From: Ed Buffaloe (EdBuffaloe@UnblinkingEye.Com)
Date: 03/28/03-05:16:56 AM Z
The reason some of the early salt prints fade is that they were not properly
fixed. But even when properly fixed, the very finely divided silver that
makes up the brown image is subject to oxidation by environmental
pollutants. Doug Nishimura of RIT's Image Permanence Institute has
emphasized repeatedly that image permanence is tied more to storage
conditions than to processing. No matter how carefully processed an image
is, if it is subjected to atmospheric pollutants it will be liable to
degrade. In a letter to Jennifer Scott of the State Library of South
Australia, he tells an anecdote about photographic prints, on display in a
gallery, that suffered deterioration in a matter of weeks in the form of
orange spots which resulted from the fumes produced by a repainting of the
gallery walls prior to the exhibit.
In regard to the beautiful brown color of salt prints, it can be retained by
toning in very dilute selenium. I tone my VDB and salt prints in 3 ml Kodak
Rapid Selenium Toner in a liter of water. This typically reduces the print
slightly (clearing the whites and removing any yellowish tint), while moving
the image color more toward a chocolate brown. I doubt this provides much
archival protection, but I figure it can't hurt, and I love the color.
----- Original Message -----
From: "Amy Cutting" <amos1979@attbi.com>
At the Amon Carter Museum in Fort Worth they have a salt print on display
(sort of) that is covered by a flap of black velvet. To view the print you
have to go over, notice it's actually a piece of art, read the sign, and
finally lift the velvet. The sign said that this was because salt prints are
light sensitive and prone to fading. I don't know if this was just a museum
precaution for a valuable print or just paranoia though. Personally, I
thought it was a bit odd but I'm glad it was on display at least. Amy
Cutting
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