Flood waters can bring sediment and debris in contact with treasured photographs, and the water used to put out fires often causes more damage than the fire itself. But don’t give up hope - photographs are actually very resilient.
Traditional Resin-Coated (RC) prints with a glossy or matte emulsion layer can usually be treated at home. Heritage and digital prints, however, have surfaces that are quite fragile when wet, and will require the specialized care and handling that only a professional photo conservator can provide. The variety of materials used to produce heritage and digital prints makes it difficult to recommend one sure-fire solution for home restoration.
If possible, we recommend making reprints of photographs or digital images from any negatives or files that may be available before attempting to restore damaged photos.
If you are unable to clean your photographs immeadiately, place them in plastic bags in a freezer until they can be cared for further. A freezer will slow fungal growth and ensure that your photographs are in a secure location.
The following steps can be taken to rescue your photographs
Cleaning Step 1:
With gloves on, place photos in cold water in small groups of one to five. Handle the photos by the edges only.
Cleaning Step 2:
Soak or rinse the photos with cold water. A gentle stream of water may be sprayed on the photo to help loosen debris. Change the water frequently to keep your work environment clean. Repeat this process if necessary.
Cleaning Step 3:
Conduct a final rinse using cold, distilled water. This will wash away any residue remaining from the cleaning process.
Air Drying
Lay photos flat to dry on either a paper towel or on a plastic or aluminum screening material fastened to a frame. You may also hang the photos by one corner using small clothespins. Drying should be done in a shaded part of your home.
Flattening Photos
If the photos are curled after they are dry, place individual photographs between two sheets of blotting paper. Place flat, heavy books on top of the sheets for 24 hours in a humid environment.
Why cold, distilled water?
The image on a photograph is held by the emulsion layer, which is destroyed by high temperatures, humidity and steam. So, when you use water to clean your damaged photos, keep the immersion time to a minimum and keep the water temperature below 72 degrees Fahrenheit. Distilled water is best for the final rinse, since it’s free of impurities and won’t add to the impurities already on your photos.
If your photographs require additional treatment after these steps, we recommend that you contact a professional photo conservator to seek advice.
A professional can also scan, retouch, and reprint the photographs. We also suggest using photo-safe photo mounting paper in your albums to limit the damage from flood or fire.
For more in-depth information on rescuing digital and traditional prints, Creative Memories has also made available the Image Permanence Institute’s publication A Consumer Guide for the Recovery of Water-Damaged Digital and Traditional Prints.
Photographs and digital prints displayed in a frame or on a refrigerator are vulnerable to light-induced fading. This generally causes a shift in the color balance of the image. Prints may also be susceptible to ozone and other pollutants in the environment. A Creative Memories album protects prints from light, air pollution, and physical damage. Plus, journaling in a Creative Memories album will ensure that future generations learn the stories represented in the photographs.
To safely remove stuck-on photographs from magnetic albums, we recommend the Multi-Purpose Tool. Slide the Multi-Purpose Tool under the edge of the photograph and work it along the sides. If the photograph does not come off, dental floss may help. Slide the floss under a corner of the photograph and work it down through to the other side in a sawing motion.
If neither of these tools proves effective, try a hairdryer. Set the hairdryer on low-heat, hold it about five inches above the photograph. While heating the photograph, keep the nozzle of the hairdryer moving so as to not overheat one portion of the photograph. At 20-second intervals, test the photograph to see if it has loosened from the page. Continue applying heat until the photograph is completely separated from the page. We do not recommend liquid adhesive removers because of the potential toxicity and flammability of these products (as is noted on the label of the product itself!).
Your photographs may retain some residue from the magnetic album adhesive. Use a Pick-Up Square to rub the residue off the back of the photograph. There may be times when nothing works to remove photographs from magnetic album pages. In that case, it is best to either scan the photographs yourself or bring the album to a professional photo lab for reprinting.
A traditional color photograph, if stored properly under reasonable room temperature conditions of 77 degrees Fahrenheit (25 degrees Celsius) or less with 20 to 50 percent relative humidity, and if stored in a photo-safe environment, will typically have a lifespan of 50 to 100 years. Black-and-white photographs, if stored in similar conditions, will typically have a lifespan of 100-plus years.
