<\/strong>
Advancing the Conservation of Photographs in Central, Southern, and Eastern Europe Using a Model of Extended Learning<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

D\u00e1vila-Lorenzana, Liliana<\/strong>
The Characterization of the Photographic Production of D\u00e8sir\u00e8 Charnay on His First Trip to Mexico<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Davis, Andrew R.<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Davis, Keith F.<\/strong>
Building a Collection: The History of the Hallmark \/ Nelson-Atkins Museum of Art
Photography Collection<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Deboom, Ambroise<\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong><\/p>\n\n\n\n

Deckers, Ann<\/strong>
The Gevaert Paper Project: Research and Disclosure via Linked Open Data, 20<\/strong>
The Lieven Gevaert Tower: a New Low Energy Climate Storage Facility for the Collection
of the FOMU – Fotomuseum Antwerp<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

de Filippi, Patricia<\/strong>
Emerging photograph conservators of the 2020\u2019s<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

De Herder, Hans C.
<\/b>Gold Fever: Two Unique Gold Daguerreotypes From the Collection of the German Kaiser<\/a>, 8<\/strong><\/em><\/p>\n\n\n\n

de Mondenard, Anne <\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong><\/p>\n\n\n\n

D\u00e9niel, Frank<\/strong>
Disinfection Treatment of Fungi Damaged Silver Gelatin Prints with Ethanol Vapours<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Derby, Deborah
<\/b>Singing the Blues: the Treatment of Water-Damaged Negatives<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Derveaux, Alexander <\/strong>
The Gevaert Paper Project: Research and Disclosure via Linked Open Data, 20<\/strong><\/p>\n\n\n\n

de Saint-Ours, Edouard<\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

de Seauve, Victor<\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

D\u00edaz, Cecilia
<\/b>The Effect of Aqueous Treatment on The Properties of Silver Gelatin Prints<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Diaz-Ca\u00f1as, Diana Lorena<\/strong>
A Brief Approach to Passive and Cost-Effective Storage Facilities for Photographic Collections, 20<\/strong>
The Niepce Heliograph, at the Harry Ransom Center<\/a>, 19<\/strong>
Providing Access to \u2018Overprotected\u2019 Color Slides<\/a>, 17<\/strong><\/em>
Conservation of an Oversized Photographic Collage: First Phase<\/a>, 15<\/strong><\/em>
Panoramic View of Mexico City by Photographer Claude D\u00e9sir\u00e9 Charnay<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Diaz Mendez, Veronica Stefania <\/strong>
The Reversibility and Long-term Effects of Black and White Watercolors as Inpainting Materials for Silver-Based Photographs, 20<\/strong><\/p>\n\n\n\n

Dion, Vincent<\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

DiSciacca, Jack <\/strong>
Collection-scale Representation of the Visual Properties of Black and White Paper, 20<\/strong><\/p>\n\n\n\n

Donovan Sue <\/strong>
The Jessie Fuller Scrapbook: Balancing Access and Context in the Treatment of an Important Black Sorority Scrapbook from 1949 with a Unique but Damaging Structure<\/a>, 19<\/strong><\/p>\n\n\n\n

Doutriaux, Miriam<\/strong>
A Context-Based Approach to Conserving Photographs On Textiles<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Down, Jane<\/strong>
Photographic Activity Tests of Various Adhesives Suggested for Use on Water-Sensitive Photographs<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Drover, Christopher
<\/b>A Preliminary Investigation into Acrylic Glazing Deterioration<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Du Boise, Kim<\/strong>
Revealing History with Moisture and Megabytes: Curled Panorama Prints from WWI and WWII<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Dumville, Moya<\/strong>
Treatment of Oversized Photographs and Tracing Linens for George Keyt\u2019s \u201cLanka Matha\u201d Glass Panels<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Duncan, Emilie <\/strong>
Improved Interpretation of A-D Strips\u00ae with Colorimetry & Visible Light Spectrophotometry, 20<\/strong><\/p>\n\n\n\n

Duncan, Lisa<\/b>
What Is It: Empirical Research into the Art of Bleaching Crayon Enlargements<\/a>, 17<\/em><\/strong>
<\/b>Development of a Conservation Database for the Photographic Collection at the MFA, Houston<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Dune, Corinne
<\/b>Characterization of Black-And-White Silver Gelatin Fiber-Based Photographic Prints<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Duval, Constance<\/strong>
Restoration of an Experimental Film: Research of an Adhesive Compatible with Color
Film Materials<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

E<\/h1>\n\n\n\n

Edmondson, Thomas M.<\/b>
What Is It: Empirical Research into the Art of Bleaching Crayon Enlargements<\/a>, 17<\/em><\/strong>
<\/b>Foam (12), By Zhang Huan: The Treatment of An Oversize Chromogenic Print (Abstract)<\/a>, 13<\/em><\/strong>
Digital Photography! But What About our Careers! (or, What IS Photograph Conservation?)<\/a>,11<\/strong><\/em>
The “Perfect” Fill for the Tintype<\/a>, 9<\/em><\/strong>
The Examination, Surface Analysis, and Retreatment of Eight Daguerreotypes Which were Thiourea Cleaned in 1977<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Eiselt, Irena<\/strong>
Janez A. Puhar (1814\u20131864) \u2013 The Forgotten Slovene Inventor of Photography on Glass and His Process \u2013 The Puharotype (1842)<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Eldabaa, Medhat<\/strong>
Atmospheric Pressure Non-thermal Plasma of Cleaning 19th Century Tintype<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Elwing, James<\/strong>
Preservation of Historic Glass Plate Negatives in Low Budget Conditions (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Erdman, Natasha<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studie<\/a>s, 16<\/strong><\/em><\/p>\n\n\n\n

Eremin, Katherine<\/strong>
A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/strong><\/em>
New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Estrada, Mirasol<\/strong>
A Preservation Strategy: Valuing Photographs as Objects, 20<\/strong>
Laszlo Moholy-Nagy: Characterization of his Photographic Work at The Art Institute of Chicago and His Working Practices<\/a>, 16<\/em><\/strong>
The Conservation Plan for the \u201cMexican Suitcase\u201d<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

\u00c9tienne, Anne-St\u00e9phanie<\/strong>
Repair and Consolidation of a Large Format Broken Silver Gelatin Print on Melamine Particle Board, 20<\/strong><\/p>\n\n\n\n

Evers, Jennifer<\/strong>
The Treatment and Preservation of the Emily Howland Photograph Album<\/a>, 19<\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

F<\/h1>\n\n\n\n

Finch, Lorraine <\/strong>
Question the Norm: Do You Really Need to Do it That Way?, 20<\/strong><\/p>\n\n\n\n

Fischer, Monique C.<\/b>
Seventeen Years of Teamwork: Teaching Photograph Conservation in Central and Eastern Europe<\/a>, 19<\/strong><\/em>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em>
Finding a Balance: Conservation of the Dolley Madison Cased Image from the Greensboro History Museum<\/a>, 18<\/strong><\/em>
The Re-creation and Conservation of Megalethoscope Slides<\/a>, 17<\/em><\/strong>
Francesca Woodman\u2019s BFA Thesis: Conserving a Work of Art for An Active Archive<\/a>, 17<\/em><\/strong>
Characterization of Inkjet Output Media\u2026or How to Hit a Moving Target<\/a>, 16<\/em><\/strong>
Preserving Ernest Hemingway\u2019s Photograph Albums and Scrapbooks at the Finca Vig\u00eda<\/a>, 16<\/em><\/strong>
<\/b>Creating Long-Lasting Inkjet Prints<\/a>, 12<\/em><\/strong>
A New Frontier: Photograph Conservation in Cuba<\/a>, 10<\/strong><\/em>
The Hand-coloring and Retouching of Daguerreotypes and Glass Photographs: An Annotated Bibliography<\/a>, 9<\/strong><\/em>
Use of Passive Monitors in Film Collections<\/a>, 6<\/strong><\/em>
Guidelines for Care and Identification of Film-Base Photographic Materials<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Florian, Mary-Lou
<\/b>Water, Heritage Photographic Materials and Fungi<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Flukinger, Roy
<\/b>Curatorship and Conservation at The Harry Ransom Humanities Research Center: the Evolution of a Process<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Fogle, Kate<\/strong>
19th Century Glass Manufacture and Its Relevance to Photographic Glass Stability<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Foster, Christopher
<\/b>The Effects of Multiple Wet Treatments on Cracking in Albumen Prints<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

Fran\u00e7a de S\u00e1, Susana <\/strong>
Documentation for the Conservation of a Mixed Media Photographic Work by Ernesto de Sousa, 20<\/strong><\/p>\n\n\n\n

Fraticelli, Guilia<\/strong>
Albumen and gelatine photographs from the Italian artist Arturo Viligiardi\u2019s collection: conservation treatment and study on chemical hydrogels<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Freeman, Sarah<\/b>
Deconstructing the Creation of Daguerre\u2019s Dessins-Fum\u00e9es: A Photographic Process or Just Smoke and Mirrors?<\/a>, 19<\/strong><\/em>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong>
<\/b>A Technical Study of the Work of Felice Beato in Asia<\/a>, 14<\/em><\/strong>
Tip: Localized Light Bleaching with a Fiber Optic Lamp<\/a>, 13<\/em><\/strong>
Working with Large Photographs at the J. Paul Getty Museum<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Frellsen, Ann
<\/b>The Early Emory College Class Photograph Preservation Project<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Frigerio, Jean-Marc<\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

G<\/h1>\n\n\n\n

Gallardo, Claudia Sof\u00eda Ar\u00e9valo<\/strong>
Saving Film History through Photography<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Gandolfo, Jean-Paul
<\/b>Historical and Technological Investigations of the Autochrome Process, and Attempts at Re-creation<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

<\/b>Garc\u00eda, Pablo Ruiz<\/strong>
Conservation of New Photographic Art: Direct Printing and Textile Artifacts<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Garc\u00eda<\/strong> Celma, Marta<\/strong>
Reproduction as strategy for photograph conservation? Theory and practice<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Garnier, Chantal
<\/b>Analysis and Restoration of Negatives Intensified with Mercuric Iodide<\/a>, 3<\/em><\/strong>
The Use of Microwaves for Drying Flood Damaged Photographic Materials<\/a>, 3<\/em><\/strong><\/p>\n\n\n\n

Garratt, Caroline<\/strong>
Acetate Base Stripping: a Preliminary Investigation into the Feasibility of Bulk Treatment<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Gerritsen, Ingrid<\/strong>
Re-Examining The (Electro-)Chemical Cleaning of Daguerreotypes: Microscopic Change Vs. Macroscopic Perception<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Giachet, Miriam Truffa<\/strong>
Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Giberson-Chen, Carew<\/strong>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Gieri, Paul<\/strong>
Visualizing the nanoscale: new developments in the understanding and preservation of the daguerreotype image<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Gillet, Martine
<\/b>The Use of Microwaves for Drying Flood Damaged Photographic Materials<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Gironda, Michele <\/strong>
Scanning Micro-XRF for Historical Photography<\/a>, 19<\/strong><\/p>\n\n\n\n

Glaser, Greta<\/strong>
Technical Investigation of the Effects of Light and Humidity on Diazotypes<\/a>, 16<\/em><\/strong>
Technical Investigation of a 20th Century Hand-Colored Opaltype<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Gloor, Jessamy <\/strong>
\u2018\u2019Respectfully Dedicated to my Friends Messrs. Bradley & Rulofson\u2019\u2019 Photographically Illustrated Sheet Music and Connections Between Photography Studios and Sheet Music Publishers<\/a>, 19<\/strong><\/p>\n\n\n\n

Godomski, Tessa
<\/b>Appropriate Techniques for Surface Cleaning Inkjet Prints<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Gold, Jens
<\/b>Reconstruction of European Daguerreotype and Ambrotype Cover Glasses<\/a>, 15<\/em><\/strong>
Investigation of Methods Used to Misrepresent the Conditions and the Age of Photographs<\/a>, 11<\/em><\/strong><\/p>\n\n\n\n

Goltz, Douglas<\/strong>
Hyperspectral Imaging of Daguerreotypes (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Goodall, Rosemary<\/strong>
The Kodak Colorama Collection at Museums Victoria<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Goulait, Joe
<\/b>The Bourges-Bruehl Collection: Reproducing Color from Glass Separation Negatives Using Desktop Computer Equipment<\/a>, 5<\/em>
<\/b>The Bourges-Bruehl Collection: Reproducing Color from Glass Separation Negatives<\/a>, 4<\/i><\/b><\/p>\n\n\n\n

