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PMG Collaborative Workshops Bibliographies

Category:Photographic Materials
Category:Bibliography
Category:Materials and Treatment
Category:Photographic Processes
===PMG Collaborative Workshops in Photograph Conservation===
This series of workshops was initiated by Debra Hess Norris and Nora Kennedy in 1997, with funding from The Andrew W. Mellon Foundation. In 2008, the program became part of the FAIC Professional Development Program, under an endowment grant from The Andrew W. Mellon Foundation. An Advisory Committee provides planning and guidance for the workshops. More information on the workshops can be found on
AIC's website.
These unique training opportunities have generated over time an important group of teaching materials included in the binders distributed to the participants. The specific bibliographies prepared for each workshop are a relevant resource that can be accessed following the links below.
===PMG Collaborative Workshops Bibliographies===
*Pictorialist Processes of the Photo-Secession. November 29-December 3, 2004. The Metropolitan Museum of Art, New York, NY
*Nineteen Century Photographic Negative Processes. June 13-17, 2005. George Eastman House, Rochester, NY
* Photographs and Preventive Conservation. February 27-March 1, 2006. Library of Congress, Washington, DC
*Contemporary Photography: Digital Prints. November 6-10, 2006. San Francisco Museum of Modern Art, San Francisco, CA
*Nineteen Century Silver Based Photographic Print Processes. October 8 - 12, 2007. The Metropolitan Museum of Art, New York, NY
*Damaged and Deteriorated Print Materials: Compensation for Loss. January 28-February 1, 2008, Los Angeles, CA, J. Paul Getty Museum
*Conservation Issues in Contemporary Photography: 20th Century Color. October 20-24, 2008. New York City, NY, MoMA, New York, NY
*Conservation of Daguerreotypes. October 19-23, 2009. Weissman Preservation Center, Cambridge, MA
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PMG Environmental Standards and Guidelines for Storage

Category:Photographic Materials
Category:Environment
Category:Preventive Care
Category:Storage
Category:Housing
Category:Guidelines
Category:Bibliography
Page Information	Page Information
Date initiated 	September 2009
Contributors 	Luisa Casella, Stephanie Watkins
__TOC__
==Purpose of Environmental and Storage Guidelines==
*Identify the variety of complex and interwoven forces that effect change, and thus, the preservation of photographic materials.
*Utilize the most recent information to maximize the chemical and physical stability of all photographic materials while in storage. 
*Minimize changes in the image, binder, and support from agents of change, such as light exposure, temperature (heat, freeze-thaw cycles, cool storage, cold storage), humidity, pollution, storage container or collection material off-gassing, or any other environmental or storage ­related factors.
==Storage Environment Factors to Consider==
==Effects of Storage on Photographic Materials==
==Standards, Guidelines and Recommendations==
===Cool and Cold Storage===
*Art Institute of Chicago (IL, USA):
*Amon Carter Museum of American Art (TX, USA): Cool is 60°F, 40% RH, Cold is 20°F, 30% RH, and a vestibule for acclimatizing photographs between the two is 40°F, 35% RH (all temperatures ±3°F) (Panadero, 2019).
*Harry Ransom Humanities Research Center, University of Texas at Austin (TX, USA) (nitrate and acetate film vault):
*Indiana Historical Society (IL, USA): Temperature and RH set points are 50°F and 35% RH. 
*Museum of Fine Arts, Houston (TX, USA): 
*NARA (National Archives and Records Administration) (MD, USA):
==Equipment and Materials==
==Storage Techniques for Photographic Materials==
==References==
===General Care===
*Connecting to Collections Care (C2C). Dynamic, constantly changing FAIC online community with numerous resource links for care of photographic materials.
*Elkin, Lisa and Christopher A. Norris 2019. Preservation Conservation: Collection Storage. Joint publication of the Society for the Preservation of Natural History Collections; American Institute for Conservation of Historic and Artistic Works; Smithsonian Institution; The George Washington University Museum Studies Program.
*Image Permanence Institute. Collections environmental monitoring, engineering solutions, Object temperature and humidity recommendations (in PEM2 monitoring software), among other services and information.
*STASHc (Storage Techniques for Art, Science and History Collections). Foundation of the American Institute for Conservation. Accessed July 5, 2020. https://stashc.com/.
===Photographic Materials Specific===
*Panadero, Laura. 2019 (June 12). Blog on presentation of Amon Carter Museum of American Art 3-year cold storage expansion project, Fernanda Valverde. American Institute for Conservation 47th annual meeting (2019).
(>>>Editor note: needs a search for cool and cold storage; re: Topics, JAIC, IIC, WAAC, community forum, etc.)
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PMG Exhibition Guidelines for Photographic Materials (published 2004)

