Talk:Conservation-restoration of dye diffusion transfer prints

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I want to re-iterate the below... this article must have an introductory section.

Other points:

1. put the title above the contents box, then have intro section (which needs to be written in the correct format), then have contents box.

2. Conservation-restoration section is not needed, and the information in it could easily be incorporated into an introduction. Remembering you don't need to write what conservation-restoration is, you can link to the relevant Wikipedia page.

3. You should have a "references" section for the references you have.

--Daniel Cull (talk) 21:12, 3 May 2019 (UTC)

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I would just say that you do need an introduction to the subject "Conservation of.." that describes what the conservation activity is and aims are, rather than only the objects themselves within the introduction. --Daniel Cull (talk) 15:47, 29 April 2019 (UTC)

After reading your introduction (which is very good) I started to wonder - but how is the image actually made? The chemical must be present in the film and somehow smooshed onto the surface? And I looked it up and found one source that explains a bit of it - https://science.howstuffworks.com/innovation/everyday-innovations/instant-film.htm

Which got me thinking - if the chemical are present in the film, and I know that polaroids (just using this term for ease) are very unstable, could it be that part of the issue is that unlike other photographic processes (Gelatin-Silver DOP) where the chemicals are rinsed away and the print is untimately fixed, in a polaroid the chemicals remain on the paper/film and therefore could continue to develop if the conditions are right - like high light levels, high heat, acidic environment.

Rose Daly (talk) 13:51, 29 April 2019 (UTC)

Another thing to consider, unlike traditional film processes (and there is a great deal of debate about what is actually the first photograph because of this) which require the exposure of film which then creates a negative, followed by the exposure of a piece of paper to that film which makes a positive, a polaroid is a unique print, and cannot be re-printed, which makes it more rare than other forms of film-photography.

Rose Daly (talk) 13:54, 29 April 2019 (UTC)

This sentence isn't necessary - ' If the water damage is suspected, and the surface of a print is sticky to contact, then it should not be handled. However, if the surface appears in-tact, then the print may be rinsed in cool, clean water and then set aside to dry.' You aren't writing a how-to manual, you are writing for a general audience. I would focus more on the decisions that are made, and less on the options for treatment. Conservators, Coll Managers, and Curators decide if a Polaroid needs treatment and why kind of treatment it needs, then they decide how to perform the treatment.

Actually, there is a way to measure the amount of fading, through densotometric analysis of a photograph.

Here are the main deterioration issues of photographs abrasion - scratching of the surface accretion - something on the surface bleaching - Where a material becomes lighter in colour due to the action of various solvents or light. Sunlight, especially the ultraviolet component, can be particularly damaging. crease - Where a sheet material (e.g. paper) has been unintentionally bent over on itself. See also fold. delamination - Separation of individual layers of a laminated material from one another – e.g. the emulsion layer from a glass plate negative; layers within a sheet of board. fading - Loss of brightness or intensity of a colour, usually due to the action of light but may also be due to pollutants and other chemical interactions. fold - Where a sheet material (e.g. paper) has been unintentionally bent over on itself. See also fold. mold - Another word for fungi; mould spores can germinate and grow within organic materials to cause staining and structural weakening. May appear as colourful powdery or downy growth on an object’s surface, or as black spots. planar distortion - A concave, convex or twisting change of form, used to describe stiff organic materials that have become misshapen, such as paper, card, plant fibres and wood. stain - A localised discolouration, often caused by splashes of liquid or by contact with an acidic material, such as an adhesive or ink. tear - Separation between or across the fibres of canvas, paper or textile objects, usually beginning at the edge of the object and often following areas of weakness (e.g. folds) and initiated by physical damage. tide mark - Localised discolouration that forms at the edges of liquid stains, on drying. The staining material may have been within the liquid or the object; both will be carried to the edge of the evaporating liquid and “pinned” in place by surface tension, causing the characteristic pattern.