Gourley, Belinda<\/strong>
The Kodak Colorama Collection at Museums Victoria<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Granowski, Caitlin
<\/b>A Preliminary Investigation into Acrylic Glazing Deterioration<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Grieten, Eva
<\/b>Evaluation of Atmospheric Plasma as a New Conservation Treatment for Historical Photographs using Advanced Electron Microscopy<\/a>, 16<\/strong><\/em>
<\/b>Surprise, Surprise…Technical Analysis of Photographs in the Alfred Stieglitz Collection at the Art Institute of Chicago<\/a>, 13<\/em><\/strong><\/b><\/p>\n\n\n\n

Griggs, Candis
<\/b>Preliminary Reports on the Conservation of Slides with Special Reference to the Removal of Mold<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Grinde, Lene
<\/b>Characterization of Black-And-White Silver Gelatin Fiber-Based Photographic Prints<\/a>, 11<\/em><\/strong><\/p>\n\n\n\n

Gruber, Andreas
<\/b>Pigment-Based Photographic Processes: A Technical Study of Pictorialist Works in the Metropolitan Museum\u2019s Collection (Abstract)<\/a>, 15<\/em><\/strong>
The Photographs of Heinrich K\u00fchn: Research Project on Artistic Technique<\/a>, 14<\/em><\/strong>
Pioneers of the Daguerreotype in Austria: Observations on the Technology and Conservation Issues<\/a>, 12<\/em><\/strong>
The History and Preservation of the Josef Maria Eder Collection<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Gutierrez, Jennifer Jae<\/b>
Monitoring, Metrics, Mechanical Systems & Methodologies: The Evolution of Sustainable Environmental Research at the Image Permanence Institute, 20<\/strong>
<\/b>The Preservation of Photographic Collections in Historically Black Colleges and Universities<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Gutierrez Jr., Robledo O.<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Guzman-Solano, Maria Estibaliz<\/strong>
The Characterization of the Photographic Production of D\u00e8sir\u00e8 Charnay on His First Trip to Mexico<\/a>, 16<\/strong><\/em>
Conservation of an Oversized Photographic Collage: First Phase<\/a>, 15<\/em><\/strong>
Panoramic View of Mexico City <\/em>by Photographer Claude D\u00e9sir\u00e9 Charnay<\/a>, 15<\/em><\/strong>
Preliminary Considerations and the Factors Involved in Lining Treatments of Black and White Fiber Base Photographs<\/a>, 1<\/em><\/strong>4<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

H<\/h1>\n\n\n\n

Ha, Taiyoung
<\/b>Pioneers of the Daguerreotype in Austria: Observations on the Technology and Conservation Issues<\/a>,  12<\/em><\/strong><\/p>\n\n\n\n

Haberstich, David
<\/b>Conservation and Carcinogens: Removing Asbestos from 28,000 Glass-Plate Stereographs (or How to Move Your Asbestos)<\/a>, 2<\/em><\/strong><\/p>\n\n\n\n

<\/div><\/div>\n\n\n\n

Hager, Michael
<\/b>Facsimilation of Paper Negatives<\/a>, 10<\/em><\/strong><\/p>\n\n\n\n

Hailstone, Richard
<\/b>The Application of Optical and Surface Metrology to Daguerreotypes<\/a>, 12<\/strong><\/em><\/p>\n\n\n\n

Hamilton, Tess <\/strong>
International Collaboration, and the Potential of Virtual Condition Surveys – The Conservation Assessment of a Collection of Linnaeus Tripe Photographs at the University of Yangon Central Library, Myanmar<\/a>, 19<\/strong><\/p>\n\n\n\n

Haney, Erin<\/strong>
New Photo Histories in West Africa<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Hardman-Peavy, Colette<\/strong>
Technical Analysis of William Henry Fox Talbot\u2019s The Pencil of Nature<\/a>, 19<\/strong><\/p>\n\n\n\n

Harnly, Marc
<\/b>Working with Large Photographs at the J. Paul Getty Museum<\/a>, 13<\/em><\/strong><\/p>\n\n\n\n

Hartman, Emma C.<\/strong>
Cords to Nowhere: An Investigation of Anna Atkins\u2019 Hand Bindings for Photographs of British Algae: Cyanotype Impressions, 20<\/strong><\/p>\n\n\n\n

Harvey, Ruth<\/strong>
From Private Photographs to Public Narratives: the Swainson\/Woods Collection,<\/a> 16<\/strong><\/em><\/p>\n\n\n\n

Haspo, Beatriz<\/strong>
Strengthening the Preservation of Photographic Materials in Latin America: Celebrating 30 Years of APOYOnline<\/a>, 19<\/strong>
Current Trends and Collaboration Among Heritage Institutions in Latin America:
APOYOnline Regional Conference and Workshop in Medellin, Colombia<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Held, Lauren<\/strong>
Effects of Enclosure pH on Cyanotypes and Blue Prints (Prussian Blue) (Abstract)<\/a>, 15<\/em><\/strong>
The Effects of Acidic, Alkaline, Buffered, and Non-Buffered Enclosures on Cyanotypes<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Helion, Courtney<\/strong>
Elevating Photography to Fine Art: Stieglitz\u2019s Carbon Prints<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Hellman, Karen <\/strong>
Deconstructing the Creation of Daguerre\u2019s Dessins-Fum\u00e9es: A Photographic Process or Just Smoke and Mirrors?<\/a>, 19<\/strong><\/p>\n\n\n\n

Hemmenway, Dana C.<\/strong>
Multiband VIS-IR Imaging: A Novel Imaging Methodology to Study Photographic Prints, 20<\/strong>
Removing Residual Iron from Platinum and Palladium Prints<\/a>, 16<\/strong><\/em>
The Last Full Measure: An Exhibition of American Civil War Photographs from the Liljenquist Family Collection at the Library of Congress<\/a>, 15<\/em><\/strong>
Early Motion Picture Fragments at the Library of Congress (Abstract)<\/a>, 15<\/em><\/strong>
Francesca Woodman\u2019s Untitled <\/em>Diazotype<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Hendriks, Klaus B.
<\/b>Fingerprints on Photographs<\/a>, 5<\/strong><\/em>
On the Causes of Edge Fading in Early Photographic Prints<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Hendy, Mohamed<\/strong>
Aluminum Foil as a Cathodic Protector to Prevent Silver Mirroring on Silver Based Photographic Materials<\/a>, 19<\/strong><\/em>
Biodegradation Study on Photographic Archive of Khedive Ismail Pasha Back to 19th Century<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Henin, Emil<\/strong>
Current Photograph Conservation Practices in Egypt: What To Do and What Not To Do<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Hennessey, Lisa
<\/b>That Was Then: Changes to the New Nitrate Film Preservation Facility for Library and Archives Canada (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Herrmann, Jennifer K.<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Hernandez Romero, Pilar
<\/b>Cleaning Beverages off Photographs<\/a>, 14<\/em><\/strong>
Community Collections, Community Museums, Collaborative Projects: the Ottawa Museum Network Conservation Project (Abstract)<\/a>, 14<\/em><\/strong>
Film Base to Pixels: The Juan Cachu-Ramirez Collection – a Cross-Over Education Experience<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Herrera, Rosina<\/b>
Ethical considerations when exhibiting, studying and treating photographic albums: the Asser albums at the Rijksmuseum, Amsterdam<\/a>, 18<\/strong><\/em>
<\/b>Alfred Stieglitz’s Lanter Slides<\/a>, 13<\/em><\/strong>
Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Herro, Holly<\/strong>
Photoshop\u00ae Assisted Spectroscopy \u2013 An Economical and Non-Destructive Method for Tracking Color Shift<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Heylen, Sylke
<\/b>Megalethoscope Plates<\/a>, 8<\/em><\/strong><\/p>\n\n\n\n

Hill, Greg<\/b>
Disinfection of Photographic Materials with Ethanol Vapours: Preliminary Evaluation of the Innocuity on Chromogenic Prints<\/a>, 19<\/strong><\/em>
A Long Story\u2026 the Continuing Saga of Two 20-Foot Long Panoramas<\/a>, 16<\/em><\/strong>
Photographic Activity Tests of Various Adhesives Suggested for Use on Water-Sensitive Photographs<\/a>, 15<\/em><\/strong>
Hyperspectral Imaging of Daguerreotypes (Abstract)<\/a>, 14<\/em><\/strong>
<\/b>An Unexpected Learning Opportunity: Making the Most of a Problematic Treatment<\/a>,  14<\/strong><\/em>
<\/em><\/strong><\/a>The Study of Two Humidification and Flattening Methods for Albumen Prints to Determine Their Impact on the Evolution of Cracks in the Albumen Layer (Abstract)<\/a>, 11<\/strong><\/em>
New Nitrate Film Storage for Library and Archives, Canada<\/a>, 10<\/strong><\/p>\n\n\n\n

Hodgins, Gregory W. L.<\/strong>
Carbon Isotope Analysis of Waxed Paper Negatives<\/a>, 15<\/em><\/strong>
Dating Photographic Materials Based Upon Atomic Bomb-Derived Radiocarbon Content (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Hodgkins, Robyn E.<\/strong>
The Effect of Environmental Pollutants on the Deterioration of the Daguerreotype Image (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Hoeyng, Katharina<\/strong>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Hofmann, Ana B.
<\/b>Flattening Cracks in Photographs<\/a>, 4<\/strong><\/em><\/p>\n\n\n\n

Hofmann, Christa<\/b>
Matte Albumen Papers and Their Use in Austrian Portrait Photography<\/a>, 10<\/strong><\/em>
Heinrich Kuehn and Photography with Autochromes<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Holdcraft, T. Rose
<\/b>A Case for Preservation: Revisiting the Agassiz Collection of Daguerreotypes from the Peabody Museum Archives at Harvard University,<\/a> 13<\/em><\/strong><\/p>\n\n\n\n

Holden, Maria S.
<\/b>Test Method for Rating Abrasiveness of Photographic Interleaving and Enclosure Materials,<\/a> 2<\/em><\/strong><\/p>\n\n\n\n

Hortuvia, Vianka L.<\/strong>
The Revenant: A New Look on Photographic Albums, 20<\/strong><\/p>\n\n\n\n

Horvath, David
<\/b>The Acetate Negative Survey: Final Report<\/a>, 2<\/em><\/strong>
Survey of Acetate Negative Collections<\/a>, 1<\/strong><\/em><\/p>\n\n\n\n

Hoyos Velasco, Susana A.<\/strong>
Safely Handling Moldy Photographs Might be Worth a Few Stains<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Huber, Terra<\/strong>
Finding a Balance: Conservation of the Dolley Madison Cased Image from the Greensboro History Museum<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

I<\/h1>\n\n\n\n

Ikl\u00e9, Geneva<\/strong>
Scientific Analysis and Treatment of a William Sawyer Photograph Album<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Iraci, Joe<\/strong>
Photographic Activity Tests of Various Adhesives Suggested for Use on Water-Sensitive Photographs<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Ishii, Miaki
<\/strong>Photography in Seismology: An Overview of Physical Media Used and Ways to Assess Distortion in Data Extracted from Them, 20<\/strong><\/p>\n\n\n\n

Ishikawa, Shingo<\/strong>
Crystalline Deterioration on Glass Cinema Slides<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Ivanova, A.M.
<\/b>Micromycetes Complexes on Photographs from Old Collections (1839-1912)<\/a>, 12<\/i><\/b><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

J<\/h1>\n\n\n\n

Jackson, Cheryl<\/strong>
A Cost Effective Method for Removing Dry Mount Tissue from Photographic Prints<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Jamison, Jamye
<\/b>A Survey of Photographic Negative Collections from 1925-1950: Some Results and Observations<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Jenn\u00e9, Thomas<\/strong>
The Gevaert Paper Project: Research and Disclosure via Linked Open Data, 20<\/strong><\/p>\n\n\n\n

Jennings, Kate
<\/b>Preliminary Investigation Into the Preservation of Backlit Works of Art (Abstract)<\/a>, 14<\/em><\/strong>
Treatment Options for Paper Negatives<\/a>, 10<\/em><\/strong><\/p>\n\n\n\n

Joosten, Ineke<\/strong>
Electrotyping Daguerreotypes – The Reconstruction of an Early Reproduction Technique<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Jordan, Elspeth <\/strong>
Sticking Together – A Multi Department Plan for Magnet Mounting, 20<\/strong><\/p>\n\n\n\n

J\u00fcrgens, Martin<\/b>
Why re-create rare processes? The case of the printed daguerreotype<\/a>, 18<\/em><\/strong>
Electrotyping Daguerreotypes – The Reconstruction of an Early Reproduction Technique<\/a>, 18<\/em><\/strong>
<\/b>Poitevin\u2019s Precious Plates: Current Research at the Rijksmuseum (Abstract)<\/a>, 15<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
Conservation and Digitization at the Buddhist Archive of Photography in Luang Prabang, Laos,<\/a> 13<\/em><\/strong>
Two Finishing Techniques for Contemporary Photographs<\/a>, 9<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

