Reading 1

Wilhelm, H. (1993). Chapter 16: Storage Environment: Relative Humidity, Temperature, Air Pollution, Dust, and Fungus. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures (pp. 539-574). Grinnell, Iowa: Preservation Publishing Company.
ISBN: 0-911515-00-3

I chose this chapter as my first reading assignment because Brad Cook indicated that maintaining a suitable environment is the first and most important step in preserving photographs and pointed out this chapter as a good overview of that topic.

Wilhelm begins by stating that the first preservation decision each archivist must make is how long he or she wants a group of photographs or films to remain usable. This decision, which balances practical considerations, such as budgets and the facilities available to the archivist, against the desire to preserve materials for as long as possible, will guide all subsequent preservation decisions. After a case study of environmental neglect at the George Eastman House International Museum of Photography, the author lays out general recommendations for the storage environment of photographs and films in a useful chart on page 544 that summarizes the content of the rest of the chapter.

He recommends that photographs be stored in a cool, dry place, noting that relative humidity is the most important aspect of the environment to regulate in order to preserve black-and-white prints and negatives (30% RH is ideal and levels above 50% unacceptable) while temperature has the greatest influence on the lifespan of color prints (for every 10 degrees Fahrenheit the temperature is reduced, the useful life of the color print will double). He also notes that preventing dramatic fluctuations in RH is even more important than maintaining a low RH, with fluctuations of less than plus or minus 2% ideal. Fungus should not grow at an RH of under 40% and air pollutant levels should be kept as low as practicable, though Wilhelm points out that efforts to maintain low levels of pollutants will be a waste of time if proper temperatures and RH are not maintained. Photographs should not be stored in areas where there is any possibility of flooding, such as in basements or rooms with pipes. He also recommends that buildings housing photographs be constructed of non-combustible materials, contain fire-detection systems, and have a fire-suppression system that does not rely on water. For the design of environmentally-controlled storage facilities, Wilhelm recommends Bonner Systems, Inc. He recommends Cargocaire for dehumidifiers and suggests avoiding silica-gel as a humidity control since it is often ineffective. He also notes that it is important to recalibrate hygrometers every six months.

In the main body of the article, Wilhelm expands on each of these points, examining in detail, for instance, how different levels of relative humidity and cycling RH levels impact various types of photographs. He also compares and contrasts specific companies and products throughout the chapter, comparing the merits, for instance, of various types of air conditioners and dehumidifiers. In addition, he also discusses methods of dealing with pests and controlling dust, which are not included in the table on page 544. He concludes with a case study of the Newberry Library and its building design and environmental control.

Overall, the chapter serves as a good overview of how environmental conditions can damage or, if properly controlled, help preserve photographs and film. Wilhelm discusses each aspect of the environment concisely, but thoroughly, and he offers a variety of solutions for controlling each one, ranging from solutions most appropriate for large museums to those which can be implemented by an amateur photographer in his or her home.