I got these definitions from here - https://aiccm.org.au/conservation/visual-glossary/stain

Look for more information, but avoid prescriptive comments in your writing, here -https://www.conservation-wiki.com/wiki/PMG_Preservation_of_Traditional_Color_Photographic_Materials

'8.3.3. Dye Diffusion Transfer

8.3.3.1. Intro and Overview

Time Period: 1963 - present

Other Names: Instant; One-Step

Overview: The components to make color separation negatives and the subtractive color dyes exist in separate layers of a multilayer material. As a result of exposure and processing, these dyes selectively migrate to a single layer (also in the material) to form the full-color image. Color as Form, p.39

Final Image Material: Metalized dyes Maximum Size ??cm x ??cm

Binder: Gelatin

Support: Resin-Coated Paper; Pigmented Polyethylene

8.3.3.2. Products

Polaroid

Peel Apart

Polacolor ER 1981-?? Large format only cyan dye is metalized

Polacolor II 1975-?? metalized dyes

Polacolor I 1963-?? Fiber base, Integral

SX-70 1972-??

Kodak

Ektaflex Pr-10 1981-19?? Matte surface

Fuji

FI-10 1981-present available only in Japan

8.3.3.3. Characteristics (Polacolor products)

Front: Unique; Wider margins than chromogenic prints (generally); Polacolor ER squeegee marks at outer edge; Under magnification micro dust specks and scratches can often be seen running parallel to long edge;Under magnification of 40x, mottled white spots can often be seen in dark areas

Back: Backprinting many products have codes in blue ink along lower edge.

8.3.3.4. Deterioration

Light Stability Integral: Yellow dye most sensitive; Peel Apart: yellow and cyan most sensitive

Dark Stability: Dyes have excellent dark stability

Staining Integral: Staining in highlights; Peel Apart: little staining

SX-70 often has interlayer cracking at corners due to cycling RH. Polaroid claims this will only occur in “extreme” conditions with post-1980 prints. Polacolor I often is mounted to avoid curl due to being on fiber paper.

8.3.3.5. Tests

UV Examination: No noticeable fluoresce

Water Spot Test: [?]

8.3.3.6. Conservation and Treatment

8.3.4. Dye Imbibition

8.3.4.1. Intro and Overview

Time Period: 1881 - present

Other names:

Overview: Three [color] separations are used to print gelatin relief images that will absorb the subtractive color dyes in proportion to the various densities of the images. After immersion in dye baths, each relief in succession is placed in contact with a single layer support material allowing the three dyes to transfer to and be absorbed by this material. Color as Form, p.38-9

Final Image Material: Dyes

Maximum Size: 40cm x 60cm; Wash-Off Relief Film 11x14 in

Binder: Gelatin

Support: Paper, fiber

8.3.4.2. Products

Dye Transfer Company - Jay Patterson, Dye Transfer Company, 3935 Westheimer Rd., Suite 306, Houston TX 77027

Fuji

Dyecolor - 1970-present (only available in Japan)

Eastman Kodak

Dye Transfer - 1946-1993

Wash-Off Relief - 1935-46?

Other Earlier Processes:

Steichen - 1935

Uvatype - 1931

Connell - ca. 1930

TriChromatic Plate Pack - 1911

Pinatype - 1905

Sanger-Shepard - 1900

Hydrotype - 1881

8.3.4.3. Characteristics

(Eastman Kodak Dye Transfer, may apply to other products)

Front:

Misregistration, especially at edges

Along print margins dye may be noticeable from matrices’ edges and registration holes

Bleeding around areas of strong color

Retouching can be very difficult to see due to integral nature of dye image

Color “holes”, flaws due to dirt specks, scratches, or other flaws in one of the matrices

Possible acetic acid smell

Often trimmed and mounted

Papers used vary somewhat, but typically are fiber base papers with a slightly bumpy gloss surface. Prints can be made with any fixed out paper. Kodak did sell a pre-prepared gelatin-coated paper.

Back:

Backprinting - (Does special Kodak paper for dye transfer have backprinting?); Dye spots may be evident on back due to large amount of handling needed to apply matrices.

8.3.4.4. Deterioration

Light Stability: Yellow dye most sensitive

Dark Stability: Little fading in dark storage

Staining: Little staining due to lack of residual chemistry in highlights

8.3.4.5. Tests

UV Examination: Misregistration is more evident under UV examination; these areas are particularly useful for UV examination. *Prior to 1989 (?), Dye Transfer magenta dye fluoresces orange/pink. This can be difficult to see if image is very green

Water Spot Test: Can cause permanent change due to dye bleeding.

8.3.4.6. Conservation and Treatment' — Preceding unsigned comment added by Rose Daly (talk • contribs) 14:16, 29 April 2019 (UTC)