AIC's 52nd Annual Meeting

The reproducibility of film-based and digital photography provides conservators with the regular existential thrill of asking ‘what is real?’. Ongoing dialogues within the field investigate the idea of what constitutes an original and who gets to define it. The idiosyncratic terminology used to describe prints themselves - vintage, reserve, period, exhibition, modern, posthumous, reprint, etc. - suggest the varying degrees of originality or authenticity that the possibility of multiples presents. This paper will discuss the challenges of documenting the history and existence of what may be described as New Originals and Former Originals, and questions regarding the use of the Former Original for scholarship and research.




Jeff Wall’s monumental lightbox Trân Dúc Ván was created in 1988 and acquired by Carnegie Museum of Art in 1990. A popular work for loan and exhibition, fourteen years after the acquisition, Wall surprised the museum by creating a new original version of Trân Dúc Ván. Written correspondence between Wall and museum staff reveal that the decision was unprompted and unrelated to the physical condition of the original print. t. Wall explicitly specified that the new original, made possible by technological improvements in digital image manipulation, should be considered “the definitive work”. While this New Original was enthusiastically displayed and loaned, the Former Original was also retained by the Carnegie, rolled and crated, and placed into deep storage.




In the years since the switch from Former to New Original occurred, incomplete documentation, vague collection database entries, staff turnover, and a possibly poor initial understanding of the nature of the swap combined to create significant uncertainties in the originality of both versions of Trân Dúc Ván. The surprising emergence of a second, heavily damaged version of the Former Original transparencies, as well as a reserve print of the New Original further complicate the ways that the work has and has not been documented and described.

CW (content warning): This presentation will cover material that depicts racism and racist organizations both visually and in text.

This presentation covers the investigation of the only hologram in the Hirshhorn Museum and Sculpture Garden’s collection, an untitled, 1983 work by William Christenberry. The hologram–and holography itself–was identified as an understudied area in the field of conservation during a 2016 collections survey. The research presented in this talk provides an introduction to holographic history, identification, approaches to display, and materials analysis.

To display a hologram is to nearly determine the exposure of the image. In other words, to illuminate a hologram is to re-expose the artist’s vision. This is a tremendous responsibility arguably unforeseen in the field of photograph conservation. Given that the Hirshhorn’s object portrays potentially triggering subject matter, it is all the more important that the artist’s complexity of concept is not lost due to a disservice in display. The image forming material of a hologram is a void of transparent emulsion, appearing clear, until it is enigmatically recreated or “reconstructed” by light. The brightness, depth, sharpness, color, and even presence of subject matter depend on the display light type, angle of light-incidence and viewing angle. Ultimately, the fundamental mood of the artwork is controlled by the exhibition parameters.

It is important to understand that holograms are a youthful scientific discovery that only took shape in the 1960s and 1970s. Therefore, the diverse visual characteristics and numerous mechanisms of deterioration have not been thoroughly researched in the field of art conservation. To understand the Hirshhorn object’s place within the complex family-tree of holographic processes, a resource list that draws from the disparate realms of physical science, commercial mass-production, and hobbyist internet forums was compiled. This deep dive into material data informed the creation of a simplified visual aid for process identification and helped in confirming the Hirshhorn’s object as a white-light illuminated reflection type hologram composed of silver gelatin emulsion on a glass support adhered to a black mount.

To understand how the different qualities of light sources produced different holographic display phenomena, spectral measurements of several common light sources were captured. Variations on light intensity, location, and color were documented in display trials. These trials could be particularly useful for museums venturing to display their white-light illuminated holograms.

The analysis included X-Ray Fluorescence (XRF) of the glass supports and the use of Fourier-Transform Infrared spectroscopy (FTIR) to confirm the adhesive that binds the supports. Many conservators may find, as in this case, that the image material is “sandwiched” or inaccessible for examination, therefore, the confidence in composition is all the more dependent on strong material data research. The concern over glass alteration exacerbated by the use of Tyvek in a poorly constructed housing is also discussed.

Above all, this talk is a call to action for meticulous documentation and continued research into the unmined vein of holographic materials. As contemporary artists are taking a renewed interest in holography, conservators must work diligently with living artists to document the desired re-exposure of their work and consider the implications and complexities of exhibiting extant holograms in their collections.

