Ask GEM: What happens in the conservation lab?

The Conservation Department is responsible for the preservation and care of the museum’s collection materials. Conservator in Charge Taina Meller and Assistant Conservator Sarah Casto have given us a peek at what happens in the conservation lab through a behind-the-scenes video and virtual 360-degree tour. The following is an edited excerpt:

Founded in 1975, this was the first conservation lab in the world dedicated solely to the care of photographic materials. The lab contains tools, supplies, and equipment for examination and care of photographs of all kinds. Over the decades, it has hosted various educational programs to spread knowledge about identification, conservation, and preservation of photographs.

Documentation is an important part of conservation. Each photograph chosen for an exhibition is first thoroughly examined to assess its current condition and to ensure it can be displayed safely. To maximize its lifespan, we also track and limit the display time and give recommendations for light levels in the galleries.

When examining a photograph’s condition, we are especially interested in any signs of chemical deterioration, such as fading and discoloration, but also in physical damages (tears and creases), as well as biological damages (mold and insect activity). The examination report becomes a part of the object’s permanent record in the museum’s collection database.

Along with visual examination and written reports, conservators take images to document a photograph’s condition and the results of conservation treatment. These images are important because they illustrate our written descriptions and any changes made during treatment, which is an essential ethical practice.

It is important for conservators to understand what materials each photograph is made of. When we aren’t able to visually identify the photographic process, we use a number of analytical instruments, most frequently the microscope. The magnified view aids the examination, improves our understanding of the possible condition issues, and is helpful when trying to understand what type of photograph we are looking at. There are also treatments that require a high level of detail. Some address aesthetic concerns — or how the photograph looks — but most of the treatments we perform improve the physical stability. In any case, our interventions are designed to be reversible and as minimally invasive as possible, and we always discuss the likely outcomes with the curators before we begin.

If you’d like to learn more about the lab, visit eastman.org/conservation.