K<\/h1>\n\n\n\n

Kaplan, Art<\/strong>
Pushing the Limits of the Identification of Photographs: Variants of the Gum Dichromate Process<\/a>, 15<\/em><\/strong>
The Atlas of Analytical Signatures of Photographic Processes: Its Past, Present, and the Future<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Kautek, Wolfgang <\/strong>
The Impact of Early Photography and Electrotyping Media on the Creation of Images and Contemporary Art, 20<\/strong><\/p>\n\n\n\n

Kavich, Gw\u00e9na\u00eblle<\/strong>
A Context-Based Approach to Conserving Photographs On Textiles<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Kawasumi Lewis, Saori<\/strong>
Removal of aged filmoplast\u00ae P 90 tape from inkjet prints<\/a>, 19<\/strong>
What Is It: Empirical Research into the Art of Bleaching Crayon Enlargements<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Kehoe, Amber <\/strong>
A Sticky Situation: The Preservation of Self-Adhesive Photograph Albums<\/a>, 19<\/strong><\/p>\n\n\n\n

Keister, Jessica<\/strong>
Cords to Nowhere: An Investigation of Anna Atkins\u2019 Hand Bindings for Photographs of British Algae: Cyanotype Impressions, 20<\/strong>
ATP Testing to Determine if Cultural Artifacts are Contaminated with Active Biological
Materials<\/a>, 17<\/em><\/strong>
What Is It: Empirical Research into the Art of Bleaching Crayon Enlargements<\/a>, 17<\/em><\/strong>
Acrylic-Toned Inserts and Overlays<\/a>, 16<\/em><\/strong>
Preserving Underserved Historically Significant Photographic Collections: An Overview of the Andrew W. Mellon Funded Photographic Preservation Project with the Historically Black Colleges and Universities<\/a>, 15<\/em><\/strong>
Content Area Photograph Conservation: Teaching Conservation to Non-Native English Speakers<\/a>, 15<\/em><\/strong>
An Unexpected Learning Opportunity: Making the Most of a Problematic Treatment<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Kelly, Katherine S.<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Kelly, Nigel <\/strong>
Scanning Micro-XRF for Historical Photography<\/a>, 19<\/strong><\/p>\n\n\n\n

Kemp, Fiona
<\/b>Not Drowning, Waving: Complications with the Preparation and Display of Unconventional Photographs and Works of Art on Paper at the National Gallery of Australia<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Kennedy, Nora W.<\/b>
Refining the Daguerreotype Package<\/a>, 18<\/strong><\/em>
Organizing a Workshop in West Africa<\/a>, 16<\/strong><\/em>
Characterization of Photographic Papers in the Work of Diane Arbus<\/a>, 16<\/strong><\/em>
Pigment-Based Photographic Processes: A Technical Study of Pictorialist Works in the Metropolitan Museum\u2019s Collection (Abstract)<\/a>, 15<\/em><\/strong>
The Middle East Photograph Preservation Initiative 2011-2013: Mapping Photograph Archives and Training Collection Keepers<\/a>, 15<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
Development and Use of the Photograph Information Record<\/a>, 15<\/em><\/strong>
Faking It in Analog Terms (Abstract)<\/a>, 15<\/em><\/strong>
Characterization of Chlorine Induced Alterations on Daguerreotypes by SEM-EDS, XRF, and Raman Spectroscopy (Abstract)<\/a>, 14<\/em><\/strong>
<\/b>Photograph Preservation Institute in the Middle East: Lessons in Priorities<\/a>, 13<\/em><\/strong>
Marking Photographs: The Impact of Ink Stamping Practices<\/a>, 12<\/em><\/strong>
Three French Photograph Conservation Techniques<\/a>, 2<\/strong><\/em><\/p>\n\n\n\n

Kepkiewicz, Janet
<\/b>That Was Then: Changes to the New Nitrate Film Preservation Facility for Library and Archives Canada (Abstract)<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Krez, Anna <\/strong>
Museums for Future – Are Museums Ready to Face the Climate Crisis?, 20<\/strong><\/p>\n\n\n\n

Khan, Yasmeen<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Khanjian, Herant<\/b>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong>
<\/b>Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/b>
Four Metallic Photographic Prints from the Harry Ransmon Center Collection<\/a>, 11<\/em><\/strong><\/p>\n\n\n\n

Kim, Emy
<\/b>Scratch Repair on Acrylics Used in Face-Mounted Photographs: A Survey of Materials and Techniques<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Kinsey, Fiona<\/strong>
The Kodak Colorama Collection at Museums Victoria<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Krish, Kelly M. <\/strong>
Evaluations of Drying Techniques for Inkjet Prints after Water Emergencies, 20<\/strong><\/p>\n\n\n\n

Kirtsideli, I.Y.
<\/b>Micromycetes Complexes on Photographs from Old Collections (18391912)<\/a>,  12<\/strong><\/em><\/p>\n\n\n\n

Klinger, Jane E.
<\/b>Film Based Photographic Materials Project: a Story of Perseverance and Patience, <\/a> 14<\/strong><\/em><\/p>\n\n\n\n

Knipe, Penley
<\/b>The Evaluation of Four Aqueous and Non-Aqueous Surface-Cleaning Techniques on Silver Gelatin Photographs<\/a>, 7<\/strong><\/em><\/p>\n\n\n\n

Knotts, Bryanna <\/strong>
Multiband VIS-IR Imaging: A Novel Imaging Methodology to Study Photographic Prints, 20<\/strong>
Potential Methods for Documenting and Monitoring Silver Mirroring on Photographs, 20<\/strong><\/p>\n\n\n\n

Knowlton, Andrea<\/strong>
Preparing for a Collection Move: Assessment, Planning, and Housing, 20<\/strong><\/p>\n\n\n\n

Kolly, Silvia <\/strong>
Dye Sublimation Prints on Aluminum: A Material Investigation of a New Process, 20<\/strong><\/p>\n\n\n\n

Koseki, Toshiaki
<\/b>Characterization of Platinum Prints: Comparative Study of Platinum Prints in The Museum of Fine Arts, Houston Collection and The Early 20th Century Kodak Platinum Print Samples<\/a>, 16<\/strong><\/em>
<\/b>Development of a Conservation Database for the Photographic Collection at the MFA, Houston<\/a>, 12<\/em><\/strong><\/b><\/p>\n\n\n\n

Kozielec, Tomasz<\/strong>
Surface Cleaning of Photographs Using Humidified Eraser Crumbs, 20<\/strong><\/p>\n\n\n\n

Krall, R\u00fcDiger
<\/b>Fingerprints on Photographs<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Kreusburg, Lara<\/strong>
Cleaning Beverages off Photographs<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Krizanova, Janka<\/strong>
Photograph Preservation and Conservation in Slovakia<\/a>, 18<\/em><\/strong>
Characterization of Photographic Papers in the Work of Diane Arbus<\/a>, 16<\/strong><\/em>
Hand Colored Photographs: History, Identification and Research<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Kung, Natasha<\/strong>
International Collaboration, and the Potential of Virtual Condition Surveys – The Conservation Assessment of a Collection of Linnaeus Tripe Photographs at the University of Yangon Central Library, Myanma<\/a>r, 19<\/strong><\/em>
Refining the Daguerreotype Package<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Kyle, Genevieve P. <\/strong>
Preparing for a Collection Move: Assessment, Planning, and Housing, 20<\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

L<\/h1>\n\n\n\n

LaBarca, Joseph E.<\/strong>
Recent History of Kodak EKATCOLOR Papers \u2013 A Guide for Conservators<\/a>, 18<\/em><\/strong>
Preservation of Photographic Images for Future Generations: New Opportunities for Prints and Photo Books with a Conservator\u2019s Perspective<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Lagan\u00e0, Anna<\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Lalande, Ariane<\/strong>
Methods for Cleaning Brass Mats from Ambrotype and Daguerreotype Packages<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Lam, Thomas<\/strong>
A Context-Based Approach to Conserving Photographs On Textiles<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Langenbacher, Julia<\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Langford, Martha
<\/b>From Concept to Concrete: The Ongoing Saga of the Canadian Museum of Contemporary Photography<\/a>, 4<\/strong><\/em><\/p>\n\n\n\n

Languille, Marie-Ang\u00e9lique<\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong>
Accidental Images, The Negative Before Photography?<\/a>, 18<\/em><\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Lav\u00e9drine, Bertrand<\/strong>
The Effect of Seawater Flooding on Gelatin-Silver Photographs, 20<\/strong>
Paper Negatives: Replicate to Better Assess and Understand Light Sensitivity, 20<\/strong>
Framing Photographs and its Impact on the Micro-Climate, 20<\/strong>
Sustainable Preservation of a Collection of Glass Plate Negatives, 20<\/strong>
Accidental Images, The Negative Before Photography?<\/a>, 18<\/em><\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong>
Photography, Continuity and Change. Impact on the Conservation Field<\/a>, 17<\/em><\/strong>
<\/b>Organizing a Workshop in West Africa<\/a>, 16<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
Deterioration of Some Contemporary Prints<\/a>, 6<\/em><\/strong>
Historical and Technological Investigations of the Autochrome Process, and Attempts at Re-creation<\/a>, 5<\/em><\/strong>
The Study of the Microstructure of Silver Grains in Gelatin Printing Out Paper During Accelerated Ageing<\/a>, 4<\/em><\/strong>
Analysis and Restoration of Negatives Intensified with Mercuric Iodide<\/a>, 3<\/em><\/strong><\/p>\n\n\n\n

Leahey, Kelly
<\/b>TIP: Collaboration, Learning, and a Positive Response to Disaster: Preparing a Collection of 16mm Film for Digitization<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Learner, Tom<\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong>
Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Leckie, Carolyn G.
<\/b>Evaluation of Paper Products: With Special Reference to Use with Photographic Materials<\/a>, 4<\/strong><\/em><\/p>\n\n\n\n

Ledamoisel, St\u00e9phanie <\/strong>
Framing Photographs and its Impact on the Micro-Climate, 20<\/strong><\/p>\n\n\n\n

Lee, Lynn <\/strong>
Deconstructing the Creation of Daguerre\u2019s Dessins-Fum\u00e9es: A Photographic Process or Just Smoke and Mirrors?<\/a>, 19<\/strong><\/p>\n\n\n\n

Lee, Thomas <\/strong>
Photography in Seismology: An Overview of Physical Media Used and Ways to Assess Distortion in Data Extracted from Them, 20<\/strong><\/p>\n\n\n\n

Lee, Michael K.
<\/b>A Short Review of Crayon Enlargements: History, Technique, and Treatment<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Leggio, Angeletta
<\/b>A History of Australia’s Kodak Manufacturing Plant<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Lemmen, Barbara<\/b>
Salvaging Memories: The Recovery of Fire-Damaged Photographs and Lessons Learned in Conservation and Kindness<\/a>, 17<\/em><\/strong>
Blocked Photographic Prints: Adhesion and Treatment<\/a>, 17<\/em><\/strong>
Preserving Underserved Historically Significant Photographic Collections: An Overview of the Andrew W. Mellon Funded Photographic Preservation Project with the Historically Black Colleges and Universities<\/a>, 15<\/em><\/strong>
Thawing and Treating Water-Damaged Photographic Materials (Abstract)<\/a>, 13<\/strong><\/em>
Guidelines For Exhibition Light Levels for Photographs<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Le Namouric, Bruno <\/strong>
Framing Photographs and its Impact on the Micro-Climate, 20<\/strong><\/p>\n\n\n\n

Lesser, Brian
<\/b>Photosens: Automating Photographic Sensitometry in the Photograph Conservation Laboratory<\/a>, 4<\/strong><\/em><\/p>\n\n\n\n

Lewis, Saori Kawasumi<\/strong>
Characterization of Platinum Prints: Comparative Study of Platinum Prints in The Museum of Fine Arts, Houston Collection and The Early 20th Century Kodak Platinum Print Samples<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Leyva, Karla Castillo<\/strong>
Conservation versus Historicity: A Necessary Reconciliation for the Intervention in the Photographic Collection of Frida Kahlo<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Li, Lingjia<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Liang, Haida <\/strong>
Rare findings \u2013 Pannotypes in the Design Registers of the Board of Trade Collection at The National Archives<\/a>, 19<\/strong><\/p>\n\n\n\n

Ling, Elenor <\/strong>
Lord Fitzwilliam\u2019s Print Albums as Evidence<\/a>, 19<\/strong><\/p>\n\n\n\n

Ljubi\u0107 Tobisch, Valentina<\/strong>
The Impact of Early Photography and Electrotyping Media on the Creation of Images and Contemporary Art, 20<\/strong><\/p>\n\n\n\n