These numbers are approximations of when it can reasonably be expected for a photograph to show signs of discoloration and/or fading, not the time that the photographic will disappear completely.
As of March of 2003, Polarioid's Web site was recommending that customers not crop Polaroid prints due to the hazards of the alkali contained in Polaroid prints. Their statement about alkali:“Eye contact may cause permanent eye damage. Skin and such contact may cause irritation or burns.” In October 2003, coinciding with an article about Polaroids in a popular scrapbooking publication, Polaroid's Web site said it was OK to crop Polaroid prints. They did not, however, provide any supporting evidence to back up their claim, and their Material Safety Data Sheets still lists alkali as one of the hazardous chemicals contained in Polaroid prints.
At this time, the Technology Center has determined that it is up to Polaroid to conduct its own safety tests and to provide the public with supporting data that cropping Polaroids is NOT dangerous to both the photograph and the consumer.
Until they conduct their own testing and provide the public with scientific data supporting their claims, Creative Memories DOES NOT endorse cropping Polaroid photographs.
The two types of photographs you may not want to overlap are:
- Heritage photographs - They are harder to replace should you want to reprint the photographs at a later date.
- Inkjet prints - Inkjet prints made on Creative Memories Photo Paper have tested to last as long as traditional prints. Inkjet Photo Paper is acid-free, lignin-free and buffered, and is perfectly safe to store in your albums. However, the inks in the majority of inkjet printers are dye-based and water-soluble. Therefore, in the case of increased humidity, it is possible for the inkjet prints to migrate from the papers.
Photographs become stuck together due to moisture forming on the emulsion layer. When exposed to moisture this emulsion layer becomes tacky, and once allowed to dry the photographs will adhere to themselves to each other.
To seperate the photographs, we would first recommend that no attempt be made to peel the photographs apart. Rather, we would recommend soaking the photographs in (specifically) cold, distilled water for a short period of time (five minutes or so) to allow moisture to be re-introduced to the emulsion. After the photographs have been soaking for several minutes, you may attempt to seperate them, first by testing one of the edges to see if they peel apart freely. If they do not peel apart easily, continue to soak the photographs and check on them periodically, performing the same peel test on the edge. We would recommend that care be taken during this procedure, that gloves be worn, and that the photographs be handled by the edges only.
Once the photographs have been seperated from each other, they should be laid on a flat and dry surface in a temperate environment and allowed to dry completely before being further handled.
Photographs become stuck on glass due to moisture forming between the emulsion layer of the photograph and the glass. When exposed to moisture the emulsion layer of the photograph becomes tacky, and once dry the photograph will be permanently adhered to the glass. Unfotunately, we can make no recommendations for the removal of the photograph from the glass without risking irreversable damage to the photograph.
We recommend reprinting the photo. Or, scan the photo so a new print can be made.
The Creative Memories Photo Labeling Pencils are tested and proven to be photo-safe. They will not bleed chemicals or colors through your photographs. We, of course, cannot say with certainty that the inks used with stamps are either good or bad - their compatibility with photographs would need to be confirmed with the manufacturer.
Creative Memories pens are acid-free, pass the Photographic Activity Test (PAT), and are fade-resistant and bleed-resistant. They use pigmented inks that allow for greater stability and permanence. Although designed for album-making, the decision to write on photographs with Creative Memories pens is a personal decision the owner must make.
Test results with Creative Memories pens have been inconsistent. Generally, we have found that pen clogging and drying up may occur. We also have found that the pen ink may not absorb fully or at all into the photograph, and the ink may smear. The ink that does get absorbed may actually start to show through the front of the photograph over time. Ink may also transfer to adjacent photographs.
Because our pens were not designed for use as a photo-labeling product, we can in no way guarantee the long-term performance of the pens when used in this capacity.
To uncurl traditional resin-coated (RC) prints, we recommend first performing a “bend test” on the corner of the photograph to ascertain if the emulsion (front layer) of the photograph is dry and brittle. If the emulsion layer cracks when the bend test is performed, we recommend taking the photograph into a photo professional in your area for further handling and reprinting.
