- Environmental Management
- Testing & Standards
- Imaging & Information Media
- PEM2 Datalogger
- PEM2 USB Flash Drive
- eClimateNotebook Basic
- eClimateNotebook Basic Plus
- eClimateNotebook Professional
- eClimateNotebook Professional Plus
- A-D Strips
- IPI MSQR
- Care and Identification of 19th-Century Photographic Prints
- IPI’s Guide to Sustainable Preservation Practices
- New Tools for Preservation
- Permanent Images: A Personal and Technical Memoir
- Pioneers of Photography Book
- Photographic Negatives Poster
- Motion Picture Film Poster
- Ordering Information
- The Atlas of Water Damage on Inkjet-printed Fine Art
IPI Executive Director Appointed: Jennifer Jae Gutierrez
Gutierrez, who most recently served as the Arthur J. Bell Senior Photograph Conservator for the Center for Creative Photography (CCP) at the University of Arizona in Tucson, began her new position on April 10. She succeeds James Reilly, IPI’s founding director, who retired last December after nearly four decades at the institute, part of RIT’s College of Imaging Arts and Sciences. Gutierrez, a distinguished photograph conservator, conservation educator and administrator, said she is both delighted and humbled to become IPI’s new leader. "I’m dedicated to the preservation of cultural heritage, and, as executive director of IPI, I will have the potential to contribute to the preservation of collections around the world through leading IPI’s preservation research and educational initiatives," she said.
New! Two short videos that introduce IPI’s approaches to sustainable management of collection storage environments
These videos were created to supplement a series of webinars and workshops conducted from 2014 -2016 with support from the National Endowment for the Humanities, Division of Preservation and Access. The first video, Sustainable Management of Collection Environments—Dynamic Approaches (watch now), challenges the premise that the best and most sustainable preservation environment is always static and unchanging. A modern view, based on extensive research, is that for many collections a dynamic approach can be more effective and sustainable. The video explores the fundamental ways in which collections deteriorate and talks about balancing collection needs, costs and institutional capabilities. The second video, Sustainable Management of Collection Environments—IPI’s Perspectives (watch now), presents IPI's perspectives on the practice of environmental management. It talks about the role of data and data analysis in achieving a healthy collections environment and shows how to get started with blending sustainability with sound preservation methods.
Apply Now: Process Identification Workshop Dates and Venues Announced
Funded by NEH, this free three-day workshop will teach participants the tools and skills necessary for successful photographic process identification and care by breaking down the complicated subject into simple and easily manageable sections. The seven selected locations are: Rochester, NY, Atlanta, GA, Tucson, AZ, San Diego, CA, Austin, TX, Chicago, IL, and Boston, MA. Since attendance is limited to 20 participants at each venue, we are asking that applications be submitted for consideration. Attendees will be selected based on order of receipt as well as the need for a diversity of institution types and roles. Early application is highly recommended.
IPI Awarded Major Education & Training Grant from the National Endowment for the Humanities
The Image Permanence Institute (IPI) at Rochester Institute of Technology has received a $182,730 grant from the National Endowment for the Humanities (NEH) Preservation and Access Education and Training program in support of "Teaching a Methodology for Photographic Process Identification." During the two-year project, IPI will attempt to reach the broadest audience possible using a variety of outreach tools, including seven regional workshops, six 60-minute webinars and three short video tutorials on photographic process identification and care. These educational programs will focus on how to use Graphics Atlas, an online reference resource developed by IPI. Alice Carver-Kubik, a photographic research scientist at IPI and content developer for Graphics Atlas, will lead the project. Stay tuned for upcoming workshop dates and locations.
Jean-Louis Bigourdan Receives Silver Light Award at AMIA
Jean-Louis Bigourdan, Senior Research Scientist at the Image Permanence Institute, received the Silver Light Award from the Association of Moving Image Archivists (AMIA) on November 10th in Pittsburgh, PA. The Silver Light Award recognizes outstanding career achievement in moving image archiving. Measures of achievement may include substantial contributions to the field over an extended period, leadership in the field, work in professional societies or other professional activities, writings or publications, preservation and restoration projects, innovations that advance the cause of preservation, and patronage donated to archives or archival projects.
This atlas is intended to help readers become aware of the various ways that inkjet prints can be harmed during water emergencies. Each page highlights a different form of water damage that an affect inkjet-printed photographs and fine art. Every water emergency will be different, so prior familiarization with all potential types of damage will help disaster responders understand what has occurred to an object as well as how best to react to and recover their materials during the actual event. Funding provided by the Institute of Museum and Library Services. (Access the online version to look inside the book!) 53 pages, softcover, 8” x 8”. Price: $25.
New and improved Graphics Atlas identification pages have been launched!