During a 2023 characterization study of Robert Mapplethorpe prints at the Solomon R. Guggenheim Museum, NY, four gelatin silver prints on resin coated (RC) paper from the 1970s were found to have small blue and magenta colorants scattered throughout the resin layer of the recto.  When observed under ultraviolet radiation, all four prints had significant transfer of optical brightening agents (OBAs) to the Phototex folders used in housing despite being stored under optimal environmental conditions. It was further found that OBAs readily transferred from the verso when lightly brushed with a dry cotton swab.
While the modes of deterioration for RC prints have been well documented in conservation literature, unique aspects of their structure and manufacturing have not.  In addition, the materials used in mass produced photographic papers from the late 20th century are often difficult to research due to lack of publicly available information from manufacturers.  To further investigate the phenomena observed in the Mapplethorpe prints, 63 samples of RC paper from the 1960s to the 2010s were examined to look for the presence of colorants in the resin layer and dry OBA transfer.  Samples were chosen from the collection of gelatin silver and chromogenic papers collected by Paul Messier and currently held by the Lens Media Lab at Yale University’s Institute for the Preservation of Cultural Heritage.  Only Kodak papers from between the 1970s and 1980s had both blue and magenta colorants.  About two thirds of the paper samples exhibited dry transfer of OBAs to non-optically brightened surfaces.
 The observation of colored additives as well as the issue of OBA transfer is supported through research into manufacturers’ patent histories.  Patents provide a rich source of information on materials and manufacturing techniques and reveal an intricate network of challenges and developments in the production of RC papers throughout the 20th and 21st centuries.  In addition, these patents speak to the structural and material complexity of photographic papers that cannot always be adequately investigated with nondestructive analytical techniques or imaging.
 This talk will explore the varied manufacturing techniques and additives used in the production of RC paper and their implications for preservation, identification, and dating.  This talk will also explore the potential of patent research in investigating the development of late 20th century photographic materials, and how manufactured photographic papers can often belie binary material categorizations.  

Polaroid 20 by 24 inches materials are commonly found in fine arts museums’ collections but remain relatively unfamiliar to conservators. This presentation will share the results of a current research project that seeks to gain a better understanding of these supports and their different properties.

The idea of the large format was born after Dr Edwin Land presented the 8x10 peel-apart Polaroid in 1973. Following the commercial success of the new product, Land wanted to create a large camera that would showcase the high quality of the material. Between 1977 and 1978, the company built five cameras that became available to artists in the US and abroad. Over the years, the Polaroid Corporation produced different 20x24 supports for the big cameras, which also had their smaller equivalents in commercially available formats, including Polacolor2, Polacolor ER, Polacolor Pro, and Polapan. The research focused on investigating and analyzing those supports through visual and microscopic observation, color and thickness measurements, surface gloss and texture characterization. Artworks from the collection of the Art Institute of Chicago and the Museum of Fine Arts Boston, were selected to collect data. Measurements were compared with those taken from identified samples in the Conservation Study Collection. Scientists from the Art Institute performed advanced scientific analysis to identify support components and further characterize the materials. Additional research was conducted in the Polaroid Corporation Records held at the Baker Library, Harvard Business School, and through interviews with former and retired scientists who worked for the Polaroid Corporation. The collected information will be compiled to create identification guidelines.

In addition to the characterization of the Polaroid 20x24 supports, different conservation methods, including dry and solvent surface cleaning, consolidation treatments, and tear reinforcement were investigated to determine the best practices and provide recommendations. The treated surfaces were photographed before and after treatment under different lighting conditions to show the impact of each procedure on the treated surface. The final part of this presentation will also include recommendations for storage materials.

Doug Munson's colorful presentation and article, “The Pellicular Burlesque” first shared at the AIC PMG 1997 described the procedure performed on a cellulose acetate negative to lift the emulsion from the degrading plastic support. In the fall of 2022, I performed that well-known procedure, which unexpectedly became a nightmare as it irreparably damaged the negative I was attempting to treat.

This presentation is a post-mortem, reviewing the steps taken before, during, and after the procedure was carried out. Some hypotheses on why this treatment was unsuccessful in this case will be discussed, as well as reflections on the need for a more open dialogue about failures in the field.

There is currently no definitive conclusion as to why the emulsion was not entirely lifted from the support. However, I hope this presentation will be an opportunity to encourage fellow photo conservators to share their knowledge and experiences to complete and add to the body of knowledge on this specific topic and material.

Learn from your peers in this Lighting Round Session

• Zulema Paz. Library Thing as a simple solution for cataloging the conservation library.
• Sarah Casto. Microsoft Forms and Google Sheets for Collections Assessment.
• Zach Long. A brief overview of a treatment technique used to remove polyethylene adhered to the emulsions of fiber-based gelatin silver prints.
• Barbara Lemmen. Flattening Gelatin Silver Photographs with a Dry Mounting Press: Refining a Protocol for Fiber-based Developed-out Paper Prints.