If the emulsion layer of the photograph does not crack and appears to be pliable, you may then attempt the “book stack” method of flattening the photograph.
To perform the book stack method, place the photograph between two white Creative Memories album pages with a heavy book on top of the pages. The stack should then be placed in a humid environment, like a bathroom or near a humidifier. Leave the stack in the humid environment for about 24 hours. The stack should be removed from the humid environment after this 24-hour period and allowed to stand in a temperate environment for another 24 hours, allowing the photograph to dry flat within the stack.
If you find that the photograph continues to curl after this 48-hour period, we would recommend taking the photograph to a photo professional in your area for reprinting.
Acidic materials react with photographs and cause them to prematurely deteriorate. Acidic materials will generally cause discoloration or fading. However, it can also make photographs brittle and therefore highly susceptible to other contaminants that cause deterioration.
Lignin is a natural substance found in wood pulp that gives wood its rigidity. Without lignin, a tree would not stand upright but would bend like rubber. Lignin is also what causes paper to turn yellow or to become brittle over time, like an old newspaper. Unlike acids, lignin cannot be neutralized.
The following is a glance at the development of photography through the early part of 1900s.
Daguerreotype
1839-1860
Daguerreotype prints are the oldest commercially made photographs. Printed on a sheet of silver-plated copper or brass, daguerreotype photos are characterized by delicate images that can be viewed as either a positive or negative. Daguerreotypes also have a highly polished look that resembles a mirror when viewed.
Ambrotype
1851-1880
Commonly mistaken for daguerreotypes, ambrotypes were the first popular form of wet-plate photography. Printed on glass, the image will appear positive at any angle, thus distinguishing it from a daguerreotype. Ambrotypes can also be identified by their brown and milky-white tones.
Tintype or ferrotype
1854-1930
Often confused with daguerreotype and ambrotype prints, tintypes were popular, inexpensive and durable way to make photographs. Printed on a thin piece of iron, not tin as the name suggests, tintype photographs are easily scratched and can appear in black, brown and milky-white tones. Tintypes were also typically matted or encased in metal or leather frames.
Early paper prints
1855-1910
Popular early prints include albumen, collodion and gelatin prints. The image is imbedded into the fibers of the paper during the development process. A fine matte finish and subtle depth typically characterize these prints. Visible paper fibers may be another distinguishing characteristic of the types of prints.
Cartes-de-visite and cabinet photos
1860-1910
Cartes-de-visite prints are typically full-length individual portraits and mounted on heavy cardstock that is slightly larger than a standard business card. Cabinet photos - similar to, but larger than, cartes-de-visite prints - typically are brown, sepia or yellow-toned. Large, thick mounts and rounded corners characterize cabinet photos.
Any photographs developed prior to the 1930s should be handled with extreme care. Only a photo professional should perform any necessary cleaning or restoration of heritage photographs. Storing your heritage photographs in a dark storage environment, inside of a Creative Memories album, at our recommended storage conditions of 77 degrees Fahrenheit (25 degrees Celsius) or less with a relative humidity of 20 to 50 percent is ideal. We recommend that prints and albums be stored vertically rather than stacked.
Photographs may show natural deterioration in the form of cracking, brittleness and discoloration. It is especially important that heritage prints be handled with care. We recommend treating heritage prints as memorabilia and mounting them with Photo Mounting Corners or Memorabilia Pockets. Permanent adhesives such as Tape Runner, Frosted Splits and Photo Tape will not allow for the photograph to be removed at a later date and copied if necessary.
You may wish to create a duplicate of your heritage photo prior to mounting it inside your album to ensure that a back-up copy of the image is available in case of disaster. You may also choose to mount the duplicate copy of the print inside your album and keep the original print in a disaster-resistant location, such as a safe-deposit box.
Reproduction can be made by photographing the original heritage photograph or by scanning the image and reprinting the digital file as an inkjet print, dye sublimation, electrophotographic or chromogenic photographic print. You may mount either the original or the duplicate copy of the image into your Creative Memories album. Duplicates should be handled as recommended for current photo development processes.
