goat) such as the Japanese Hake (brushes).Ĭlean brushes after each use by washing with neutral soap and lukewarm water.Ĭosmetic Sponge Chamois Eraser Crumbs įor more persistent surface dirt such as dark dust or debris, eraser crumbs may be used.Įrasers used by photograph conservators are sulfur-free vinyl erasers, more commonly Magic Rub and Staedtler-Mars white eraser. The brush must be of natural soft hair (e.g. Soft brushes can be used for removing slightly persistent surface dirt. Small museum vacuum cleaners may be used for light surface dirt. These work by breaking the electrostatic bonds on the surface of objects, releasing dust or other particulates, as well as by blowing air. The use of ionizing air wands is being investigated at The Met. Giotto brand).īlow the surface dirt from the center outwards or from one edge to the other ensuring the dirt is not moved and re-deposited on the photographic surface in another area.Ĭompressed air cans often spray chemicals or aqueous droplets that may damage the surface of the object.
If surface deposits are minimal (such as dust), a safe approach to surface cleaning photographs is using an air bulb, such as used for cleaning ears or designed specifically as a blower (e.g. With mechanical cleaning it is fundamental that the tools or surface deposits do not abrade or damage the surface of the photograph by excessive pressure, sharp edges or composed of too hard a material, since these tools will be cleaning the surface (as opposed to a solvent). Techniques Mechanical (Dry/Non-aqueous) Cleaning Methods Material removed during surface cleaning may have evidentiary, artifactual, or historical value, and that should also be taken into consideration before performing a treatment. Accretions may often be removed by mechanical action alone (using a sharp edged tool).Fingerprints are often composed of grease or dirt so the use of solvent may be required, although often not be successful.Soot, from fire damage, is greasy and has to be removed by the use of solvent, eraser or soot sponge.Particulate matter will often be easily removed with air bulb or brush.It is equally fundamental to determine the nature of the dirt to be removed which will allow defining the appropriate course of treatment. All of these will affect the choice of cleaning method severe structural damage to a binder layer may rule out surface cleaning treatment or mandate that treatment be carried out under magnification at all times. Note silver mirroring, processing problems, evidence of mold or prolonged exposure to high RH, cracking of the binder or coating, etc. It is also most important to evaluate the condition of the photograph prior to cleaning. Additionally, the presence of hand coloring or retouching should be thoroughly considered before beginning any cleaning procedure. It is fundamental to carefully identify the photographic process as well as any existing protective layers such as varnishes which will respond differently to treatment than the specific photographic process surface. Surface cleaning procedures may cause permanent change in sheen or texture, two of the most important visual characteristics of photographic materials. The risks involved are physical (abrasion) and chemical (harmful interaction of solvents with the image layer). The reduction or removal of these maybe desirable for aesthetic reasons or long-term preservation as these extraneous particles may contribute to further damage by abrasion by being hygroscopic or by contributing to the chemical degradation of the object.Ĭleaning the surface of photographs is a delicate procedure.
Photographs often present surface dirt or accretions. Maximize the chemical and physical stability of the object while removing damaging or obscuring surface deposits while minimizing changes in the image, binder, and support from light exposure while removing surface debris.įactors to Consider Before Surface Cleaning Purpose of Surface Cleaning Photographic Materials