Within the past ten years, dye-sublimation prints made with ChromaLuxe specially-coated aluminum panels have become increasingly used by photographers and artists for a number of compelling reasons:

1. The highly abrasion-resistant surfaces of ChromaLuxe prints allows the prints to be safely displayed in gallery and museum settings without the need for framing with glass or acrylic sheets.
2. The glossy and semigloss versions of ChromaLuxe prints provide the highest d-max (resulting in rich, deep colors and blacks) of any current color print process, providing a “brilliance” that is unmatched by most other processes. Many photographers find this to be very appealing – reminiscent of ferrotyped high-gloss fiber-base silver-gelatin prints of the past, and also of unframed Cibachrome silver dye-bleach prints made with high-gloss polyester base material (as opposed to Cibachrome RC materials).
3. ChromaLuxe prints are available in sizes up to 48 x 96 inches (122 x 244 cm), and the lightweight aluminum prints are easy to hang and do not require traditional mounting or framing for display.
4. Because of the investment and space required for the large heat press and CNC router (to smoothly cut ChromaLuxe aluminum panels to size) that are required in order to make large prints, in almost every case photographers work with printmaking studios to produce their ChromaLuxe prints.
5. For these reasons, many photographers have come to feel that ChromaLuxe prints provide a more affordable, visually more stunning and, longer lasting alternative to making large, chromogenic prints of much lower light-stability that have been face-mounted to acrylic sheet using silicone or pressure-sensitive adhesives.

ChromaLuxe is based in Louisville, Kentucky and its manufacturing facilities are located there. https://www.chromaluxe.com

The company does not produce dye-sublimation inks; instead, the inks used to make ChromaLuxe prints are supplied by others. The choice of inks can result in significant variability in the light stability and dark-storage permanence of the resulting prints.

A number of different dye-sublimation inksets have used to produce ChromaLuxe prints. Suppliers include Epson, Sawgrass, Mutoh, Mimaki, Kilan Digital, Sensient, and others (including “hybrid” inksets put together by certain printmaking studios which are composed of combinations of inks from different suppliers). Most are 4-color CMYK inksets, but some are 6-color or even 8-color (with dilute CM and gray inks) to provide smoother tonal transitions and freedom from “noise” in the darker transition tones when viewed at close range.

It should be noted that fabric printing (clothing, sports apparel, upholstery, commercial “soft signage” printed on fabrics for backlits, etc.) is by far the most important market segment for dye-sublimation printing, and this has been the focus of sublimation ink research and development – and not for hard surface printing applications such as ChromaLuxe.

Among the fine-art photographers currently using the ChromaLuxe process are Cindy Sherman, beginning with her contributions to the five-woman Group Exhibition at the Spruth Magers Gallery in Berlin which opened on September 16, 2015; Nan Goldin, who is well-known for her earlier Cibachrome prints; Sarah VanDerBeek; Robert Farber; and many other photographers. The ChromaLuxe process is especially popular among commercial, landscape, portrait, and wedding photographers.

ChromaLuxe dye-sublimation prints are made using a two-step process, with the image first being printed with a large-format inkjet printer on “transfer paper” (from a number of different suppliers) and then placed in contact with a ChromaLuxe panel in a heat press for three or four minutes, usually at a temperature between 350°F and 400°F (177°C and 205°C). The sublimation dyes go through a vapor phase during their transfer to a ChromaLuxe panel. After removal from the heat press, the transfer paper is peeled off, and at that point the print is finished.

ChromaLuxe is a true dye-sublimation print process, and as such is fundamentally different from the small-format dye-thermal-dye-transfer (D2T2) process used by Kodak, Sony, DNP, and other suppliers which have been commonly, and incorrectly, referred to as “Dye-Sub” prints.

This presentation explores both the light-stability and complex dark storage behavior of sublimation-inks printed on different types of ChromaLuxe panels. Results from a previously unpublished series of test conducted by Wilhelm Imaging Research in a self-funded research project over a four-year period at 40°C (104°F) and 50°C (122°F) and 50% RH will be described. Test results at higher temperatures will also be shown, and application of the multi-temperature predictive Arrhenius fading and yellowing methodology will be discussed.