Here is an overview of the modern photographic processes:
Silver-halide (black-and-white)
1885-Present
Chromogenic (color) prints
1935-Present
From the 1930s to the early 1960s, black-and-white silver-halide prints were the most commonly developed photographs. Around the early 1960s, color chromogenic prints became more common. These prints include a gelatin emulsion or polyethylene resin layer that characterizes the prints with a “glossy” look and feel. All chromogenic prints before the early 1980s are susceptible to color fade and yellowing. Store all silver-halide and chromogenic photographs in an environment of 77 degrees Fahrenheit (25 degrees Celsius) or less with a relative humidity of 20 to 50 percent.
Instant black-and-white and color prints
1948-Present
Instant prints typically are characterized by their thick plastic backing. The photographic image is developed using a plastic pouch or single sheet of paper that contains layers of different chemicals and appears within minutes of taking the photograph. Though originally released as black-and-white prints, color instant prints became popular in the 1960s and 1970s. Instant photographs should not be cropped, as the loss of chemicals may destroy the image. The developing chemicals may also irritate the skin and eyes. You may wish to treat instant prints as memorabilia and mount them to your album page using Photo Mounting Corners.
Electrophotographic prints
1959-Present
Electrophotographic prints are the first photographic printing process without chemical development or use of photographic paper and are essentially photocopies. The image is permanently fused to the paper using heat.
Inkjet prints
1985-Present
Inkjet prints typically are made using a home inkjet printer. Ink is sprayed onto coated paper to form the image. These prints can look and feel like chromogenic photographs. Treat inkjet images carefully as they are susceptible to light fade, color bleed, or damage by abrasion or pollution. Creative Memories requires the use of Page Protectors with all inkjet prints.
Dye sublimation prints
1985-Present
Some specialized home photo printers and commercial kiosks produce dye sublimation prints. These printers thermally transfer dye from a colored ribbon to a coated paper receptor. Many of these printers also coat the print to protect it from damage. Dye sublimation prints may look and feel like chromogenic photographs. Dye sublimation prints are also known as dye-diffusion thermal transfer prints.
The yellowing of photographs is a sign of deterioration and natural aging. The natural aging process may have been accelerated due to poor storage conditions and possible environmental contamination. It is also possible, if the photographs are from the 1960s and 70s, that the film was unstable and has already begun to break down.
Unfortunately, there is nothing that can reverse the aging process of your photographs, nor is there a way to remove harmful substances from photographs once exposed. There are, however, software packages that can be used (once the image is scanned) to color correct and reprint your damaged photographs. A software package like Creative Memories Memory Manager is an excellent choice for photo correction in your home. You may also consider taking the photographs to a photo professional - at a camera shop in your area - and inquire if they offer photo correction as a service.
If you choose color correction at home, you will need a software package, a scanner, a computer, and an inkjet printer. The first step is to scan a photograph, then use the software to add colors such as cyan and magenta to the image. Once you have fine-tuned the colors, you may either reprint the photograph using an inkjet printer, or you may burn the image to a CD-R and have it developed on conventional photographic paper at any photo processor.
It is safe to store various types of prints together. However, if the prints have been permanently mounted to backing paper, you may want to keep them seperate from other photographs. We cannot say for certain (without testing) what product properties of the backing paper are.
Nitrate-based film was manufactured as late as 1951. Check the margins of the negatives. Safety-based films have the word “safety” printed in the margin and present no danger. If the film says nitrate in the margin or does not have anything printed, it should be checked by a photo professional to determine if it is nitrate-based. These should be duplicated and the original disposed of as soon as possible.
Glass-plate negatives also need special handling. The emulsion of the glass plate (the dull, non-reflective side) should not be touched or wiped. Handle glass plates only by the edges. Store them vertically in a box or drawer. Use Creative Memories photo-safe paper or acid-free matte board to seperate the negatives. Make sure the plates are adequately supported because the weight of the glass itself may cause the plates to crack.