Category:Photographic Materials 
Category:Exhibition 
Category:Materials and Treatment
Category:Bibliography
The chapter addresses the philosophical considerations and the practical, material applications for displaying original photographic materials.
Exhibition Guidelines for Photographic Materials print version, 2004.
Compiler of printed version: Stephanie Watkins, 1993-2004
Initiator of printed version: Douglas Severson, 1992-1993 
Contributors to printed version (July 2004) (Alphabetical): Catherine Ackerman, Nancy Ash, Sarah Bertalan, Jean-Louis Bigourdan, Barbara N. Brown, Ed Buffaloe, Carol Crawford, Corinne Dune, Thomas M. Edmondson, Debra Evans, Julia Fenn, Betty Fiske, Gwenola Furic, Judy Greenfield, Doris Hamburg, Marc Harnly, Pamela Hatchfield, Cathy Henderson, Nancy Heugh, Ana Hofmann, Emily Klayman Jacobson, Martin Jürgens, Nora Kennedy, Daria Keynan, Lyn Koehnline, Barbara Lemmen, Holly Maxson, Constance McCabe, John McElhone, Cecile Mear, Jennifer Jae (Mentzer) Guttierez, Jesse Munn, Rachel Mustalish, Douglas Nishimura, Leslie Paisley, Sylvie Pénichon, Hugh Phibbs, Dr. Boris Pretzel, Dr. Chandra Reedy, Nancy Reinhold, Andrew Robb, Grant Romer, Kimberly Schenck, Douglas Severson, Tracey Shields, Angela Thompson, Sarah Wagner, Clara von Waldthausen, Dr. Mike Ware, Stephanie Watkins, Dr. Paul Whitmore, Faith Zieske, Edward Zinn.
First edition copyright (2004): The Photographic Materials Conservation Catalog is a publication of the Photographic Materials Group of the American Institute for Conservation of Historic and Artistic Works. The Photographic Materials Conservation Catalog is published as a convenience for the members of the Photographic Materials Group. Publication does not endorse nor recommend any treatments, methods, or techniques described within the chapter.
Please also see AIC's Main Categories: Exhibition Standards & Guidelines, Mounts & Mountmaking, Choosing Materials for Storage, Exhibition & Transport, Conservation Materials, Materials Testing, and Materials Working Group
TABLE OF CONTENTS
*1.1 Purpose and 1.2 Factors to Consider
*1.3 Effects of Exhibition on Photographic Materials
*1.4.1 Standards, Guidelines, and Recommendations for Light Levels During Exhibition
*1.4.2 Standards, Guidelines, and Recommendations for Temperature and Humidity Levels During Exhibition
*1.4.3 Standards, Guidelines, and Recommendations for Air Quality During Exhibition
*1.5.1 Monitoring Equipment
*1.5.2 Lighting Options
*1.5.3 Glazing and Filter Materials
*1.5.4 Matting, Backboards, and Support Materials
*1.5.5 Hinging and Mounting Materials
*1.5.6 Framing Materials
*1.5.7 Cases, Packing, and Crating Material
*1.6 Exhibition Techniques for Photographic Material
*1.7 Traveling Photographic Exhibits and Loans
* 1.8 & 1.9 Standards Organizations and Polymer Names
*1.10 References for Exhibition of Photographic Materials Chapter
PMG Photograph Conservation Initiatives Around the World