The complex dark-storage behavior of ChromaLuxe prints has not been observed by Wilhelm Imaging Research with any prior color photographic process tested during the past 52 years:

“The Wilhelm Analog and Digital Color Print Materials Reference Collection – 1971-2023” http://www.wilhelm-research.com/WIR_Reference_Collection/The_Wilhelm_Analog_and_Digital_Color_Print_Materials_Reference_Collection_1971_to_2023_(2023-06-12_v23).pdf

Although Wilhelm Imaging Research has published light stability for ChromaLuxe prints made with two different dye-sublimation inksets, to date WIR has refrained from publishing any dark-storage predictions for ChromaLuxe prints.

Old photographs, thanks to their realistic way of showing the world in the past, are one of the most interesting groups of archival materials. At the same time, they are very unstable objects, sensitive to external factors, sometimes improperly produced, which has a significant negative impact on their state of preservation, the legibility of the content and the viability of the media. One of the methods of preserving photographic images for future generations, in addition to proper storage and natural for conservators to take care of preserving the original matter of historical objects, is digitization, currently understood as the production of digital copies from archival materials using cameras and scanners. This raises the question of how much a change in the imaging method could be helpful in reading damaged data, and whether the classic digitization process, especially for extremely valuable or damaged objects, should not be extended to the production of MSI files. The experiments discussed in this presentation can help assess how useful multispectral imaging is in studying and documenting archival photographic collections, and whether the imaging process should be built into the process of creating digital backups of these archival materials.

The set used for research allows the recording of monochromatic (black and white) images in 12 wavelengths, ranging from 365 to 940 nm. The silicon matrix allows to capture images in this spectral range. In addition to these 12 component images, fluorescence images are also recorded - the objects were illuminated with e.g. UV light and recorded at a wavelength of 450 nm (blue), 520 nm (green), etc. From the resulting set, 15-20 photographs, you can then create colorful images by selecting three spectral channels for the RGB channels that best visualize the information we are looking for.

The research was carried out on the photographic resource of the National Archives in Krakow. The study involved photographic materials produced using various technologies, e.g. albumen prints, collodion prints, gelatin-silver prints, as well as photographs taken using the unique magic photography technology. The examined objects include faded, chemically unstable, permanently dirty, microbiologically infected or fire-damaged photographs. Each time, mutispectral imaging made it possible to read and extract invisible content. MSI is also a helpful tool when identifying the technology of taking photographs, especially multi-layered ones, made using unique techniques, where it allows the range of technological layers, retouching or varnishes to be legible.

In collaboration with the Center for Creative Photography at the University of Arizona (CCP) and the Lens Media Lab at Yale University’s Institute for the Preservation of Cultural Heritage, this research focuses on characterizing the prints of Lola Álvarez Bravo and her contemporaries to identify trends and influences shared between photographers. The project also highlights the breadth and diversity of the collection at the CCP and underscores the impact of interpersonal relationships on an artist’s oeuvre.

Born Dolores Martínez in Lagos de Moreno, Jalisco, Mexico, Lola Álvarez Bravo captured ordinary, quotidian details that exemplified Mexican life and culture in the mid-20th century through her photographs and photomontages. Spending most of her career in Mexico City, Álvarez Bravo associated with some of the most influential photographers working in Mexico at the time including Tina Modotti, Edward Weston, and Manuel Álvarez Bravo.

The CCP acquired Álvarez Bravo’s archive in 1996; it consists of almost 200 gelatin silver photographs. In a comprehensive study of this group of prints, gloss, color, thickness, and texture measurements were taken at the CCP and subsequently analyzed and contextualized by colleagues at the Lens Media Lab. Following the characterization of Álvarez Bravo’s works, the parameters of the research project were expanded to include the photographs of Tina Modotti and will eventually include a selection of prints by Edward Weston.

The relationships between artists known to have practiced together for a period of time are explored through the physical characterization of photographs by Álvarez Bravo, Modotti, and Weston. Beyond the stylistic and aesthetic trends that can be identified through visual comparison, the gloss, color, thickness, and texture measurements have the potential to reveal further, data-driven similarities and patterns of material use.