Lloyd, Jennifer<\/strong>
Digitization of the Enemark Panoramic Nitrate Negatives (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Loew, Steven<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Long, Carolyn
<\/b>The Muybridge\/Animal Locomotion Collection at the National Museum of American History<\/a>, 8<\/em>
<\/b>Mending of Fiber Based Silver-Gelatin Photographs<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Long, Zach<\/b>
PMG is Turning 40! A Look Back as the Group Celebrates a Major Anniversary and Approaches a Generational Shift<\/a>, 18<\/strong><\/em>
Color Records: Wood\u2019s Diffraction Process of Color Photography<\/a>, 18<\/strong><\/em>
Conservation of Two Floris Neus\u00fcss Photograms<\/a>, 17<\/em><\/strong>
<\/b>Chromogenic Print Characterization: A Study Of Kodak Color Prints, 1942-2008<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Lough, Krista<\/strong>
Past, Present, and Future of the Collaborative Workshops in Photograph Conservation<\/a>, 19<\/strong>
Complications with \u201cMy Birth\u201d<\/a>, 18<\/em><\/strong>
Bellmer: Complexities of the Doll<\/a>, 17<\/em><\/strong>
Characterization of a Surface Tarnish Found on Daguerreotypes under Shortwave Ultraviolet Radiation<\/a>, 16<\/em><\/strong>
Fluorescence Fails: the Color of UVA-Induced Visible Fluorescence of Tintype Varnishes does not Discriminate between Varnish Materials<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Louren\u00e7o, Miguel J. L.
<\/b>Microbial Deterioration of Gelatin Emulsion Photographs: A Case Study<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Lowe, Emma<\/strong>
Blocked Photographic Prints: Adhesion and Treatment<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Lucas, Chlo\u00e9<\/strong>
Repair and Consolidation of a Large Format Broken Silver Gelatin Print on Melamine Particle Board, 20<\/strong>
Disinfection of Photographic Materials with Ethanol Vapours: Preliminary Evaluation of the Innocuity on Chromogenic Prints<\/a>, 19<\/strong><\/em>
Disinfection Treatment of Fungi Damaged Silver Gelatin Prints with Ethanol Vapours<\/a>, 17<\/em><\/strong>
Methods for Cleaning Brass Mats from Ambrotype and Daguerreotype Packages<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Lundgren, Adrienne<\/b>
Employing the Preserved Negative: The Dry Collodion Process and Artists Who Used It, 20<\/strong>
Hidden Treasures in the Photographic Technology Books at the Library of Congress<\/a>, 17<\/em><\/strong>
Problems with Image: A Conservator’s Role in the Attribution of Photographs<\/a>, 17<\/strong>
<\/b>The Use of the Salted Paper Print as a Copying Technique for Architectural Drawings and Maps (Abstract)<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Luzeckyj, Tamara
<\/b>Immediate and Long-term Effects of the Treatment of Silver Mirroring on the Surface of Photographs<\/a>, 8<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

M<\/h1>\n\n\n\n

Maaruf, Nayla <\/strong>
Consolidating Tintypes: Preliminary Research Into the Use of Different Adhesives for Consolidation of Flaking on Tintypes, 20<\/strong>
Nineteen-Century Japanese Tourist Albums at the Art Institute Chicago: Complex Interpretation and Material Deterioration<\/a>, 19<\/strong><\/p>\n\n\n\n

MacKay, Anne<\/strong>
Enhanced: Nineteenth Century Hand-Colored Photographic Portraits<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Maes, Herman
<\/b>Dmitri Ermakov in the Caucasus: Preservation and Conservation of the Ermakov Estate, Kept in the S. Janashia State Museum of Tbilisi, Georgia<\/a>, 14<\/strong><\/em>
<\/b>The Gandh\u00e3ra Battle, Treatment of a Photographic Album<\/a>, 11<\/strong><\/em>
Megalethoscope Plates<\/a>, 8<\/em><\/strong><\/p>\n\n\n\n

Main, Rebecca<\/strong>
Preservation of Historic Glass Plate Negatives in Low Budget Conditions (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Maines, Christopher A.<\/strong>
An Initial Investigation into Japine: William Willis\u2019s Proprietary Paper<\/a>, 15<\/em><\/strong>
The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Maloney, Amanda A<\/strong>.
Photography in Seismology: An Overview of Physical Media Used and Ways to Assess Distortion in Data Extracted from Them, 20<\/strong>
PMG is Turning 40! A Look Back as the Group Celebrates a Major Anniversary and Approaches a Generational Shift<\/a>, 18<\/strong><\/em>
Francesca Woodman\u2019s BFA Thesis: Conserving a Work of Art for An Active Archive<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Manjavacas, Alejandro<\/strong>
Visualizing the nanoscale: new developments in the understanding and preservation of the daguerreotype image<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Marchesi, Monica<\/strong>
Conservation of Photographic Artwork by John Baldessari: Two Strategies \u2014 Reproduction and Framing<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Marigza, <\/em>Anne<\/strong>
Revisiting and Reconsidering Disbound Photograph Albums<\/a>, 19<\/strong><\/em><\/p>\n\n\n\n

Martins, Ana<\/strong>
Context and Content: Dating of Photographic Prints by Henri Cartier-Bresson Based on Visual Examination and Chemical Analysis<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Mateus, Catarina <\/strong>
Characterization and Decision Making in the Conservation of IICT\u2019s Photographic Album<\/a>, 19<\/strong><\/p>\n\n\n\n

Maxson, Holly
<\/b>Vacuuming in Tight Spaces II: An Updated Report on the Design of a Homemade Suction Table for Paper and Photographic Conservation<\/a>, 5<\/strong><\/em>
Vacuuming in Tight Spaces: An Initial Report on the Design of a Homemade Suction Table for Paper and Photographic Conservation<\/a>, 1<\/em><\/strong><\/p>\n\n\n\n

Mayer, Debora D.<\/strong>
A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Maynard, Marissa <\/strong>
Nanocellulose Fills and their Application in Photograph Conservation, 20<\/strong><\/p>\n\n\n\n

Mazurek, Joy<\/strong>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong>
Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Mazzei, Luca<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong><\/p>\n\n\n\n

McCabe, Constance<\/b>
Platinum and Palladium Photographs: Rediscoveries<\/a>, 18<\/strong><\/em>
Elevating Photography to Fine Art: Stieglitz\u2019s Carbon Prints<\/a>, 18<\/em><\/strong>
Lessons Learned from the Platinum and Palladium Project: Applications to the Alfred Stieglitz Key Set at the National Gallery of Art<\/a>, 18<\/strong><\/em>
An Initial Investigation into Japine: William Willis\u2019s Proprietary Paper<\/a>, 15<\/em><\/strong>
The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration (Abstract)<\/a>, 15<\/em><\/strong>
Guidelines For Exhibition Light Levels for Photographs<\/a>, 9<\/em><\/strong>
Preliminary Testing of Adhesives Used in Photograph Conservation<\/a>, 3<\/strong><\/em>
The Use of the Suction Table for the Conservation of Photographic Prints<\/a>, 2<\/em><\/strong><\/p>\n\n\n\n

McClelland, Arthur<\/strong>
Specular Reflection FTIR for Chemical Analysis of Historic Photographs<\/a>, 18<\/em><\/strong>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em>
New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

McCormick, Kristen<\/strong>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong>
Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

McCormick-Goodhart, Mark
<\/b>Print Permanence Research at Aardenburg Imaging & Archives (Abstract)<\/a>, 14<\/strong><\/em>
<\/b>Research on Collodion Glass Plate Negatives<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

McElhone, John P.
<\/b>The “Perfect” Fill for the Tintype<\/a>, 9<\/em><\/strong>
Determining Responsible Display Conditions for Photographs<\/a>, 5<\/strong><\/em>
Restoration and Conservation of the Lambert Gift Collection of Daguerreotypes<\/a>, 3<\/em><\/strong><\/p>\n\n\n\n

McElroy, Rob<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em>
Using Electron Back Scattered Diffraction (EBSD) & Energy Dispersive Spectrometry (EDS) to Characterize the Surface of 19th Century and Modern Daguerreotypes<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

McGath, Molly <\/strong>
Improved Interpretation of A-D Strips\u00ae with Colorimetry & Visible Light Spectrophotometry, 20<\/strong><\/p>\n\n\n\n

McGlinchey, Chris<\/b>
Characterizing Resin Coated Surfaces and Evaluation of Adhesive Systems to Hinge-
Mount for Photographs and Digital Prints<\/a>, 17<\/em><\/strong>
<\/b>Context and Content: Dating of Photographic Prints by Henri Cartier-Bresson Based on Visual Examination and Chemical Analysis<\/a>, 14<\/strong><\/em>
<\/b>Investigation of Adhesives for RC Prints<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

McGlinchey Sexton, Jennifer<\/strong>
It\u2019s All That: Standardization of the material characterization of photographs in the age of the extended medium field<\/a>, 18<\/em><\/strong>
Facts and Fictions of Pink Prints<\/a>, 17<\/em><\/strong>
Development and Testing of a Fluorescence Standard for Documenting Ultraviolet Induced Visible Fluorescence<\/a>, 16<\/em><\/strong>
Photographic Paper XYZ: De Facto Standard Sizes for Silver Gelatin Prints<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

McIntyre, Brian<\/strong>
A Summary of the National Science Foundation (SCIART) Supported Research of the Daguerreotype<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Meek, Lizzie<\/strong>
Coming in from the cold<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Meller, Taina
<\/b>Advances in Daguerreotype Conservation: The Conservation Program for the Exhibition<\/a>, 12<\/em><\/strong>
Marking Photographs: The Impact of Ink Stamping Practices<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Mel’Nik, V.A.
<\/b>Micromycetes Complexes on Photographs from Old Collections (1839-1912)<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Mendoza, Alexandra<\/strong>
Current Status of Treatment Practices in Photograph Conservation<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Mesquit, Teresa<\/strong>
Sudden damage to obsolete print materials<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Messier, Paul<\/b>
Collection-scale Representation of the Visual Properties of Black and White Paper, 20<\/strong>
Facts and Fictions of Pink Prints<\/a>, 17<\/em><\/strong>
<\/b>Computational Techniques for Evaluating Daguerreotypes<\/a>, 16<\/em><\/strong>
Development and Testing of a Fluorescence Standard for Documenting Ultraviolet Induced Visible Fluorescence<\/a>, 16<\/em><\/strong>
Photographic Paper XYZ: De Facto Standard Sizes for Silver Gelatin Prints<\/a>, 16<\/em><\/strong>
Condition Documentation and Monitoring of an Exhibition of Daguerreotypes at the State Hermitage Museum<\/a>, 16<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
A Surface Texture Library for Photographic Papers (Abstract)<\/a>, 15<\/em><\/strong>
Surface Classification for Black and White Prints (Abstract)<\/a>, 14<\/em><\/strong>
Surface Matters: the Treatment Challenges to Retain the Surface Characteristics for Gelatin Silver Developing-Out Photographs (Abstract)<\/a>, 14<\/em><\/strong>
History and Stylistic Evolution of Gelatin Silver Developing-Out Paper (Abstract)<\/a>, 13<\/em><\/strong>
New Applications for Paper Fiber Analysis in Characterizing Gelatin Silver Prints (Abstracts)<\/a>, 13<\/em><\/strong>
Understanding 20th-Century Photographs: The Baryta Layer Symposium<\/a>, 12<\/em><\/strong>
Notes on Dating Photographic Paper<\/a>, 11<\/em><\/strong>
<\/b>Protein Chemistry of Albumen Photographs<\/a>, 4<\/em><\/strong>
Work in Progress: An Analysis of the Effect of Water on the Cracking of Albumen Photographs<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Metcalf, Harry <\/strong>
Lord Fitzwilliam\u2019s Print Albums as Evidence<\/a>, 19<\/strong><\/p>\n\n\n\n

Minten, Nathalie
<\/b>The Gandh\u00e3ra Battle, Treatment of a Photographic Album<\/a>, 11<\/strong><\/em>
The Influence of Adhesives on the Appearance of Albumen Photographs<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Mintie, Kappy<\/strong>
Collection-scale Representation of the Visual Properties of Black and White Paper, 20<\/strong><\/p>\n\n\n\n

Miranda, Maria Elia Botello<\/strong>
Conservation of an Oversized Photographic Collage: First Phase<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Miyandabi, Amir R.M.<\/strong>
Preservation of Historic Glass Plate Negatives in Low Budget Conditions (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Mohammed, Laila Mahmoud Elattar <\/strong>
Hibiscus Sabdariffa L. Calyces\u2019 and Argon DBD Plasma: Potential Eco-Friendly Cleaners for Fire-Damaged Silver Gelatin Prints, 20<\/strong><\/p>\n\n\n\n

Mohareb, Francis<\/strong>
Current Photograph Conservation Practices in Egypt: What To Do and What Not To Do<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Mokaiseh, Rima<\/strong>
The Middle East Photograph Preservation Initiative 2011-2013: Mapping Photograph Archives and Training Collection Keepers<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Molina, Alian<\/strong>
Mold on Stored Photographs and Maps: A Case Study<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Moody, Sharon Gavitt
<\/b>Instructions for a Preservation Quality Photographic Album Based on an Oriental Design<\/a>, 1<\/strong><\/em><\/p>\n\n\n\n