Photograph Conservation Initiatives Around the World	Photograph Conservation Initiatives Around the World
Date initiated: 	February 2021
Page Compiler: 	Luisa Casella
Contributors 	
__TOC__
==Purpose of Photograph Conservation Initiatives Around the World==
Present different photograph conservation initiatives around the world.
From this initial page there will be links to pages pertaining to different initiatives and geographic areas.
==Photograph Conservation Around the World==
*Photograph Conservation in Egypt
*Photograph Conservation in Latin America
==References ==
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Category: Photographic Materials Category: Education & Professional Development‏‎
PMG Photograph Conservation Laboratories

Photograph Conservation Laboratories	Photograph Conservation Laboratories
Date initiated: 	June 2021.
Page Compiler: 	Luisa Casella
==Purpose of Photograph Conservation Laboratories Page==
List relevant photograph conservation laboratories. From this initial page there will be links to pages pertaining to different labs and studios.
==Photograph Conservation Laboratories==
*Art Institute of Chicago Photograph Conservation
==References==
* Kashina, Karina. 2007. A Guide for establishing a Photograph Conservation Laboratory. Advanced Residency Program in Photograph Conservation Capstone Project. Available at: https://drive.google.com/file/d/1Az4Y78scBcN4KJKQWk-mlFr39vD49rOw/view
* History of Conservation Laboratories and Studies Page
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Category: History of Conservation and Conservators
PMG Photograph Conservation in Latin America

Photograph Conservation in Latin America	Photograph Conservation in Latin America
Date initiated 	April 2021
Page Compiler 	Alejandra Mendoza
Contributors 	Luisa Casella, Mirasol Estrada
__TOC__
==Mexico==
===Development and History of the Field of Photograph Conservation===
===Training===
===Important Photograph Collections===
===Current Conservation Initiatives===
===References ===
==Argentina==
===Development and History of the Field of Photograph Conservation===
===Training===
===Important Photograph Collections===
===Current Conservation Initiatives===
===References===
==Bolivia==
==Brasil==
==Chile==
==Colombia==
==Cuba==
==Ecuador==
==Guatemala==
==Paraguay==
==Perú==
==Uruguay==
==Venezuela==
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Category: Photographic Materials Category: Education & Professional Development‏‎
PMG Resin Coated (RC) Papers History and Conservation

Page section 1 Header. Copy code to produce this table on the top of the page.
Page Information	Page Information
Date initiated 	Febraury 2025
Page Compiler 	Zachary Long
Contributors 	Luisa Casella
==Purpose of documenting the history and development of Resin Coated (RC) Papers==
Add text here. 
==Definition and Terminology==
Add text here.
==History and Chronological Development==
Add text here. When citing references that are used in the body of the page, use the built-in reference style of the wiki. This allows the wiki software to automatically generate a properly-numbered list of references at the end of the page. 
The correct way to use citations correctly is this.Stulik, Dusan C. and Art Kaplan. 2013. The Atlas of Analytical Signatures of Photographic Processes. Los Angeles: The Getty Conservation Institute.. 
===Sub Sections - use Heading Level 3===
Add text here.
====Sub Sections - use Heading Level 4====
Add text here. If you want to add another reference: Last name, Name and Name Last name. YYYY. Book Title. Place: Editor.. 
==Conservation Treatment==
Add text here. 
==Emergency Response==
Add text here. 
==Oreservation Recommendations==
Add text here. 
==References==
References will appear automatically in this section if you use the code for references explained above. The only thing you need to type here is: 
==Further Reading - use Heading Level 2==
Use this section to include other resources that contain information on your page's topic which you have not referenced already in the previous section. 
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Category:Photographic Materials
Category: Photographic Processes
PMG What is a photograph?