Graphics Atlas was officially launched in 2010. In 2012 IPI received a three-year grant from The Andrew W. Mellon Foundation to continue work on the site. Our first initiative under the Mellon grant was to survey Graphics Atlas users in order to better understand how the site was used and what areas needed the most improvement. The answer to both questions was the Identification pages. In response IPI developed a new, methodological approach to identification and conducted a complete overhaul of the individual Identification pages based on this methodology. Each Identification page begins with an Overview, which provides a description of each process, common use dates, key identifying features, alternate names, and other information. Identifying characteristics of the process are described in detail in three categories: object, surface, and magnification. The Object View includes characteristics that can be observed with even illumination, such as the nature of the support and the image tone. The Surface View includes surface characteristics of sheen and texture which can be seen with specular or raking light. Magnification describes characteristics like image and layer structure which are best seen with magnification. Lastly, every process includes a Variations section that describes important variations of the process.
Each process is illustrated with high-resolution images from the IPI study collection and is accompanied by text that describes the connections between chemistry, technology, materials, and the aesthetic characteristics shown, providing the user with an informed approach to identification. The result of this three-year project is a sophisticated and comprehensive web resource with a broad scope of didactic information on graphic processes far surpassing that of any other print or web publication.
Check it out at: http://graphicsatlas.org/identification/
FilmCare.org has launched!
FilmCare.org, funded by the National Endowment for the Humanities, is a central resource for best practices in film preservation that provides guidelines for dealing with the preservation of all types and formats of film materials. It addresses the requirements for preserving black-and-white and color film and nitrate, acetate, and polyester-based film. It also addresses specific issues for motion-picture film, sheet film, still roll film, microfilm, and aerial film, as well as the management of collections containing a variety of media types (certainly the most common real-life situations encountered in the field). This approach focuses primarily on storage, condition surveys, and the development and implementation of best-fit environment-based strategies. Users can create a FREE account to evaluate their own collections and get specific guidance on next steps for best practices for film preservation.
Sign up today at http://www.filmcare.org to get a free account and learn more about film.
IPI Awarded $399,825 Digital Image Correlation Grant
IPI has received a grant from The National Endowment for the Humanities in support of Digital Image Correlation to Determine Shape Deformation of Paper Based Collections Due to Relative Humidity and Temperature Variation. This three year project will focus on defining the permissible limits of relative humidity for rare books and other library and archive materials that are critical resources for humanities research. Dr. Andrew Lerwill, Research Scientist at the Image Permanence Institute and a PhD physicist with prior experience in conservation science at the Tate Gallery and the Getty Conservation Institute, will lead the research project.
While the study of safe limits for relative humidity (RH) for fine and decorative arts has received considerable attention, the complex and diverse mechanical structures of bound volumes has not. Mechanical (physical) damage due to dryness or excessive dampness is the principal reason why rare book and special collection materials require controlled environmental conditions.
New Video: Effect of Humidity Fluctuation on a Rare Book
This new video shows an experiment conducted at IPI to illustrate the physical effects that occur on library and archive materials due to changes in humidity conditions. In this example, a vellum bound book (Johann Hübner "Kurze Fragen aus der politischen Historia biß auf gegenwärtige Zeit" printed in 1701) was studied. The experiment started at an equilibrated condition of 55% relative humidity, then conditions were altered to 25%, back to 55%, and finally to 75%. The duration of the experiment was 12 hours and conducted at room temperature.
Just Published: IPI Guide to Preservation of Digitally-Printed Photographs
This guide provides basic information on the storage and preservation of digitally-printed photographs in scholarly and cultural collections. While there are many printing technologies for output from computers, this guide focuses on the three most popular forms of image (i.e. pictorial) hardcopy:
- Digital electrophotography
- Dye sublimation
Information on recommended storage conditions, selection of housing and framing materials, proper handling and display are included. Collection care personnel in cultural institutions are the intended audience for this guide, however, it will also be useful to photographers, artists, and the general public.
Poster Price Reduction!
We have lowered the price of both our posters from $50 to $10! Photographic Negatives: Nature and Evolution of Processes and Knowing and Protecting Motion Picture Film Poster. Act soon before they sell out!
Graphics Atlas Interesting Picture of the Week
If you haven't seen it yet, we are excited to officially announce the debut of a new weekly email called Interesting Picture of the Week that highlights various interesting pictures from Graphics Atlas.
We've already received really good response and the word is spreading. We have a lot of great things planned so don't miss out and sign up today!
The Albumen and Salted Paper Book by James M. Reilly has been reprinted as a second edition and is now available for purchase thanks to the RIT Press!
The Albumen and Salted Paper Book is a descriptive history of the major photographic printing processes that were used between the years 1840-1895. These first 50 years of photography established a tradition of individual experimentation and craftsmanship where each photographer participated in the manufacture of the printing materials that were used. Albumen print and salted paper print were the ordinary, all-purpose materials of the time—albumen print is the second most common type of photograph ever made. This book describes both the technical information of these historical materials and offers the reader a very organized approach to this interesting process. 188 pages, hardcover, 6” x 9”. Price: $34.99.