Moore, Camille
<\/b>Research on Methods for Cleaning Face-Mounted Photographs<\/a>, 13<\/strong><\/em>
An Analytical Study of Eug\u00e8ne Atget’s Photographs at the Museum of Modern Art<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Morris, Hannah
<\/b>Optical Brightener Loss in Photographic Paper<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Morrison Danzis, Katherine<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Morrison, Pip
<\/b>Re-visiting Strip Lining of Large Format Photographs (Abstract)<\/a>, 15<\/em><\/strong>
Mounting Large Format Photographs at the National Gallery of Victoria, Australia<\/a>,  12<\/em><\/strong><\/p>\n\n\n\n

Munson, Doug
<\/b>The Pellicular Burlesque<\/a>, 7<\/em><\/strong>
Photographic Duplication and the Concept of Reversibility: A Call for Standards<\/a>, 7<\/strong><\/em><\/p>\n\n\n\n

Murata, Hanako<\/b>
The \u2018Stradivarius\u2019 of Photographic Papers: GEVALUXE VELOURS<\/a>, 18<\/strong><\/em>
New Originals: Reprints in Fine Art Photography<\/a>, 17<\/em><\/strong>
<\/b>Retouch Practices Revealed in the Thomas Walther Collection<\/a>, 16<\/em><\/strong>
Marking Photographs: The Impact of Ink Stamping Practices<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Murphy, Erin L.<\/b>
Disaster Recovery of Flood Damaged Glass Plates<\/a>, 18<\/em><\/strong>
<\/b>New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/em><\/strong>
Development and Use of the Photograph Information Record<\/a>, 15<\/em>
XRF Indentification of 20th Centry Developer-Incorporated Stabilized Prints<\/a>, 13<\/em>
Basic Care of Face-Mounted Photographs at the Museum of Modern Art<\/a>, 12<\/em>
Treatment of Andreas Gursky\u2019s Rhine II: Testing of Dusting Materials And Cleaning Cloths (Abstract)<\/a>, 11<\/em><\/p>\n\n\n\n

Murray, Kate
<\/b>The Early Emory College Class Photograph Preservation Project<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Mustalish, Rachel A.
<\/b>The Development of Photomechanical Printing Processes in the Late 19th Century<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

Mustardo, Peter J.
<\/b>New Originals: Reprints in Fine Art Photography<\/a>, 17<\/em><\/strong>
Approaches to Treating Contemporary Photographs<\/a>, 12<\/em><\/strong>
The Daguerreotype’s Environment<\/a>, 1<\/em><\/strong><\/p>\n\n\n\n

Myers, Michael<\/strong>
Preservation of Historic Glass Plate Negatives in Low Budget Conditions (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

N<\/h1>\n\n\n\n

Naipavel-Heidushke, Victoria
<\/b>A Step in the Evolution of the Treatment of Acetate Negatives<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Nalaskowsk, Marta <\/strong>
Surface Cleaning of Photographs Using Humidified Eraser Crumbs, 20<\/strong><\/p>\n\n\n\n

Namde, Ronel<\/strong>
Platinum and Palladium Photographs: Rediscoveries<\/a>, 18<\/em><\/strong>
Setting the Tone: Platinum Toning of Silver Photographs<\/a>, 17<\/strong><\/em>
Consolidation of Four Flaking Gelatin Glass Plate Negatives from the University of Colorado<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Nazarenko, Alexander Y.<\/strong>
XRD and SEM to Study the Image Forming Particles of Modern Ungilded Daguerreotypes, 20<\/strong> <\/p>\n\n\n\n

Newnham, Mick<\/strong>
Crystalline Deterioration on Glass Cinema Slides<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Ng, Esther <\/strong>
Planning, Developing and Implementing a Strategy to Care for a Large, Diverse and Growing Photograph Collection in the Tropics, 20<\/strong><\/p>\n\n\n\n

Nishimura, Douglas W.
<\/b>Strategies for the Storage of Cellulose Acetate Film<\/a>, 16<\/em><\/strong>
Effects of Enclosure pH on Cyanotypes and Blue Prints (Prussian Blue) (Abstract)<\/a>, 15<\/em><\/strong>
Lessons in Digital Print Preservation: The DP3 Project<\/a>, 14<\/em><\/strong>
The Effects of Acidic, Alkaline, Buffered, and Non-Buffered Enclosures on Cyanotypes<\/a>, 14<\/strong>
<\/em>Report on the Chemical Treatment of Photographic Materials<\/a>, 9<\/em><\/strong>
The IPI Storage Guide for Acetate Film<\/a>, 5<\/em><\/strong>
Photo Enclosures Research and Specifications<\/a>, 3<\/em><\/strong><\/p>\n\n\n\n

Nixon, Abbott<\/strong>
Investigation of Portrait with Applied Oil Color<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Norris, Debbie Hess<\/b>
From Teleprompters to TEDx: Lessons Learned in Public Outreach, Advocacy and Fundraising<\/a>, 18<\/em><\/strong>
Current Trends and Collaboration Among Heritage Institutions in Latin America:
APOYOnline Regional Conference and Workshop in Medellin, Colombia<\/a>, 17<\/strong><\/em>
Salvaging Memories: The Recovery of Fire-Damaged Photographs and Lessons Learned in Conservation and Kindness<\/a>, 17<\/em><\/strong>
<\/b>Organizing a Workshop in West Africa<\/a>, 16<\/strong><\/em>
The Middle East Photograph Preservation Initiative 2011-2013: Mapping Photograph Archives and Training Collection Keepers<\/a>, 15<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
Challenges and Strategies in the Preservation of Photographic Collections: Here, There, and Everywhere Across the Universe (Abstract)<\/a>, 14<\/strong><\/em>
Photograph Preservation Institute in the Middle East: Lessons in Priorities<\/a>, 13<\/strong><\/em>
Fund Raising for Photograph Preservation: Eight Days a Week<\/a>, 12<\/strong><\/em>
The Removal of a Silver Gelatin Photograph Adhered to Glass<\/a>, 3<\/em><\/strong><\/p>\n\n\n\n

Nowell, Matt<\/strong>
Using Electron Back Scattered Diffraction (EBSD) & Energy Dispersive Spectrometry (EDS) to Characterize the Surface of 19th Century and Modern Daguerreotypes<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

O<\/h1>\n\n\n\n

O’Connor, Kaslyne<\/strong>
Moonlight and Midnight: The evolution of Edward Steichen’s ‘Moonrise’ prints<\/a>, 17<\/em><\/strong>
The Alfred Stieglitz Collection: Photographs: Conservation and Art Historical Data
Go Digital at the Art Institute of Chicago<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Ogeneski, Stephanie
<\/b>Film Base to Pixels: The Juan Cachu-Ramirez Collection – a Cross-Over Education Experience<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Ogou, Franck<\/strong>
Organizing a Workshop in West Africa<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Ohanyan, Tamara<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

O’Hehir, Anne<\/strong>
Sole Survivor: Re-evaluating and Conserving Claude Cahun and Marcel Moore\u2019s Only Known Remaining Photomontage Used for Cahun\u2019s 1930 Publication Aveux non Avenus <\/em>(Disavowed Confessions)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Okubo, Paul <\/strong>
Photography in Seismology: An Overview of Physical Media Used and Ways to Assess Distortion in Data Extracted from Them, 20<\/strong><\/p>\n\n\n\n

Oliveira Fernandes, L\u00e9nia<\/strong>
Mouldy Matters: Conserving Ed van der Elsken\u2019s 42.000 colour slides<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Orraca, Jos\u00e9
<\/b>Developing Treatment Criteria in the Conservation of Photographs<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Osorio, Fernando
<\/b>Film Base to Pixels: The Juan Cachu-Ramirez Collection – a Cross-Over Education Experience,<\/a> 12<\/em><\/strong><\/p>\n\n\n\n

Osterman, Mark<\/strong>
Facsimilation of Paper Negatives<\/a>, 10<\/em><\/strong><\/p>\n\n\n\n

O’Toole, Erin<\/strong>
SFMOMA Artist Initiative: Interdisciplinary research on reprinting color photographs as a preservation solution<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Owen, Grace<\/strong>
TIP: Cast Composites: a System for Texturing Repair Materials in Book Conservation<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

P<\/h1>\n\n\n\n

Padilla, Diana Noem\u00ed Vel\u00e1zquez<\/strong>
Photography-Painted: Problems and Solutions in Handling, Display and Storage<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Palmer, Rick K.
<\/b>On the Causes of Edge Fading in Early Photographic Prints<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Panadero, Laura<\/strong>
Gardner\u2019s Photographic Sketch Book of the War: A Case Study for the Manufacture and Deterioration of Photographic Albums and Books<\/a>, 18<\/strong><\/em>
Uncovering Irving Penn’s Chemical Treatment Techniques<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Parker, Anniack<\/strong>
A Context-Based Approach to Conserving Photographs On Textiles<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Pate, Ariel<\/strong>
Moonlight and Midnight: The evolution of Edward Steichen’s ‘Moonrise’ prints<\/a>, 17<\/em><\/strong>
The Alfred Stieglitz Collection: Photographs: Conservation and Art Historical Data
Go Digital at the Art Institute of Chicago<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Passafiume, Tania<\/strong>
Sticking Together – A Multi Department Plan for Magnet Mounting, 20<\/strong>
The Words Beyond the Image: Hippolyte Bayard and His Letters<\/a>, 16<\/strong><\/em>
Notice to the Reader: Talbot\u2019s The Pencil of Nature <\/em>in Canada<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Pav\u00e3o, Luis
<\/b>Photo Enclosures Research and Specifications<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Pavelka, Karen L.
<\/b>A Step in the Evolution of the Treatment of Acetate Negatives<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

P\u00e9nichon, Sylvie<\/strong>
Moonlight and Midnight: The evolution of Edward Steichen’s ‘Moonrise’ prints<\/a>, 17<\/em><\/strong>
The Alfred Stieglitz Collection: Photographs: Conservation and Art Historical Data
Go Digital at the Art Institute of Chicago<\/a>, 17<\/strong><\/em>
Preliminary Investigation Into the Preservation of Backlit Works of Art (Abstract)<\/a>, 14<\/strong><\/em>
Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/strong><\/em>
Two Finishing Techniques for Contemporary Photographs<\/a>, 9<\/strong><\/em><\/p>\n\n\n\n

Pereira Pardo, Lucia <\/strong>
Rare findings \u2013 Pannotypes in the Design Registers of the Board of Trade Collection at The National Archives<\/a>, 19<\/strong><\/p>\n\n\n\n

Pereira, Catarina <\/strong>
Photography Beyond Two Dimensions \u2013 Exhibition and Re-Valuation of Materiality<\/a>, 19<\/strong><\/p>\n\n\n\n

Perreux, Aur\u00e9lie<\/strong>
L\u2019Atelier de Restauration et de Conservation des Photographies de la Ville de Paris (ARCP): Activities of the Preventive Conservation Section 2002-2012<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Perron, Johanne
<\/b>The Use of FTIR in the Study of Photographic Materials<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Phelan, Wynne
<\/b>Development of a Conservation Database for the Photographic Collection at the MFA, Houston,<\/a> 12<\/em><\/strong><\/p>\n\n\n\n

Phibbs, Hugh
<\/b>Sealed Packages<\/a>, 6<\/em><\/strong><\/p>\n\n\n\n

Phillips, Michele
<\/b>The Effects of Aqueous Immersion Wash Treatments on Platinum Photographs<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Piantavigna, Roberta<\/strong>
SFMOMA Cold Vault: Observations on Sustainability, 20<\/strong>
SFMOMA Artist Initiative: Interdisciplinary research on reprinting color photographs as a preservation solution<\/a>, 18<\/em><\/strong>
Characterizing Resin Coated Surfaces and Evaluation of Adhesive Systems to Hinge-
Mount for Photographs and Digital Prints<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Pietsch, Katrin<\/b>
Mouldy Matters: Conserving Ed van der Elsken\u2019s 42.000 colour slides<\/a>, 18<\/strong><\/em>
Flattening Rolled Negatives on Filmbase<\/a>, 16<\/strong><\/em>
www.photographicnegatives.net<\/a>,  12<\/em><\/strong><\/p>\n\n\n\n

Pilko, Magdalena<\/strong>
Electrotyping Daguerreotypes – The Reconstruction of an Early Reproduction Technique<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Porto Bozzetti, Rodrigo<\/strong>
How to receive and organize a collection of 1 million photographs at once? Material and metadata discussions<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

<\/b>Price, Lois Olcott
<\/b>The History and Identification of Photo-Reproductive Processes Used For Architectural Drawings Prior to 1930<\/a>, 6<\/strong><\/em><\/p>\n\n\n\n

