Photographic Cellulose Nitrate Negatives: The Cellulose Nitrate
Programme of the City of Paris (Part II)
The previous edition of this journal presented the first part of the "Nitrate Programme" of the City of Paris, an account of the methodology of the negative surveys. This part is devoted to the plan of action. Currently implemented measures, of which the choice of a storage concept is of central importance, are introduced. The storage concept will not only permit preservation measures but also the future dissemination of the collections by the institutions concerned and by the new picture agency in Paris "SAEML Parisienne de l'Image". It is intended that all collections of cellulose nitrate negatives will be held in premises that offer satisfying preservation conditions and comply with prevailing laws. Since the latter is very problematic, these premises will not be available until 2007. In expectation of this move, safety precautions for the involved staff and urgent preservation and conservation steps have been undertaken since two years. In addition, important preparatory work for the move will be carried out.
Ausarbeitung eines Aktionsplans (Maßnahmen zur Arbeitssicherheit in den Institutionen - Konservatorisch/restauratorische Sofortmaßnahmen - Vorbereiten der Bestände im Hinblick auf ihren Umzug - Ein Archivierungskonzept, das Konservierung und Verwertung verbindet) - Zusammenfassung und Ausblick - Danksagung - Anmerkungen - Literatur
ARCP - Restaurierungs- und Konservierungslabor für Fotografien der Stadt Paris: www.paris-france.org/musees/arcp
The Photographic Activity Test (P.A.T.): On the Testing of
The Photographic Activity Test (P.A.T.) has already been described a number of times in this journal. In spite of this, or perhaps precisely because of this, this author repeatedly faces inquiries from specialists in the field of photograph preservation and conservation concerning the execution and the significance of the test. This may also be due to the fact that the test is commercially primarily offered by merely one institution, the Image Permanence Institute (IPI). Suppliers of archival materials indicate whether a certain product passed the P.A.T. summarily; detailed test data on specific product groups or individual products in a published form, however, are almost always missing. A comprehensive examination of the P.A.T. along with an experimental appendix may be found in a project that was carried out with the assistance of the IPI. The work also contains rudimentary information about tested materials and tips for the practical implementation of the test. This paper presents the results of this author's own tests, which were not remittance work, and discusses findings from the inclusion of the P.A.T. in an internship as well as current questions connected to the use of the yellow silver detector film.
Der Standard-P.A.T. - Der Color-P.A.T. (Dye Coupler Reactivity Test) - Farbbilder-P.A.T. - Charakterisierung und Verfügbarkeit der Detektoren für den Standard-P.A.T. - Untersuchungen zum P.A.T. (Reproduzierbarkeit des Standard-P.A.T. - Vergleichsmessungen mit Proben und Detektoren aus dem IPI - Untersuchungen zum Reaktionsmechanismus der Reaktionen in der Emulsionsschicht des Image-Interaction-Detectors - Standard-P.A.T.s mit schlechten Materialien - Standard-P.A.T.s mit Handelsprodukten für die Archivierung - Standard-P.A.T.s mit verschiedenen Materialien - Standard-P.A.T.s mit Materialien aus dem Archiv einer mittleren Großstadt - Standard-P.A.T.s mit Fototüten Color-P.A.T.s (Dye Coupler Reactivity Test) Farbbilder-P.A.T.s) - Zusammenfassung und Ausblick - Adressen - Anmerkungen
Don't be Afraid of Data! On Dealing with New Image Media in
This contribution considers questions of the use of new image media in museums. Viewed under consideration of the efficiency and the limits of new technologies, in the larger context of technological change, and with an appropriate pragmatism, the side effects of the "digital revolution" arising in these institutions are found to be quite manageable. The meaning of the photographic original and its possible virtual representations is discussed in terms of both museum practice and photographers' authorship. The side effects include the disappearance of former processes and the necessity of new qualifications and expertise in technical and conceptual issues, as well as the consideration of other attitudes towards perception and reception. Advantages and disadvantages of the use of digital picture media in museums are discussed on the basis of different applications such as exhibitions, catalogues, print media, and documentation.