The primary purpose of my research is to introduce different 20th-century color analog positive processes on transparent support found in central Europe - with emphasis on Slovakia, where the main part of the research was carried out. The focus is on additive and subtractive color photographic techniques on various bases, such as glass, cellulose film sheets or film roll. The first real full-color photographs in history were made on transparent supports using the physical principle of merging the colored components of light and additive color screens. The urgency of this topic lies mainly in the fact that Slovak museum collections and institutions do not have identified or correctly categorised these valuable pieces in their depositories, and as a result, these may suddenly deteriorate in inappropriate storage conditions. Extensive research on this topic is constantly carried out in the world but publications of international literature are mostly in English and only limited information is accessible in Slovakia, which is not widely available for all. The lack of Slovak professional literature and higher education of museum staff are few of the problems we are facing. As a conservator I realised that revision of the collections is necessary, because proper identification is the first step of preventive care. The research focusing on early color photography is the foundation for understanding the nature of color photographs. The recognition of the various processes from a physical and technological point of view also provides a starting point for their conservation. These materials may suffer from two main forms of possible deterioration: firstly, the transparent support itself is either made of breakable glass or highly flammable plastics such as cellulose nitrate or acetate films, which can suffer from vinegar syndrome. Secondly, the color image can degrade very quickly, not only when exposed to light but also in the dark. Since even the slightest damage can have severe consequences that fully devalue the work, we generally emphasise protection over repair when conserving photographs. Proper identification should always be the first step of conservation, preventive care of these rare color positives is extremely important for their future preservation. Creating suitable storage conditions and collaboration with national and local museums in Slovakia is a challenging task. The state of collections in museum storage sites is far from ideal. The institutions struggle with financial problems and lack of trained professionals. How can a conservator help to manage the conditions of the archives and create an acceptable environment for the color photograph collection?

Led by Photographic Material Group (PMG) Wiki Committee Members, this brief, pre-lunch session will inform attendees about the PMG Wiki, engage colleagues in feedback on steps to broaden content creation and use, and encourage the formation of new editing groups. New wiki pages will be introduced as well as areas for which we are seeking content and submissions. Attendees will be invited to provide input to shape the development of the wiki. Instructions for becoming contributors and editors will be provided to those who are interested. All colleagues are invited to attend this session and partake in the discussion that will add to the continued effort to build this collaborative and accessible knowledge base.

Museums, libraries, and archives have seen a growing presence of 3D printed objects within the past 10-15 years, both in the context of objects entering collections and as a tool for preservation and access activities. As consumers of the technology, collecting institutions have applied 3D printing in applications such as conservation treatments, in the storage, display, and transit of objects, and education and public engagement activities. However, the fast development of the technology and the ever-growing variety of materials that can be printed present major challenges for institutions both using the technology and caring for 3D printed art. There is a clear gap in preservation guidance, and the scope of 3D printing, including the ways in which museums create, collect, and consume 3D printed objects, remains ill-defined.

As part of a recent Institute of Museum and Library Services (IMLS) funded project, the Image Permanence Institute (IPI) launched an international, field-wide survey on 3D printing and 3D printed objects in collecting institutions in 2022. The survey collected information from 95 individuals at institutions worldwide and assessed the ways in which collecting institutions are interacting with and using 3D printing. Data collected identified the types of 3D printed objects entering collections and strategies for their care, in addition to how 3D printing is being used as a tool in preservation and access activities. Overall, the survey found that many institutions are using 3D printing mainly to support exhibition and display activities and in conservation treatments. In both of these use cases, 3D printing was chosen primarily because it is a ‘new and innovative’ technique, as opposed to necessarily being the best tool for the job at hand. The survey also gathered information about major challenges that collections care professionals face when using 3D printing. For example, many users of the technology are concerned about the longevity and safety of 3D printed materials, and yet this is not stopping people from using the technology in their work.

While 3D printing has certainly found applications in collecting institutions where it increases efficiency of work, survey results indicated that the strengths and weaknesses of the technology within a cultural heritage context are still being discovered, and many more questions about the technology still remain. IPI has taken the results of the survey, combined with a literature review, information gleaned from conferences in the additive manufacturing industry, and site visits to collections that house 3D printed objects, to build a research agenda outlining major areas for future research around the use of this technology and care of 3D printed objects in collecting institutions. Some of these items include identification of 3D printed materials and processes, the chemical and physical stability of 3D printed materials, data management of digital assets associated with 3D printing, and sustainability. This presentation will share key findings from the field-wide survey and will discuss the gaps in understanding around the technology that can be addressed by future research, all within a cultural heritage context.

In recent years, 3D technology has emerged as a transformational set of tools in the realm of cultural heritage preservation. This poster explores the multifaceted applications of 3D technology, with traditional model making practices in cultural restoration, creation of replicas to enhance museum accessibility, mount making for exhibitions, and artifact storage and transportation. With the ability to capture intricate details, facilitate precise reproduction, and enhance preservation efforts, 3D technology has become an invaluable to the preservation of our rich cultural heritage.




Cultural Restoration:

One of the most compelling aspects of 3D technology is its role in cultural restoration. This set of case studies will delve into the ways in which 3D scanning, printing, and CNC machining can breathe new life into damaged or deteriorating artifacts. This set of examples will show where 3D technology has been employed to recreate lost or damaged sacred objects that are cultural treasures, in collaboration between the Smithsonian Institution and the native Alaskan Tlingit clans, enabling us to recover and appreciate their heritage in ways never before possible.