Prodger, Phillip<\/strong>
A Glimpse from the Dawn of Photography Investigation and Stabilization of an 1839 Daguerreotype at the Peabody Essex Museum<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Puglia, Steven T.
<\/b>The Preservation of Acetate Film Materials\u2014A Cost-Benefit Analysis for Duplication and Cool\/Cold Storage<\/a>, 6<\/em><\/strong>
Negative Duplication: Evaluating the Reproduction and Preservation Needs of Collections<\/a>, 3<\/strong><\/em>
<\/b><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

Q<\/h1>\n\n\n\n

Quabeck, Nina<\/strong>
Uncovered and Unconventional: Preserving Works on Paper and Photographs on Open Display<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Quitral, Yerko A. <\/strong>
Identification and Characterization of the Vinegar Syndrome (AC-Degradation), Damage and Consequences on Handwritten Letters, 20<\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

R<\/h1>\n\n\n\n

Ravines, Patrick<\/b>
XRD and SEM to Study the Image Forming Particles of Modern Ungilded Daguerreotypes, 20<\/strong>
<\/b>The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em>
Using Electron Back Scattered Diffraction (EBSD) & Energy Dispersive Spectrometry (EDS) to Characterize the Surface of 19th Century and Modern Daguerreotypes<\/a>, 15<\/em><\/strong>
Surface Characterization and Monitoring of Surface Changes after Conservation Treatments of Silver Gelatin Photographic Papers Using Confocal Microscopy<\/a>, 14<\/em><\/strong>
Advancements in Daguerrotype Research Using Confocal and Electron Microscopy (Abstract)<\/a>, 13<\/strong><\/em>
The Application of Optical and Surface Metrology to Daguerreotypes<\/a>, 12<\/em><\/strong>
Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/em><\/strong><\/span><\/p>\n\n\n\n

Rayner, Georgina<\/strong>
New Methodology for Analytical Identification of Historic Coatings on Salted Paper Photographs at Harvard University<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

R\u00e9gimbald, Jessica<\/strong>
Conservation and Mass-Digitization, Implementation of a Workflow<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Reidell, Sarah<\/strong>
TIP: Cast Composites: a System for Texturing Repair Materials in Book Conservation<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Reilly, James M.
<\/b>Effect of Paper Alkaline Reserve on the Chemical Stability of Acetate Base Sheet Film<\/a>, 7<\/em><\/strong>
Use of Passive Monitors in Film Collections<\/a>, 6<\/strong><\/em>
A Summary of Recent Research at the Image Permanence Institute (1992)<\/a>, 5<\/strong><\/em>
Photo Enclosures Research and Specifications<\/a>, 3<\/strong><\/em><\/span><\/p>\n\n\n\n

Reinhardt, Falk <\/strong>
Scanning Micro-XRF for Historical Photography<\/a>, 19<\/strong><\/p>\n\n\n\n

Reinhold, Nancy
<\/b>Marking Photographs: The Impact of Ink Stamping Practices<\/a>, 12<\/strong><\/em>
The Exhibition of an Early Photogenic Drawing by Henry Fox Talbot<\/a>, 5<\/strong><\/em>
An Investigation of Commercially Available Dry Mount Tissues<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Ritzenthaler, Mary Lynn
<\/b>The Use of the Suction Table for the Conservation of Photographic Prints<\/a>, 2<\/strong><\/em><\/span><\/p>\n\n\n\n

Rivnec, Rachel<\/strong>
Repairing transparency, recovering the image. Research and testing fill materials and methods for conservation treatments on photographs face-mounted with poly(methyl methacrylate)<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Robb, Andrew
<\/b>Analysis and Comparison of Recent Large-Scale Emergencies Involving the Recovery of Photographs (Abstract)<\/a>, 15<\/em><\/strong>
Recent Developments in Using, Storing, and Transporting Cellulose Nitrate Still Picture Film<\/a>, 10<\/strong><\/em>
<\/span>Responding to Biological Hazards: The Effects of Chlorine Dioxide, Ethylene Oxide, Foam, And Irradiation on People and Cultural Property (Abstract)<\/a>, 10<\/strong><\/em>
<\/span>Addendum to \u201cGuidelines for Care and Identification of Film-Base Photographic Materials\u201d<\/a>, 6<\/strong><\/em>
<\/span>Guidelines for Care and Identification of Film-Base Photographic Materials<\/a>, 5<\/em><\/strong><\/p>\n\n\n\n

Robinson, Mike<\/strong>
A Twin Paradox: A Study of Preservation and Disfigurement of Southworth and Hawes Daguerreotypes<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Robles, Felice <\/strong>
International Collaboration, and the Potential of Virtual Condition Surveys – The Conservation Assessment of a Collection of Linnaeus Tripe Photographs at the University of Yangon Central Library, Myanmar<\/a>, 19<\/strong><\/p>\n\n\n\n

Rodriguez, Ariadna <\/strong>
Laura Gilpin\u2019s Book \u201cThe Pueblos, A Camera Chronicle\u201d, An Archive Story, 20<\/strong>
Between Originality and Functionality: Conservation Challenges of Two Photographic Albums Belonging to the Saturnino Herr\u00e1n Foundation<\/a>, 19<\/strong><\/p>\n\n\n\n

Roemich, Hannelore<\/strong>
Evaluation of Ultraviolet Filtration by Glazing and Display Case Materials (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Rogers, Nicholas <\/strong>
Collection-scale Representation of the Visual Properties of Black and White Paper, 20<\/strong><\/p>\n\n\n\n

Rogge, Corina E.<\/strong>
Analysis of Historical Tintype Plates: Materials, Methods, and Manufacturers<\/a>, 17<\/strong>
<\/em>Fluorescence Fails: the Color of UVA-Induced Visible Fluorescence of Tintype Varnishes does not Discriminate between Varnish Materials<\/a>, 15<\/em><\/strong>
19th Century Photography in a Modern Chemistry Lab<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Rold\u00e3o, \u00c9lia <\/strong>
Documentation for the Conservation of a Mixed Media Photographic Work by Ernesto de Sousa, 20<\/strong>
Characterization and Decision Making in the Conservation of IICT\u2019s Photographic Album<\/a>, 19<\/strong><\/p>\n\n\n\n

Romer, Grant B.
<\/b>The Application of Optical and Surface Metrology to Daguerreotypes<\/a>, 12<\/em><\/strong>
What is a Photograph?<\/a>, 11<\/strong><\/em>
Can We Afford to Exhibit our Valued Photographs?<\/a>, 1<\/strong><\/em><\/p>\n\n\n\n

Rosenstein, Drake
<\/b>Dating Photographic Materials Based Upon Atomic Bomb-Derived Radiocarbon Content (Abstract)<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Ross, Lincoln
<\/b>Experiments in Restorative Copying of Reflection Colour Prints<\/a>, 2<\/strong><\/em>
Experiments on the Image Stability of ResinCoated Black & White Photographic Papers<\/a>, 1<\/strong><\/em><\/p>\n\n\n\n

Rothgangel, Ella<\/strong>
Tracking Cumulative Light Exposure Using The Museum System (TMS<\/a>), 16<\/strong><\/em><\/p>\n\n\n\n

Rueda, Amparo<\/strong>
Strengthening the Preservation of Photographic Materials in Latin America: Celebrating 30 Years of APOYOnline<\/a>, 19<\/strong>
Current Trends and Collaboration Among Heritage Institutions in Latin America:
APOYOnline Regional Conference and Workshop in Medellin, Colombia<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Ruiz Garc\u00eda, Pablo<\/strong>
Intervention Criteria of Two Photographic Albums<\/a>, 19<\/strong><\/em>
Spanish National Plan for Photographic Heritage Conservation<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Conservation of New Photographic Art: Direct Printing and Textile Artifacts<\/a>, 15<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

S<\/h1>\n\n\n\n

Sainte-Marthe, Bertrand <\/strong>
Framing Photographs and its Impact on the Micro-Climate, 20<\/strong><\/p>\n\n\n\n

Salgado, Cecilia<\/strong>
Dissemination of the \u201cManual on Environmental Sustainability in the Conservation of Photographs\u201d in Latin America, 20<\/strong>
Photo Conservation Surveys in Latin America: History, Progress & Evolution, 20<\/strong><\/p>\n\n\n\n

Sampaio, Jos\u00e9 Paulo
<\/b>Microbial Deterioration of Gelatin Emulsion Photographs: A Case Study<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Samson, Genevi\u00e8ve<\/strong>
Notice to the Reader: Talbot\u2019s The Pencil of Nature <\/em>in Canada<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

San Andr\u00e9s, Margarita<\/strong>
Digitizing collections – A reflection on negative archive collections, prioritizing procedures and what is lost<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Sanderson, Katherine<\/strong>
New Insights into the Composition and Permanence of the Silver-Platinum Satista Paper and the Satista Prints of Paul Strand<\/a>, 16<\/em><\/strong>
A Comparative Study of Handheld Reflectance Spectrophotometers<\/a>, 16<\/strong><\/em>
Technical Investigation of the Effects of Light and Humidity on Diazotypes<\/a>, 16<\/strong><\/em>
Measuring Color Change in Photographs (Abstract)<\/a>, 15<\/em><\/strong>
Display of Alfred Stieglitz and Edward Steichen Autochrome Plates: Anoxic Sealed Package and Lighting Conditions<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Santana, Adriana<\/strong>
Mold on Stored Photographs and Maps: A Case Study<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Sayatina, Tatiana<\/strong>
Computational Techniques for Evaluating Daguerreotypes<\/a>, 16<\/strong><\/em>
Condition Documentation and Monitoring of an Exhibition of Daguerreotypes at the State Hermitage Museum<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Scanlon, Meaghan<\/strong>
Notice to the Reader: Talbot\u2019s The Pencil of Nature <\/em>in Canada<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Schatzl, Gabriele
<\/b>Matte Albumen Papers and Their Use in Austrian Portrait Photography<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Schenck, Kimberly
<\/b>Clich\u00e9-Verre: Drawing and Photography<\/a>, 6<\/strong><\/em>
Preliminary Testing of Adhesives Used in Photograph Conservation<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Schilling, Michael R.<\/strong>
Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate<\/a>, 18<\/em><\/strong>
Animation Cels: Conservation and Storage Issues<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Schisler, Millard Wesley Long<\/strong>
Emerging photograph conservators of the 2020\u2019s<\/a>, 18<\/strong><\/em>
Actions for Preserving Digital Photographs (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Schlather, Andrea E.<\/strong>
Visualizing the nanoscale: new developments in the understanding and preservation of the daguerreotype image<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Schobert, Mary
<\/b>The Treatment of William H. Rau\u2019s Pennsylvania Railroad Scenery<\/a>, 6<\/em><\/strong><\/p>\n\n\n\n

Schoegl, Uwe
<\/b>Heinrich Kuehn and Photography with Autochromes<\/a>, 9<\/strong><\/em><\/p>\n\n\n\n

Schrott, Alejandro G.<\/strong>
The Effect of Environmental Pollutants on the Deterioration of the Daguerreotype Image (Abstract)<\/a>, 15<\/em><\/strong>
Characterization of Chlorine Induced Alterations on Daguerreotypes by SEM-EDS, XRF, and Raman Spectroscopy (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Schryvers, Dominique<\/strong>
Evaluation of Atmospheric Plasma as a New Conservation Treatment for Historical Photographs using Advanced Electron Microscopy<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Schulte, Franziska<\/strong>
Characterization of Chlorine Induced Alterations on Daguerreotypes by SEM-EDS, XRF, and Raman Spectroscopy (Abstract)<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Scott, Marcelle<\/strong>
TIP: Collaboration, Learning, and a Positive Response to Disaster: Preparing a Collection of 16mm Film for Digitization<\/a>, 14<\/em><\/strong><\/p>\n\n\n\n

Searles, Erin
<\/b>Investigation Into the Pollution of the Silver Bath<\/a>, 8<\/em><\/strong><\/p>\n\n\n\n

Severson, Douglas G.
<\/b>The Effects of Exhibition on Photographs<\/a>, 1<\/strong><\/em><\/p>\n\n\n\n

Shaheen, Rasha A.<\/strong>
Climate Change and its Destructive Effect on Mechanical, Physical and Tonal Qualities of Historical Gelatin and Albumin Photographs Prints (Comparison Study), 20<\/strong>
Preservation and Conservation of the Photographic Archive of the Coptic Museum in Cairo, 20<\/strong>
Assessment of the Effect of Environmental Factors on the Mechanical and Chemical Properties of Photographic Films, 20<\/strong>
Aluminum Foil as a Cathodic Protector to Prevent Silver Mirroring on Silver Based Photographic Materials<\/a>, 19<\/strong><\/em>
Atmospheric Pressure Non-thermal Plasma of Cleaning 19th Century Tintype<\/a>, 18<\/em><\/strong>
Biodegradation Study on Photographic Archive of Khedive Ismail Pasha Back to 19th Century<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Sharma, Rahul <\/strong>
Multiband VIS-IR Imaging: A Novel Imaging Methodology to Study Photographic Prints, 20<\/strong><\/p>\n\n\n\n

