The document provides an overview of identifying and analyzing photographs, including: I. Reading images by examining who/what/where/when/why and visual elements. II. Understanding the physical structure and formats of photographs like tintypes, albumen prints, gelatin silver prints, and factors that aid identification. III. Best practices for handling, housing, and storing photographs in archives to preserve them and make them accessible, as well as important environmental conditions.

2. Overview I. The Image II. The Object III. In the Archives IV. Exercise

3. I. The Image

4. What’s in an image? I. The Image

5. Reading an Image Five Ws Who What Where When Why I. The Image

6. Reading an Image Who? Photographer Subject I. The Image

7. Reading an Image What? Present Absent I. The Image

8. Reading an Image Where? Location I. The Image

9. Reading an Image When? Fashion Technology Absence I. The Image

10. Reading an Image Why? Context Intention The "Carrying-in Boy," In an Indiana Glass Works, 1:00 A. M., Aug., 1908. Location: Indiana. National Child Labor Committee Collection I. The Image

11. Reading an Image Visual Elements Composition Depth of field Point of view Rhythm Color balance Tonal range I. The Image

13. II. The Object

14. Photo Basics II. The Object

15. What is photography? II. The Object

16. Photo History II. The Object

17. Trends in Photo History Easier to create Easier to duplicate More accessible Cheaper II. The Object

18. What is a photograph? A complex physical object that has an image fixed via a chemical process II. The Object

19. Photograph Structure Base: paper, glass, metal, plastic Light-sensitive particles: silver, color dyes Emulsion: gelatin, albumen, collodion Baryta layer II. The Object

20. Physical Evidence Polarity Size Base and mount Color Reflection Microscopic appearance II. The Object

21. Physical Evidence II. The Object

22. Common Formats and Processes II. The Object

23. Tintypes (ca. 1856-1930s) Collodion on blackened iron base Direct positive image Extremely popular during Civil War II. The Object

24. Tintypes (ca. 1856-1930s) Cheap and ubiquitous Often worn or scratched Identification: Snip marks Magnet test (on back) Reversed image Mainly portraiture II. The Object

25. Albumen Prints (1850-1895) POP from wet collodion negatives Always mounted Tend toward sepia/yellowish II. The Object

26. Albumen Prints (1850-1895) 80% of extant 19 th -century prints Cartes-de-visite Cabinet cards Identification: Paper fibers Cracking Yellowing Mount Paper fibers visible 30x magnification II. The Object

27. Silver Gelatin DOPs (1885-present) Dominant 20 th -century process Dozens of formats Identification: Neutral unless toned Baryta layer (no paper fibers visible) II. The Object

28. Silver Gelatin DOPs (1885-present) II. The Object

29. Color Prints (1930s-today) Organic dyes Many processes Identification: Characteristic deterioration Unstable II. The Object

30. Instant Photos (1948-today*) Photo printed from packet with negative, developer, base Identification: Adhesion markings or developing pod Coating flaws Unique Unstable II. The Object

31. Film Negatives Cellulose nitrate (1887-1950) Cellulose diacetate (1937-1956) Cellulose triacetate (1947-present) Polyester (1960-present) Roll film II. The Object

32. Film Negatives Identification: Notch codes Other tests Cellulose bases unstable Sheet film II. The Object

33. Other Processes II. The Object

34. Digital Photos (1990-today) Sensor converts light to bits, computer renders image Digital preservation II. The Object

35. III. In the Archives

36. Why? Why identify photographs? Preservation Access Context Photographs offer evidences and resonances not offered by other media III. In the Archives

37. Handling Wear gloves Provide support Use only pencils Gently remove from housing Be aware of physical condition Create and follow handling policy Consider surrogates III. In the Archives

38. Paper (envelopes, four-flaps) Cheaper, blocks light, breathable Viewing requires handling Plastic (polyester, polystyrene, etc. No PVC!) Viewing without handling Expensive, not for unstable items Must pass Photographic Activity Test (PAT) Housing III. In the Archives

39. Housing Boxes and folders PAT test Proper support for format (long edge down or flat) Ideally, separate photographs from other materials, and then by format (especially negatives!) Balance condition/format, use, resources III. In the Archives

40. Environment Temperature / relative humidity Light (sunlight, UV light) Pollutants (gaseous and particulate) Biological (mold, fungus, pests) III. In the Archives

41. Environment B/W silver gelatin: 65°F, 30-50% RH B/W acetate negatives: 7°F, 30-50% RH Chromogenic dye on paper: 36°F, 30-40% RH Most good for the most items III. In the Archives

42. Selected Resources General Photographs: Archival Care and Management, Ritzenthaler & Vogt-O'Connor (2006) Care and Identification of 19th-Century Photographic Prints , Reilly (1986) SAA photo preservation workshop III. In the Archives

43. Selected Resources Cartes de Visite Cartes de Visite in Nineteenth Century Photography, Darrah (1981) Fashion Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900 , Severa (1995) III. In the Archives

44. Selected Resources Gelatin silver A Guide to Fiber-Base Gelatin Silver Print Condition and Deterioration, Weaver (2008) Negatives The Acetate Negative Survey, Horvath (1987) III. In the Archives

45. IV. Exercise Divide into three groups Pick a reporter Identify photograph using image and physical evidence (5 min) Share your conclusions

46. Group 1

47. Group 1 Sixth-plate sized tintype, 1880s Magnet test, snip marks Image reversed – watch customarily on left Jacket, tie, and hat match 1880s style

48. Group 2

49. Group 2 Carte-de-visite, early 1870s Medium card stock, square corners (1869-1871) Borders, common 1861-1869 Imprint with length-wise large type (common 1870-1875) Shoes probably 1865-1875 Photographers active in 1870s

50. Group 3

51. Group 3 Gelatin silver “real photo” postcard, ca. 1910s Neutral tonal range, silvering Cyko postage stamp area (1904-1920s) Divided back, no border: 1907-1915 III. In the Archives

52. Thank you!