Creating Replicas for Museum Accessibility:

Museum accessibility is a central concern for institutions worldwide. 3D technology is making cultural heritage more accessible than ever before. Examples will show how 3D scans, 3D CAD modeling and digital sculpting are transformed into tactile replicas, enhanced by traditional model making, enabling visually impaired visitors to engage with artifacts through touch, for the National Museum of American History exhibitions "American Democracy" and "Many Voices, One Nation".




Mount Making for Exhibition:

Mounting and displaying artifacts in exhibitions pose unique challenges. Examples showcase how 3D technology can revolutionize mount making by providing custom-fit, aesthetically pleasing, and preservation-friendly solutions. Such as creating 3D printed "stand-ins" during the mount making process, resulting in safer production. Attendees will gain insights into the process of creating tailored mounts using 3D production processes, that are non-invasive and reduce artifact handling.




Storage and Transit of Artifacts:

Preserving artifacts during storage and transit is of paramount importance for cultural institutions. Examples will highlight how 3D CAD modeling assisted in the creation of a custom painting mount for exhibition and transportation. The process enabled limited handling of the painting, precise planning with conservation staff, and informing the traditional mount making process, to create a mount that that stabilized the object, and was utilized for exhibition and transportation.




Each of the case studies will site challenges, and successes of incorporating 3D technology into the display, preservation, and restoration efforts. Attendees will gain a comprehensive understanding of the potential and limitations of 3D technology in various aspects of cultural heritage preservation.




The intersection of 3D technology and cultural preservation represents a dynamic frontier where tradition meets innovation. Join us for an exploration of how this technology is shaping the future of cultural heritage conservation, restoration, and accessibility. Whether you are a curator, conservator, researcher, or enthusiast, this poster will inspire you with the possibilities that 3D technology offers in the realm of cultural heritage preservation.

Sculpting Solutions: 3D Technologies for Conservation Problem-Solving

This presentation serves as an introduction to 3D technologies as tools for problem-solving in conservation practice. Starting with a brief overview of fundamental 3D technologies and the ways they relate, this talk then touches on various software tools for 3D modeling, along with insights into affordable 3D printing equipment such as FDM and resin printers, and their practical applications in everyday conservation work.

Practical uses of these technologies are showcased through examples such as custom-designed clamps for basketry, unique syringe tips, and a custom vacuum attachment system. Additionally, the presentation explores advanced open-source projects such as the Openflexure microscope–a cost-effective solution for microscopy. Furthermore, CNC milling's role in conservation, demonstrated by the fabrication of fill panels for architectural elements and removable upholstery caps for chairs, is discussed.

During the first stage of the Egyptian-Japanese project, approximately 1,700 decayed and deteriorated wooden pieces were lifted from the pit. The process included first aid treatment and stabilizing the condition of wooden pieces. by 2023 all the wooden pieces were transported to the Grand Egyptian Museum (GEM) to start the second stage of work which included the final consolidation of all wooden pieces, scientific documentation, and developing a design of physical support for the boat parts, that serves the main purpose of resembling all the second boat at the new Khufu’s boats museum inside the Grand Egyptian Museum (GEM).

The reassembly of historical artifacts, particularly those of immense cultural significance, poses unique challenges and opportunities for the integration of modern scientific technologies. This abstract presents the primary findings and outcomes of a project aimed at the reassembly of King Khufu's Second Boat, a priceless archaeological relic from ancient Egypt's 4th Dynasty-Old Kingdom period. Employing a multidisciplinary approach, this research endeavors to leverage cutting-edge 3D laser scanning and 3D printing technologies as tools for scientific documentation and reassembly.

The study revolves around the application of 3D laser scanning to capture precise geometric data of fragmented boat parts excavated near the Great Pyramid of Giza. Subsequently, this scanned data is processed, analyzed, and refined to create detailed digital models of the original boat components. In the case of fragmented or deteriorated boat parts, additional support structures may be necessary to ensure the stability and integrity of the reconstructed models. These supports may be custom-designed to fit each specific piece, providing the necessary reinforcement. After the digital structures are designed by 3D software, special 3D printing techniques are used to print the support for wooden parts.

Throughout this process, it's important to document each step carefully and preserve the digital models for research, educational, and preservation purposes. This includes archiving the 3D scan data and digital models for future reference.

In conclusion, these abstract indicate the importance of 3D laser scanning and 3D printing technologies as indispensable instruments in the intricate process of reassembling King Khufu’s second boat.