Sharps Noyes, Meredith<\/strong>
Evaluations of Drying Techniques for Inkjet Prints after Water Emergencies, 20<\/strong><\/p>\n\n\n\n

Sherring, Asti
<\/b>TIP: Collaboration, Learning, and a Positive Response to Disaster: Preparing a Collection of 16mm Film for Digitization<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Shevoz-Zebrun, Nina<\/strong>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Shiwaira, Yoko<\/strong>
Rescuing Tsunami-Damaged Photographs in Japan<\/a>, 16<\/em><\/strong>
Examination of an Antifungal Agent for Use on Photographs<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Shoemaker, Heida Q.S.
<\/b>Formation of a Watermark Impression on a Collection of Cellulose Nitrate Negatives<\/a>, 8<\/em><\/strong><\/p>\n\n\n\n

Shores, Franklin
<\/b>Vacuuming in Tight Spaces II: An Updated Report on the Design of a Homemade Suction Table for Paper and Photographic Conservation<\/a>, 5<\/strong><\/em><\/p>\n\n\n\n

Shpargel, Sara
<\/b>Environmental Management Through The Climate Notebook\u2122<\/a>, 10<\/strong><\/em>
Photo Buttons on the Mind: Repairing Large Splits in Photo Buttons<\/a>, 9<\/em><\/strong><\/p>\n\n\n\n

Siegel, Robin E.
<\/b>Filmbase Deterioration in Dufaycolor Film<\/a>, 10<\/strong><\/em>
An Examination of Duplicating Film Damaged by Water in 1986<\/a>, 8<\/em><\/strong>
Report on ANSI Standard IT9.9: Stability of Color Photographic Images\u2014Methods for Measuring<\/a>, 7<\/em><\/strong>
Airflow and Humidity Control in a Two-Room Cold Storage Box: A Design Flaw Uncovered<\/a>, 6<\/em><\/strong>
Image Permanence Institute Summary of Activities at IPI\u20141993<\/a>, 6<\/em><\/strong>
AIC PMG Color Committee: 1992 Report<\/a>, 5<\/strong><\/em>
Conservation Implications of Yellow Sticky Tabs<\/a>, 3<\/strong><\/em>
Light-Fading of Color Transparencies on Desk-Tops<\/a>, 2<\/strong><\/em><\/p>\n\n\n\n

Silverman, Jessica<\/strong>
ATP Testing to Determine if Cultural Artifacts are Contaminated with Active Biological
Materials<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Sirven, Marsha
<\/b>Cleaning Beverages off Photographs<\/a>, 14<\/strong><\/em>
Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Smith, Gregory D.
<\/b>Purple Haze: The Development and Analysis of Vapor Iodine Treatment for the Reduction of Silver Mirroring<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Sobral, Joana <\/strong>
Characterization and Decision Making in the Conservation of IICT\u2019s Photographic Album<\/a>, 19<\/strong><\/p>\n\n\n\n

Sokolenko, D. V.
<\/b>Micromycetes Complexes on Photographs from Old Collections (1839-1912)<\/a>, 12<\/strong><\/em><\/p>\n\n\n\n

Southworth, Georgia<\/strong>
Cross-Disciplinary Care for the Preservation of Photograph Albums<\/a>, 19<\/strong><\/p>\n\n\n\n

Spartz, India
<\/b>A Case for Preservation: Revisiting the Agassiz Collection of Daguerreotypes from the Peabody Museum Archives at Harvard University<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Sperber, Roxane <\/strong>
Centering the Climate Crisis in Conservation Practice, 20<\/strong><\/p>\n\n\n\n

Srinivasan, Jaishree
<\/b>Not Drowning, Waving: Complications with the Preparation and Display of Unconventional Photographs and Works of Art on Paper at the National Gallery of Australia<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Stachurski, Zbigniew
<\/b>A Preliminary Investigation into Acrylic Glazing Deterioration<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Stenman, Richard<\/b>
Mass-treatment of E.S. Curtis\u2019 The North American Indian Photogravures<\/a>, 19<\/strong>
<\/b>Initial Investigation into Orotone Photographs<\/a>, 14<\/strong><\/em>
<\/b>Marking Photographs: The Impact of Ink Stamping Practices<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Stigter, S.<\/strong>
Surface Roughness, Appearance, and Identification of AGFA-Gevaert Photograph Samples<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Stodulski, Leon P.
<\/b>Ongoing Investigations into Chemical Image Enhancement of Faded Vintage Printing-out Photographic Prints<\/a>, 5<\/strong><\/em>
The Effects of Sodium Borohydride Solutions on Silver-Based Photographic Materials: An Update<\/a>, 4<\/em><\/strong><\/p>\n\n\n\n

Stollman, Sasha<\/strong>
Result!!! Christchurch Earthquakes Test Canterbury Museum’s Quake-Proofing<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Strange, Mark<\/strong>
Coming in from the cold<\/a>, 18<\/strong><\/em>
From Private Photographs to Public Narratives: the Swainson\/Woods Collection<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Stulik, Dusan C.
<\/b>Pushing the Limits of the Identification of Photographs: Variants of the Gum Dichromate Process<\/a>, 15<\/em><\/strong>
The Atlas of Analytical Signatures of Photographic Processes: Its Past, Present, and the Future<\/a>, 15<\/em><\/strong>
Understanding 20th-Century Photographs: The Baryta Layer Symposium<\/a>, 12<\/em><\/strong>
Four Metallic Photographic Prints From The Harry Ransom Center Collection<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Sullivan, Michelle<\/strong>
Deconstructing the Creation of Daguerre\u2019s Dessins-Fum\u00e9es: A Photographic Process or Just Smoke and Mirrors?<\/a>, 19<\/strong><\/em>
New Approaches to Cleaning Works on Paper and Photographic Materials<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

T<\/h1>\n\n\n\n

Tabet, Rachel <\/strong>
Think Outside the Box: Local and Sustainable Solutions for Photographic Enclosures in Lebanon, 20<\/strong><\/p>\n\n\n\n

Tafilowski, Diane
<\/b>Surface Matters: the Treatment Challenges to Retain the Surface Characteristics for Gelatin Silver Developing-Out Photographs (Abstract)<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Tagle, Roald <\/strong>
Scanning Micro-XRF for Historical Photography<\/a>, 19<\/strong><\/p>\n\n\n\n

Talman, Hugh
<\/b>The Bourges-Bruehl Collection: Reproducing Color from Glass Separation Negatives<\/a>, 4<\/strong><\/em>
An Examination of the Effectiveness of Various Toning Solutions on Black and White Silver Halide Emulsions<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Tarek, Reham <\/strong>
Aluminum Foil as a Cathodic Protector to Prevent Silver Mirroring on Silver Based Photographic Materials<\/a>, 19<\/strong><\/p>\n\n\n\n

Tay, Jam Meng<\/strong>
The Glass Plate Negative Project at the Heritage Conservation Centre<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Thyss, Elsa<\/strong>
The Photographs of Seydou Ke\u00efta, 22<\/strong>
The Conservation of the Ernest J. Bellocq Glass Plate Negatives at the Metropolitan Museum of Art<\/a>, 19<\/strong>
Conserving the Matrix: Investigation of the Ernest J. Bellocq glass plate negative collection<\/a>, 18<\/em><\/strong>
The Effects of Solvents on Early Color Transparencies<\/a>, 17<\/em><\/strong>
<\/p>\n\n\n\n

Townsend, Joyce H.<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong><\/p>\n\n\n\n

Tragni, Claire<\/strong>
L\u2019Atelier de Restauration et de Conservation des Photographies de la Ville de Paris (ARCP): Activities of the Preventive Conservation Section 2002-2012<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Trentelman, Karen
<\/b>The Effects of Multiple Wet Treatments on Cracking in Albumen Prints<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

Triana, Cristian<\/strong>
What do Cigarette Filters and Photographic Films Have in Common? Cellulose Acetate: Durable in the Streets, Volatile in the Sheets<\/a>, 19<\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

V<\/h1>\n\n\n\n

Vaillard, Elisa Carmona<\/strong>
Conservation versus Historicity: A Necessary Reconciliation for the Intervention in the Photographic Collection of Frida Kahlo<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Valverde, Maria Fernanda<\/b>
The Expansion of the Cold and Cool Storage Vaults at the Amon Carter Museum of American Art<\/a>, 19<\/strong><\/em>
The Expansion of the Cold and Cool Storage Vaults at the Amon Carter Museum of American Art (abstract)<\/a>, 18<\/em><\/strong>
Hinging and Float Mounting 20×24\u201d Polaroid Prints and Negatives<\/a>, 18<\/em><\/strong>
<\/b>Mounting Medium and Large-Format Photographs<\/a>,  12<\/em><\/strong>
The Education of Photograph Conservators in M\u00e9xico<\/a>, 10<\/strong><\/em>
Training Program for Photographic Conservators<\/a>, 8<\/em><\/strong>
Methods for Evaluating the Deterioration of Nitrate Motion Picture Film<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

VanDenburgh, Stacey
<\/b>Research Themes Explored by the Advanced Residency Program in Photograph Conservation<\/a>,13<\/em><\/strong><\/p>\n\n\n\n

Varga, Lauren<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Vasallos, Ioannis<\/strong>
Rare findings\u2013Pannotypesin the Design Registers of the Board of Trade Collection at The National Archives<\/a>, 19<\/strong><\/em>
Discovering, preserving and promoting the photographic collections at the National Library of Scotland<\/a>, 18<\/em><\/strong><\/p>\n\n\n\n

Venosa, Andrea J.<\/strong>
Key Components of the Recent Major Revision of ISO 18902 Imaging Materials \u2013 Processed Imaging Materials \u2013 Albums, Framing and Storage Materials<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Vanpeene, Saskia<\/strong>
Photochromatic Images of Edmond Becquerel: Where do the Colors Come From? Tracks
in the Understanding of the Origin of their Colors<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Verdonk, Henriette
<\/strong>Dmitri Ermakov in the Caucasus: Preservation and Conservation of the Ermakov Estate, Kept in the S. Janashia State Museum of Tbilisi, Georgia<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Vicenzi, Edward P.<\/strong>
A Twin Paradox: A Study of Preservation and Disfigurement of Southworth and Hawes Daguerreotypes<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Vieira Serrano, Nath\u00e1lia<\/strong>
T34 The Fiocruz Collections: Discussing the Preservation of its Photographic Archives<\/a>, 17<\/em><\/strong><\/p>\n\n\n\n

Vila, Anna<\/strong>
Pigment-Based Photographic Processes: A Technical Study of Pictorialist Works in the Metropolitan Museum\u2019s Collection (Abstract)<\/a>, 15<\/em><\/strong>
An Initial Investigation into Japine: William Willis\u2019s Proprietary Paper<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Vischi, Christophe<\/b>
Methods for Cleaning Brass Mats from Ambrotype and Daguerreotype Packages<\/a>, 17<\/strong><\/em>
<\/b>The Study of Two Humidification and Flattening Methods for Albumen Prints to Determine Their Impact on the Evolution of Cracks in the Albumen Layer (Abstract)<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Vo, Tram<\/strong>
The Middle East Photograph Preservation Initiative 2011-2013: Mapping Photograph Archives and Training Collection Keepers<\/a>, 15<\/em><\/strong>
Effective Advocacy and Partnerships: Lessons Learned from Global Photograph Preservation Initiatives<\/a>, 15<\/em><\/strong>
Advancing the Conservation of Photographs in Central, Southern, and Eastern Europe Using a Model of Extended Learning<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Voellinger, Theresa<\/strong>
NPS Service-Wide Initiative for the Preservation of Film-Based Media: Project Update and Presentation of Multimedia Training Program (Abstract)<\/a>, 14<\/strong><\/em>
NPS Service-Wide Initiative for the Preservation of Film-based Media (Abstract)<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Von Waldthausen, Clara C.<\/b>
Project Photography: Creating and Disseminating Knowledge Surrounding Modern and Contemporary Photograph Preservation in the Netherlands, 20<\/strong>
Electrotyping Daguerreotypes – The Reconstruction of an Early Reproduction Technique<\/a>, 18<\/em><\/strong>
Materials, Technology, Reproductions and Defining the Vintage Print<\/a>, 17<\/em><\/strong>
<\/b>RC Coatings on Aerial Photographs 1944-45<\/a>, 16<\/em><\/strong>
Reflections on the Material History and Materiality of Photographic Gelatin<\/a>, 16<\/em><\/strong>
Annotated Bibliography: 19th Century Articles on Fading, Permanence, and Coatings used on Paper Photographs<\/a>, 16<\/em><\/strong>
Re-Examining The (Electro-)Chemical Cleaning of Daguerreotypes: Microscopic Change Vs. Macroscopic Perception<\/a>, 14<\/strong><\/em>
The Great Exhibition of 1851: An Introduction to a Research Project and Preliminary Findings<\/a>, 12<\/em><\/strong>
Exhibition of Photographic Materials in Library and Archive Collections<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

