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Archival Processing, Display and Storage

Things to remember about archival processing include:
Proper Fixing, Washing and Toning

The first step in archival processing is to properly remove all the unexposed silver from film and prints by using a fresh fixing bath.

Read the processing instructions provided by the manufacturer for proper fixing times for both film and paper. Don't overly fix. Leaving film and prints in the fixer for extended periods can deteriorate the image. For fiber paper it is better to use a film strength dilution for the fixing bath and shorten the time the print is left in that solution. Use two strong fresh fixing baths and agitate constantly for 1 minute in each tray. The longer a fiber print is in the fixer the longer the wash time necessary to eliminate this chemical from the paper.

Once the silver emulsion is properly fixed the next task in archival processing is to remove the fixer. If fixer is left in an emulsion, film will loose detail and prints will turn yellow. The length of time to see these results will depend on how much fixer remains. Optimally no fixer should remain for prints and film to last as long as possible.

It is highly recommended to use a hypo eliminator to help in removing fixer and reducing wash time. Once again read and follow the instructions for the wash aid you are using. Thorough washing is particularly important for fiber based black and white photographs! This type of paper absorbs more fixer and holds it in the fibers longer. Prints will need to be kept separate while washing either by manually rotating prints under a water stream or by having a washer designed to washes both sides of the print at the same time. If you want to find out if all of the fixer has been removed from your prints, there are residual hypo test kits available for this purpose.

Another step in achieving archival permanence for film and paper is toning. The silver in the light sensitive emulsion can be damaged by exposure to ultra violet light and by environmental pollution. Toners such as selenium, gold and sepia can protect the image by either changing the sliver into a different compound or by coating the silver grains in the emulsion. The print color will change by using these toners. However if you don't like the effect, check the instructions and see if a different dilution can minimize the changes. Warm tone papers shift color easier than neutral or cold tone papers. Remember to wash thoroughly before and after toning.

Now that your film and prints have been archivally processed, the final step in image preservation is proper storage or presentation. Both prints and film like an acid free environment. Film should be placed in acid free sleeves and stored in archival binders or boxes. Prints can be stored also in acid free boxes or albums. Use acid free photo corners to attach prints in scrapbook type albums. Be aware that some adhesives used to mount photos are acidic and should not be used. Also if you use photo corners, should you want to rearrange photos or change the album prints can be easily removed without damage. When displaying your prints use 100% rag, acid free, mount and mat board. You can dry mount or use photocorners to attach prints to the backing board. If drymounting, make sure the adhesive tissue you use is ph neutral. There are even some tissues that are designed to release the print from the board by reheating in a drymount press.

Color prints need special care because the images are not as stable as black and white photos. It is recommended that the archival products used for storing and display of color photographs not be buffered with calcium carbonate. Also, be careful where the color photograph is displayed. Colors can fade in a few days if prints are hung in direct sunlight. The more ultra violet light the quicker the change. So it is a good idea to limit the time color prints are exposed to bright lights. Rotating images is a good solution and gives an opportunity for new photos to be enjoyed.

Following archival methods in processing, storage and display will give the maximum longevity to your photographs. Prints that are processed and handled in this manner are more valuable and generations to come will be able to enjoy your unique perspective. Certain types of toners such as gold, selenium, and sepia can be used not just to change the print color but also to enhance the longevity of film or prints. These toners provide a barrier to environmental chemicals that can deteriorate an image.

Storage and Display

Use acid free materials when mounting or matting your photographs. When storing black and white prints use acid free interleaving tissue, albums and boxes. Color prints need to be treated differently. They should be mounted on non- buffered board and stored in boxes lined with non-buffered paper.