Page Information	Page Information
Date initiated 	September 2020
Page Compiler 	Alejandra Mendoza
Contributors 	Alejandra Mendoza, Grant Romer, Fernanda Valverde
Photographs have never ceased to evolve both aesthetically and technologically, and this constant evolution has challenged the definition of the term itself many times.
In recent decades, the development of digital photography, contemporary systems of creation and display and the evolution of time-based media have defied previous broadly accepted definitions of a photograph. 
It is in the interest of the field of Photograph Conservation to establish a definition of what constitutes a photograph (and what doesn't?). 
To that end, we asked senior Photograph Conservators for their definitions, that we present next. 
Grant Romer
Photography 
Imaging Technology based upon different forms of radiant energy. It produces photographs.
Photograph
A record of variant degrees of radiant energy made on a certain surface at a certain time.
True Photograph
A material image or object that was directly sensitive to radiant energy (most commonly visible light) at some stage of its creation, as opposed to images that have the visible characteristics of photographs, such as photomechanical prints.
Fernanda Valverde
 
What is a photograph? 
 
Visual record from the outside world1 captured or produced by the interaction of different amounts of light or visible radiation on a light sensitive surface; the amount of reaction/transformation on each part of surface is proportional to the energy (light) received. The result is discernible to the human eye as tonal gradations forming a figure or image. 
1 Material or tangible world vs. inner human mind. 
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Category: Photographic Materials
PMG Workshop Bibliographies Template

Category:Bibliography
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Photographic Materials Conservation Catalog 
PMG Collaborative Workshops Bibliographies: 19th Century Negative Processes
The Photographic Materials Conservation Catalog is produced by the Photographic Materials Group of the American Institute for Conservation of Historic and Artistic Works as a convenience for the membership. The treatments, methods, or techniques described herein are provided for informational purposes. The reader assumes responsibility for any application results.
COLLABORATIVE WORKSHOP IN PHOTOGRAPH CONSERVATION: NINETEENTH-CENTURY PHOTOGRAPHIC NEGATIVE PROCESSES
13-17 June 2005, George Eastman House, Rochester, NY
Contributions by -----names here----
=Heading 1 - For Processes=
==Heading 2 - Technical, Further reading, etc==
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PSG DEIA Mission Statement

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The PSG is committed to supporting AIC’s Core Value of Equity and Inclusion and to improving diversity, equity, inclusion, and accessibility within our membership and programs. In partnership with the Equity and Inclusion Committee, the PSG would like to highlight the below resources for PSG members. In addition, the aim is for this section of the PSG Wiki to provide a space for and to amplify DEIA narratives within our specialty. If you would be interested in contributing content to this section or have additional resources to share, please email the Chief PSG Wiki Editor at aic.psg.wiki@gmail.com.
Paintings: Inpainting

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The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.
=== Painting Conservation Catalog, Volume III: Inpainting ===
----The information presented on the Paintings Conservation Wiki is the opinion of the contributors and does not imply endorsement or approval, or recommendation of any treatments, methods, or techniques described.Compiler: Catherine A. Metzger | Co-Compilers: Christopher Maines and Joanna Dunn
:*Acknowledgements
:*Statement of Purpose
:*Compensation Goals/Philosophical Issues
:*Inpainting Binders and Media
:*Pigments
:*Dyes
:*Compensation for Gilded Surfaces
:*Tips
:*Instruments and Equipment
:*Vendors of Inpainting Materials
:*Compiled Biographies
Panel stamped

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Panel stamped		LARGER IMAGES
:FRONT
:BACK
:SPINE
:ENDPAPER
:ENDBAND
COLLECTION 	Courtesy of the Harry Ransom Humanities Research Center, University of Texas, Austin
  	 
BINDING DESCRIPTION 	BINDING DESCRIPTION
BINDING TERM 	 
DECORATION 	 
REPAIRS 	 
COVER material/hardware, etc, corner style/turn ins, repairs	 
BOARDS material, back cornering 	 
SPINE rounding/ backing lining 	 
ENDBANDS style, material/color, core material 	 
SEWING style, # stations, support material lacing in 	 
ENDPAPERS material, # of flyleaves/attachment 	 
TEXT BLOCK material, edge treatment 	 
HOUSING 	 
NOTES 	 
DESCRIBER (s) 	Meaghan J. Brown, M. Baughman, O. Primanis
Citations/ SEE ALSO 	See Also: Paper descriptions: Elizabeth Lunning and Roy Perkinson. The Print Council of America Paper Sample Book: A Practical Guide to the Description of Paper. The Print Council of America. Sun Hill Press, 1996.
UNIVERSITY OF TEXAS CATALOGING RECORD accessed 10/08 	
UNIVERSITY OF TEXAS CATALOGING RECORD accessed 10/08
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Pellet Print