The National Museum of African American History and Culture collection includes one of the original Black Panther costumes worn by Chadwick Boseman. The hero suit was featured in the exhibition “Afro-futurism: A History of Black Futures.” This costume has high cultural significance and everyone involved understood the importance of creating a mannequin that could represent both the Black Panther and Chadwick Boseman in a strong and naturalistic pose. The mannequin was made of archival materials selected to help preserve the vulnerable and deteriorating synthetics of the costume, and included an invisible support system to allow for 360-degree viewing. The project combined digital and traditional processing methods including white-light scanning, CNC routing, hand sewing and needle felting. This presentation will cover the design and fabrication process from research and consultation through digital sculpting, milling and finishing steps. We will discuss the challenges, innovation, collaboration and successes of this process.

The SBMK Project Photography was launched in October 2020 and finished in December 2023. Within the project a knowledge infrastructure was built to assist Netherlands cultural institutions with the preservation of their modern and contemporary photograph collections. Within this project workshops supported by a sample set made with the collaboration of printers internationally, were organized. Dutch terminology was standardized and the acquisition process within institutions was examined and streamlined.

Together, knowledge gaps were surveyed and research in preservation and conservation was initiated in collaboration with students, researchers and the community, to find practical answers to challenges that collections struggle with. These activities provide key insight into process, materials and techniques and help institutions and private collections understand what modern and photography is, it’s value and its individuality. With this knowledge clear decisions can be made surrounding modern and contemporary holdings and institutions not having specialist knowledge in house can build a foundation to assist in giving proper care to collections.

The information gathered within the 3-year period is available online in Dutch and in English and will be added to in the future. This paper provides a summary of achievements and reflects on the lessons learned when establishing a project. What worked? What could have we done differently? What are the ingredients needed to interest funding organizations for a project? What failed and why? Finally, number of knowledge gaps that have yet to be addressed will be discussed. By discussion our achievements and reflecting on the past 3 years, the author hopes to provide behind the scenes insight to assist others in combining their strengths and organizing projects that will aid the preservation of photographs for the future

Photography: a great change of meaning.
The aim of this presentation is to describe the working methods used and conclusions reached at the symposium “Re-defining photography within the context of cultural heritage” that was held last September 23, 2023, immediately following the 20th Triennial Conference of ICOM-CC.
It was hosted by the Institut Valencià d'Art Modern and organized by ICOM-CC Photographic Materials Working Group in collaboration with GE-IIC Photographic Heritage Conservation Group. More than 30 professionals related to conservation of photography came together to debate a new definition of photography and a photograph and the relationship of these concepts with the cultural heritage conservation field.
The symposium main purpose was to contrast different point of view and sensitivities. Thus, the structure was intended to move from more general ideas to concrete points.
Morning activities were organized to establish the main ideas:
1- Introduction:
AI was used in a short introduction to show different definitions and remark commonalities and gaps.
2- Conferences:  
Four lectures given by Rachel Tabel, Rosina Herrera Garrido, Felice Robles and Marta García Celma illustrated, from the conservators’ point of view, the wide range of interpretations related to photographic heritage in cultural institutions.
Interesting ideas were shared in the lectures, such as, the scope of our specialty, the complexity of photography, its inclusive nature, and constant evolution.
3- Roundtable:
A roundtable between the speakers was opened to establish some common points and explored the ideas of ambiguity, technology, post-photography, visual language, materiality, photosensitivity, evolution, etc.
4- Roundtable open to the attendees:
The complexity to find a new definition, where all the photographic scenario could fit, was expressed. The audience pointed out that the definition should include ideas associated with, interaction between surface and energy, technique, image, but also, human perception, memory, communication…
Afternoon was organized to summarize the main points.
5- Open debate with all attendees:
Six groups working groups were organized to explore different sensitivities and opinions. Each group was led by a coordinator. The groups were asked general questions:

• Why is it important to change the definition of photography?
• What makes photography different from other visual arts?
• Can photography be defined as a visual language in itself?
• How do technologies affect the definition of a photograph?
• Does a photograph need to have a physical shape?

6- Group debate in plenary session:
Each group coordinator shared a summary of their findings and conclusions. These contributions were very illustrative of the broadness of the concept of photography and the difficulty of finding a common approach.
7- Conclusion session for achieving a new definition.
Once such diverse ideas were expressed, it was not easy to reach common points. However, opening the debate to contrasting views allowed us to better understand the nature of the term photography.
Finally, all these reflections show that defining photography is as complex as its history and use. And, in any case, the term “photographic” can be used to include everything related to photography, even when it is created outside the context of “pure” photography.