W<\/h1>\n\n\n\n

Wagner, Sarah S.
<\/b>The Platinum and Palladium Initiative: Tools and Strategies for Interdisciplinary Collaboration (Abstract)<\/a>, 15<\/em><\/strong>
Cold Storage Options: Costs and Implementation Issues<\/a>,  12<\/em><\/strong>
Guidelines For Exhibition Light Levels for Photographs<\/a>, 9<\/em><\/strong>
The Hand-coloring and Retouching of Photographic Prints: An Annotated Bibliography<\/a>, 9<\/em><\/strong>
An Update on the Stability of B&W Resin Coated Papers<\/a>, 8<\/em><\/strong>
Remoistenable Tissue, Part II: Variations on a Theme<\/a>, 7<\/em><\/strong>
Approaches to Moving Glass Plate Negatives<\/a>, 6<\/em><\/strong>
Conservation Tip a Modified Dacron Lining Technique for Photographs<\/a>, 4<\/strong><\/em>
Some Recent Photographic Preservation Activities at the Library of Congress<\/a>, 4<\/strong><\/em>
A Preliminary Study: Consolidation of Gelatin Glass Plate Negatives with Organosilanes<\/a>, 3<\/strong><\/em><\/p>\n\n\n\n

Waldschlaeger, Ullrich <\/strong>
Scanning Micro-XRF for Historical Photography<\/a>, 19<\/strong><\/p>\n\n\n\n

Walker, Clare<\/strong>
Tracking Cumulative Light Exposure Using The Museum System (TMS<\/a>), 16<\/strong><\/em><\/p>\n\n\n\n

Walker, Joan M.<\/strong>
Elevating Photography to Fine Art: Stieglitz\u2019s Carbon Prints<\/a>, 18<\/em><\/strong>
Lessons Learned from the Platinum and Palladium Project: Applications to the Alfred Stieglitz Key Set at the National Gallery of Art<\/a>, 18<\/em><\/strong>
Setting the Tone: Platinum Toning of Silver Photographs<\/a>, 17<\/strong><\/em><\/p>\n\n\n\n

Wallace, Jim
<\/b>The Bourges-Bruehl Collection: Reproducing Color from Glass Separation Negatives Using Desktop Computer Equipment<\/a>, 5<\/em><\/b>
The Bourges-Bruehl Collection: Reproducing Color from Glass Separation Negatives<\/a>, 4<\/strong><\/em>
An Examination of the Use of Commercial Scanners to Restore Faded Color Transparencies<\/a>, 3<\/strong><\/em>
An Examination of the Effectiveness of Ag-Guard Protecting Silver Halide Photographic Emulsions<\/a>, 2<\/strong><\/em><\/p>\n\n\n\n

Walsh, Betty
<\/b>Preservation of Negatives at The British Columbia Archives<\/a>, 11<\/strong><\/em>
Identification of Cellulose Nitrate and Acetate Negatives by FTIR Spectroscopy<\/a>, 6<\/em><\/strong><\/p>\n\n\n\n

Ward, James
<\/b>Not Drowning, Waving: Complications with the Preparation and Display of Unconventional Photographs and Works of Art on Paper at the National Gallery of Australia<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Ware, Mike
<\/b>On the Illumination of Light-Sensitive Photographs<\/a>, 13<\/strong><\/em>
<\/b>A Blueprint for Conserving Cyanotypes<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Weaver, Gawain
<\/b>Carbon Isotope Analysis of Waxed Paper Negatives<\/a>, 15<\/em><\/strong>
Chromogenic Print Characterization: A Study Of Kodak Color Prints, 1942-2008<\/a>, 13<\/strong><\/em>
A Guide to Fiber-based Gelatin Silver Print Condition and Deterioration (Abstract)<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Wei, W. (Bill)<\/strong>
Electrotyping Daguerreotypes – The Reconstruction of an Early Reproduction Technique<\/a>, 18<\/em><\/strong>
Surface Roughness, Appearance, and Identification of AGFA-Gevaert Photograph Samples<\/a>, 17<\/em><\/strong>
Investigation and Optimization of Electrochemical Treatment for Daguerreotypes<\/a>, 17<\/em><\/strong>
Re-Examining The (Electro-)Chemical Cleaning of Daguerreotypes: Microscopic Change Vs. Macroscopic Perception<\/a>, 14<\/strong><\/em><\/p>\n\n\n\n

Weintraub, Steve<\/strong>
Evaluation of Ultraviolet Filtration by Glazing and Display Case Materials (Abstract)<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Wessling, Margaret <\/strong>
Past, Present, and Future of the Collaborative Workshops in Photograph Conservation<\/a>, 19<\/strong><\/em>
Edward Weston\u2019s Platinum and Palladium Photographs<\/a>, 17<\/strong><\/em>
Computational Techniques for Evaluating Daguerreotypes<\/a>, 16<\/strong><\/em>
Technical Investigation of the Effects of Light and Humidity on Diazotypes<\/a>, 16<\/em><\/strong>
Characterizing United Press International\u2019s Unifax Facsimile Prints<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

West, Anne<\/strong>
The Daguerreotype Uncovered: An Overview of the Surface and Subsurface Chemistry, Physics and Material Science Underlying the First Photographic Process Based on Electron Microscopical Studies<\/a>, 16<\/strong><\/em><\/p>\n\n\n\n

Wetzel, Rachel K.<\/b>
Exposing the Preserved Negative: The Overlooked History of the Dry Collodion Plate, 20<\/strong>
Attributions, Working Methods and Scientific Analysis of Robert Cornelius\u2019s Daguerreotypes: How a collaborative partnership of conservators, curators, scientists and artists help to collectively broaden the understanding of the history of early photography in America<\/a>, 18<\/em><\/strong>
PMG is Turning 40! A Look Back as the Group Celebrates a Major Anniversary and Approaches a Generational Shift<\/a>, 18<\/strong><\/em>
An Experimental Era: The Ungilded Daguerreotype in Early America<\/a>, 17<\/strong><\/em>
<\/b>Confronting the Challenges of Treating Crayon Enlargements<\/a>, 16<\/strong><\/em>
Preserving Underserved Historically Significant Photographic Collections: An Overview of the Andrew W. Mellon Funded Photographic Preservation Project with the Historically Black Colleges and Universities<\/a>, 15<\/em><\/strong>
An Examination of the Short And Long Term Effects of Light Bleaching Silver Gelatin Photographs (Abstract)<\/a>, 13<\/strong><\/em>
A Survey and Evaluation of the Use of Light Bleaching Techniques for Photographic Materials<\/a>, 12<\/em><\/strong>
Optical Brighteners-A Study of Water Solubility<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Whitman, Katharine
<\/b>Conservation of an American Icon: The Reconstruction of the Lincoln Interpositive<\/a>, 15<\/em><\/strong>
Case Study: Repair of a Broken Glass Plate Negative,<\/a> 12<\/i><\/b>
Housing Glass Transparencies<\/a>, 12<\/em><\/strong>
The Technology of Solar Enlargements<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Whitmore, Paul
<\/b>Optical Brightener Loss in Photographic Paper<\/a>, 12<\/strong><\/em><\/p>\n\n\n\n

Wichern, Christian M.
<\/b>Surface Characterization and Monitoring of Surface Changes after Conservation Treatments of Silver Gelatin Photographic Papers Using Confocal Microscopy<\/a>, 14<\/strong><\/em>
<\/b>The Application of Optical and Surface Metrology to Daguerreotypes<\/a>, 12<\/em><\/strong><\/p>\n\n\n\n

Wiegandt, Ralph
<\/b>A Summary of the National Science Foundation (SCIART) Supported Research of the Daguerreotype<\/a>, 15<\/em><\/strong>
Advancements in Image-Based Condition Reporting for Daguerreotypes: Optimizing Microscopy to Accompany High Resolutions Images, and Sharing them in the Daguerreotype Research Portal<\/a>, 14<\/em><\/strong>
Advances in Daguerreotype Conservation: The Conservation Program for the Exhibition <\/a>, 12<\/em><\/strong>
The Application of Optical and Surface Metrology to Daguerreotypes<\/a>, 12<\/em><\/strong>
Case Study: Repair of a Broken Glass Plate Negative<\/a>, 12<\/strong><\/em>
Reversible Mounting Techniques for the Display of Large-Format Contemporary Photographs<\/a>, 12<\/em><\/strong>
Characterization of Black-And-White Silver Gelatin Fiber-Based Photographic Prints<\/a>, 11<\/strong><\/em><\/p>\n\n\n\n

Wilhelm, Henry<\/b>
Comparison of LED, L-37 Filtered Xenon Arc, and Glass-Filtered Cool White Fluorescent llumination in the Light Fading and Light-Induced Staining of Color Photographs<\/a>, 18<\/em><\/strong>
Contemporary Analog and Digital Color Photographic Prints: Dye and Pigment Print Process Descriptors, Naming Conventions, Dating, and Permanence Characteristics<\/a>, 16<\/strong><\/em>
The Long-Term Permanence Behavior of Photographs and Fine Art Prints Made with Large-Format Flatbed Printers Using UV-Curable Pigment Inks<\/a>, 16<\/em><\/strong>
Report on ANSI Standard IT9.9: Stability of Color Photographic Images\u2014Methods for Measuring<\/a>, 7<\/em><\/strong><\/p>\n\n\n\n

Williams, Emily <\/strong>
Caring For Contemporary Photographs: Realizing the Artist\u2019s Vision, 20<\/strong><\/p>\n\n\n\n

Wise, Andrea
<\/b>Sole Survivor: Re-evaluating and Conserving Claude Cahun and Marcel Moore\u2019s Only Known Remaining Photomontage Used for Cahun\u2019s 1930 Publication Aveux non Avenus <\/em>(Disavowed Confessions)<\/a>, 15<\/em><\/strong>
Transparent Things through which the Past Shines: Conservation of Holograms in the Collection of the National Gallery of Australia<\/a>, 15<\/em><\/strong>
Not Drowning, Waving: Complications with the Preparation and Display of Unconventional Photographs and Works of Art on Paper at the National Gallery of Australia<\/a>, 12<\/em><\/strong>
A Preliminary Investigation into Acrylic Glazing Deterioration<\/a>,  12<\/em><\/strong><\/p>\n\n\n\n

Witty, Anne<\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Wright, Kristi<\/strong>
Photoshop\u00ae Assisted Spectroscopy \u2013 An Economical and Non-Destructive Method for Tracking Color Shift<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

Y<\/h1>\n\n\n\n

Yamaguchi, Takako<\/strong>
Examination of an Antifungal Agent for Use on Photographs<\/a>, 16<\/em><\/strong><\/p>\n\n\n\n

Yates, Kerry<\/strong>
Crystalline Deterioration on Glass Cinema Slides<\/a>, 15<\/em><\/strong><\/p>\n\n\n\n

Youngfert, Andrea
<\/b>Tip: The Use of Inkjet Copiers to Transcribe Historical Inscriptions<\/a>, 13<\/strong><\/em><\/p>\n\n\n\n

Youket, Michele H. <\/strong>
Heat and Solvent Set Repair Tissues<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Yuan, Bing
<\/b>Investigation of Adhesives for RC Prints<\/a>, 10<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n\n

Z<\/h1>\n\n\n\n

Zabumba, Ilda <\/strong>
Photography Beyond Two Dimensions \u2013 Exhibition and Re-Valuation of Materiality<\/a>, 19<\/strong><\/p>\n\n\n\n

Zachman, Lindsey <\/strong>
Improved Interpretation of A-D Strips\u00ae with Colorimetry & Visible Light Spectrophotometry, 20<\/strong><\/p>\n\n\n\n

Zvonar, Vanya<\/strong>
The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnem\u00fchle<\/a>, 18<\/strong><\/em><\/p>\n\n\n\n

Back to Top<\/a><\/p>\n\n\n

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If you find an error or a broken link, please let us know at topics.pmg@gmail.com<\/p>\n","protected":false},"excerpt":{"rendered":"

  Please note that PDFs for Volume 19 are not available online yet. While supplies last, hard copies of Topics in Photographic Preservation volumes 15, 16, 17, & 19 can be purchased through the AIC store. A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P  |Q | R | S | T | U | V | […]<\/p>\n","protected":false},"author":24,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"footnotes":""},"class_list":["post-352","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/pages\/352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/comments?post=352"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/pages\/352\/revisions"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/pmg-topics\/wp-json\/wp\/v2\/media?parent=352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}