__NOTOC__
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Photographic Materials Conservation Catalog 
Photographic Processes
Date: Initiated ....
Contributors:
The Photographic Materials Conservation Catalog is created and maintained by the Photographic Materials Group of the American Institute for Conservation for the convenience of the membership. The treatments, methods, or techniques described herein are provided for informational purposes. The reader assumes responsibility for any application results or interpretation of information.
==Pellet Print==
Historical Facts
thumb| Caption
Text
Identification Characteristics
thumb| Caption
Image layer: Text
Color: Text
Support: Text 
Material description: 
Text
 Process Chemistry
Text
Procedure
Text
Condition
Text
Conservation
Text
Concerns and limitations in treatment:
Text
Housing and Storage Considerations
Housing:
Tex
Storage:
Text
Exhibition and lighting:
Text
Emergency Recovery
Text
REFERENCES
Conservation
* 
Process and Historic Material 
* 
Contemporary Practice
* 
*
Category:Photographic Materials
Category: Photographic Processes
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Pentimento

== Pentimento ==
===Definition===
An alteration in a painting, evidenced by the presence or emergence of former images, shapes, or strokes that have been altered or painted over by the artist.
===Related Terms===
Pentimenti (plural)
===Discussion===
The word pentimento is derived from the italian word pentirsi, which means to repent or change one's mind. In art, pentimento refers to the visible evidence of an artist's earlier design below their final design. These pentimenti may reveal an element in the composition that was removed or altered; for example, the placement of a figure's head or the presence of an object that was later removed. Pentimento traditionally encompasses alterations that were a part of the artist's intent, and exclude changes or cover ups made by later artists or conservators. Likewise, pentimento does not refer to compositions underneath the top layers that are unrelated to the finished composition, even if they were created by the same artist.
Some pentimenti are becoming increasingly visible today as a result of the fading of the top layers of paint. In this case, a ghost of the original composition starts to show through the faded layers of paint. Sometimes pentimenti are visible due to textural differences in the surface of the paint. However, more often than not, pentimenti are exposed through usage of modern technology, such as X-rays, infrared reflectography, and photography. The increasing number of technological advances that allow us to see these pentimenti have revealed a greater number of paintings that have hidden compositions underneath their final layers. These "pentimenti" are interesting because they can reveal to us a change or development in the artist's style or idea.
Pests

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Back to the Ten Agents of Deterioration 
Contributors: Kelly Krish, Rachael Perkins Arenstein
Pests as a Agent of Deterioration risk factor encompass both vertebrates (e.g. rodents and birds) and insects (beetles, moths, termites, etc.). Some also consider mold/mildew/fungi to fall under this category. Organic materials are particularly vulnerable to damage from pests, including furniture, books and papers, feathers, textiles, and plant materials. Signs that pests may be active in a collection space include: the presence of adult pests, their frass, larvae, or eggs; accumulations of powder or other remnants; or damage in the form of holes, “grazed” surfaces, staining, structural weakening, and loss of material. When this reaches the point where measurable loss occurs (be it financial or aesthetic) or it becomes a health issue, a pest issue is present.
In recent years, health and safety concerns have led institutions away from the regular applications of toxic chemicals (pesticides or fungicides) toward greater emphasis on preventative and protective measures that are not chemical based. A combination of these different measures is known as “Integrated Pest Management,” often abbreviated to the acronym IPM and is now the recommended approach to pests. This focuses on prevention and monitoring, and, should an outbreak occur, the use of temperature or atmospheric control instead of pesticides.