Das fotografische Original: Aura und Anmutung -
Paradigmenwechsel - Zum Einsatz neuer Techniken im Museum -
Ansichtssachen: Anna Koch - Zum Umgang mit dem Immateriellen -
Migrationen - Neue Wahrnehmungen - Neue Anwendungen und
Anforderungen - Projekt einer digitalen Bilddatenbank: Ein
Beispiel - Anmerkungen
A Database of Hessian Photographers: A Project of the AK
Fotografie in the Hessischer Museumsverband
The AK Fotografie (AKF) is one of three working groups in the Hessischer Museumsverband. It emerged from a group of photographers, museum curators, archivists, and others that were interested in photography who had been meeting in municipal museums and city archives in Frankfurt to exchange opinions and experiences since 1990. The AKF has been active in the whole of the state of Hesse since 1995. During this time, numerous advanced training seminars on the identification of different photographic processes, handling of photographs and negatives, and copyright issues were organized. An annual lecture series that offers a multidisciplinary approach to individual topics of photography has also been taken up since 1997.
Forschung und Datenbank - Durchführung - Zum Beispiel:
Gregor Bodenschatz - Stand der Dinge- Kontakte und Ausblick -
Internet Publications: On Dealing with Cultural Heritage in
Digital media have not only transformed scholarly work by offering new possibilities of publication and presentation, but have also increased the pressure on public museums, libraries and picture archives to present their collections on the internet. Legal ambiguity, triggered particularly by the hesitant process of amendments in copyright legislation in the past years, and the rising costs for public budgets provoke a creeping development that threatens to undermine the self-image of public collections in their direct handling of cultural heritage. Apart from a discussion of legal issues, a political cultural debate is absent. A political cultural deliberation should usually precede legislation in the context of cultural heritage. But it is very easy for those responsible to give the authority for understanding and handling cultural property to lawyers and businesses that use the images. This article would like to encourage a political cultural discourse on the basis of two central questions: How forthright should or must we deal with our cultural heritage? And in which form is cultural property to be prepared and used?
History of the 20th Century: The Photograph Collection of the
Wiener Stadt- und Landesarchiv
The photograph collection of the Wiener Stadt- und Landesarchiv has been built up as an addendum to the document archives since the 1960's and comprises some hundred thousand photographs today. It is considered a distinct part of the collections department. Apart from acquisition and indexing of photographs, the duties of the photograph collection consisted from the outset and still consist today of assigning and administering duplication of selected archive materials on film in adherence to conservation criteria. The photograph collection is subdivided in eleven holdings. Registration is effected by means of databases; the holdings are partly accessible through scans. This article introduces the holdings and describes their current condition and perspectives of measures of conservation and inventory.
Die Fotosammlung (Fotoarchiv Gerlach - Fotoarchiv Palka -
Fotoarchiv Hula - Fotosammlung Matz - Fotosammlung Reiffenstein -
Fotosammlung Schöner - Fotosammlung Schmutzer) - Weitere
Bestände - Die Benützung - Der konservatorische Aspekt -
Ausblick - Anmerkungen
The "Picture Archive Schwenkel": A Collaborative Project of the
Landesanstalt für Umweltschutz and the Landesmedienzentrum
On July 14, 2005, the Landesanstalt für Umweltschutz Baden-Württemberg (since 1 January 2006 LUBW Landesanstalt für Umwelt, Messungen und Naturschutz Baden-Württemberg) turned over the so-called Schwenkel Archive, an exceptional collection of images, to the Landesmedienzentrum Baden-Württemberg (LMZ). The Schwenkel Archive is the image archive of the former Landesstelle für Naturschutz und Landschaftspflege. It contains approximately 15,000 photographs of the first conservationists in Württemberg. The LUBW continues to hold the property rights and copyrights; the LMZ has been granted the use of the pictures and the observance of the rights of their use. The LMZ and LUBW plan to co-operate closely with preservation and indexing tasks.
Bestand und Berichtszeitraum - Entstehung und Geschichte - Bedeutung - Erschließung - Konservierungskonzept - Forschungsbedarf - Nutzung - Literatur