The Williamina Fleming Collection at John G. Wolbach Library comprises 679 astronomical glass plate photographs which represent the discoveries, research, and working process of the Women Computers and Astronomers at Harvard College Observatory (HCO) from 1885 to 1992. The plates in the collection were individually selected from over 550,000 photographs due to their historical and scientific significance as the plates document discoveries of galaxies, nebulae, and celestial bodies, and lay the groundwork for our current understanding of the size of the universe and distances between stars. The photographs are unique within the larger collection as they retain the annotations done by the Women Computers on both the jackets and the plates which were erased from the rest of the collection during a digitization campaign from 2004 to 2020. These markings document the process that led to the historic discoveries and represent one of the few historical records of the otherwise invisible labor of the women who facilitated them.

During the Covid-19 pandemic, HCO shifted priorities to embrace a more holistic preservation of the photographs. This began a multi-year collaboration between HCO, Wolbach Library, Weissman Preservation Center, and the Center for Nanoscale Systems to address the preservation needs of the Williamina Fleming Collection.

In the course of this project, we conducted a detailed survey of the inks, historic repairs, condition of each plate, and relevant annotations taken on the plate jackets. This was followed by rehousing of the plates in custom boxes. The boxes were designed to maximize airflow while keeping the storage space and weight at a minimum to allow the collection to be accessible and to fit seamlessly with existing workflows for accessing and handling the over half a million plates in the collection. In addition, housings had to allow for the original jackets to be stored along with the plate to retain the scientific and historical metadata written on them. This project revealed surprising new information about the history and use of one of the most important collections of astronomical photography in the world, and was instrumental in the continued championing of these historically overlooked women scientists.

This talk will explore the history, survey, rehousing, treatment, and development of exhibition guidelines for the glass plates.

In recent years, 3D technology has emerged as a transformational set of tools in the realm of cultural heritage preservation. This poster explores the multifaceted applications of 3D technology, with traditional model making practices in cultural restoration, creation of replicas to enhance museum accessibility, mount making for exhibitions, and artifact storage and transportation. With the ability to capture intricate details, facilitate precise reproduction, and enhance preservation efforts, 3D technology has become an invaluable to the preservation of our rich cultural heritage.




Cultural Restoration:

One of the most compelling aspects of 3D technology is its role in cultural restoration. This set of case studies will delve into the ways in which 3D scanning, printing, and CNC machining can breathe new life into damaged or deteriorating artifacts. This set of examples will show where 3D technology has been employed to recreate lost or damaged sacred objects that are cultural treasures, in collaboration between the Smithsonian Institution and the native Alaskan Tlingit clans, enabling us to recover and appreciate their heritage in ways never before possible.




Creating Replicas for Museum Accessibility:

Museum accessibility is a central concern for institutions worldwide. 3D technology is making cultural heritage more accessible than ever before. Examples will show how 3D scans, 3D CAD modeling and digital sculpting are transformed into tactile replicas, enhanced by traditional model making, enabling visually impaired visitors to engage with artifacts through touch, for the National Museum of American History exhibitions "American Democracy" and "Many Voices, One Nation".




Mount Making for Exhibition:

Mounting and displaying artifacts in exhibitions pose unique challenges. Examples showcase how 3D technology can revolutionize mount making by providing custom-fit, aesthetically pleasing, and preservation-friendly solutions. Such as creating 3D printed "stand-ins" during the mount making process, resulting in safer production. Attendees will gain insights into the process of creating tailored mounts using 3D production processes, that are non-invasive and reduce artifact handling.




Storage and Transit of Artifacts:

Preserving artifacts during storage and transit is of paramount importance for cultural institutions. Examples will highlight how 3D CAD modeling assisted in the creation of a custom painting mount for exhibition and transportation. The process enabled limited handling of the painting, precise planning with conservation staff, and informing the traditional mount making process, to create a mount that that stabilized the object, and was utilized for exhibition and transportation.




Each of the case studies will site challenges, and successes of incorporating 3D technology into the display, preservation, and restoration efforts. Attendees will gain a comprehensive understanding of the potential and limitations of 3D technology in various aspects of cultural heritage preservation.




The intersection of 3D technology and cultural preservation represents a dynamic frontier where tradition meets innovation. Join us for an exploration of how this technology is shaping the future of cultural heritage conservation, restoration, and accessibility. Whether you are a curator, conservator, researcher, or enthusiast, this poster will inspire you with the possibilities that 3D technology offers in the realm of cultural heritage preservation.