Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Drying and storage of photographs
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Drying and storage of photographs
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Subject: Photography
Class: Senior Secondary 1
Term: 2nd Term
Week: 3
Theme: Printing
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This topic introduces Senior Secondary 1 Photography students to the critical post-processing stages of drying and storage of photographic prints. Mastery of these techniques is essential for preserving the quality, longevity, and integrity of images, whether for personal archives, professional portfolios, or historical documentation. In the Nigerian context, where environmental factors like high humidity and dust can accelerate photograph degradation, understanding and applying proper drying and storage methods is crucial for safeguarding visual memories and professional photographic work.
This section provides a detailed explanation of the drying and storage processes for photographic prints, including essential definitions, methods, and practical considerations. This section outlines practical activities for both teachers and students to ensure a comprehensive understanding and application of drying and storage techniques. This section provides scaffolded practice questions for students to apply their understanding of drying and storage, with detailed solutions for the teacher.
Question 1: A student, Ade, has just finished processing several RC (Resin-Coated) black-and-white prints from a school event. He wants to dry them quickly and prevent them from curling. a) Describe one effective and safe method Ade can use to dry his RC prints, considering his goal of speed and minimal curling. b) What specific precaution must Ade take if he decides to use a hairdryer to speed up the drying process?
Solution 1: a)
Method: Air Drying on a line with gentle squeegeeing.
Step 1: Remove excess water. Ade should gently squeegee the prints using a photographic squeegee to remove as much surface water as possible. This significantly reduces drying time and helps minimize curling.
Step 2: Hang the prints. He should hang the prints by one corner or edge on a clean clothesline (e.g., nylon string) using plastic pegs.
Step 3: Ensure spacing and air circulation. Ensure prints do not touch each other or any other surface, allowing air to circulate freely around both sides.
Step 4: Choose a clean environment. Ade should ensure the drying area is clean and relatively dust-free to prevent particles from settling on the prints. (Teacher's
Commentary: This method is effective, relatively fast for RC prints, and reduces curling compared to simply laying them flat without squeegeeing.) b)
Precaution for hairdryer use: If Ade uses a hairdryer, he must set it to the coolest possible setting (or use a fan). Using hot air will cause the emulsion to crack, blister, or even melt on RC prints, resulting in irreversible damage. The strong airflow also increases the risk of dust adhering to the print. (Teacher's
Commentary: Emphasize that hot air is a common mistake and extremely damaging to photographic emulsions.)
Question 2: Mariam has a collection of old family photographs taken over 30 years ago. She wants to store them properly to ensure they last for future generations. a) List three critical characteristics of suitable archival storage materials she should look for. b) Explain why using a common transparent plastic bag or a standard office paper envelope for long-term storage is detrimental to her photographs.
Solution 2: a) Three critical characteristics of suitable archival storage materials:
1. Acid-Free: The material should have a neutral pH (pH 7.0 or higher) to prevent it from degrading and transferring acid to the photographs, which causes yellowing and brittleness.
2. Lignin-Free: Lignin, a component of wood pulp, breaks down over time to produce acids. Archival materials should be free of lignin to ensure stability.
3. PVC-Free: If using plastic sleeves, they must be free of Polyvinyl Chloride (PVC), which emits plasticizers and harmful chemicals that can stick to and damage photographic emulsions over time. (Teacher's
Commentary: These three are fundamental for archival quality. Students should be able to recall them.) b) Detrimental effects of common plastic bags and standard office envelopes: Common Transparent Plastic Bag: Many common plastic bags are made from PVC (Polyvinyl Chloride). PVC off-gases harmful chemicals and plasticizers that can migrate to the photograph's emulsion, causing it to stick, degrade, and become discolored over time. The plastic can also become brittle or sticky itself.
Standard Office Paper Envelope: Standard office paper envelopes are typically made from wood pulp that contains lignin and is not acid-free. Over time, these envelopes will degrade, becoming acidic and brittle. This acid will then transfer to the photographs, causing them to yellow, fade, and become brittle themselves. The paper fibers can also scratch delicate emulsions. (Teacher's
Commentary: This question highlights the difference between everyday materials and specialized archival materials, reinforcing the importance of choosing wisely.)
Question 3: During a photography project, some of your newly dried fibre-based prints have developed a noticeable curl. a) Why do fibre-based prints tend to curl more than RC prints? b) Suggest one practical method to flatten these curled fibre-based prints after they are completely dry.
Solution 3: a)
Reason for curling in fibre-based prints: Fibre-based prints curl more than RC prints primarily because of the nature can also scratch delicate emulsions. (Teacher's
Commentary: This question highlights the difference between everyday materials and specialized archival materials, reinforcing the importance of choosing wisely.)
Question 3: During a photography project, some of your newly dried fibre-based prints have developed a noticeable curl. a) Why do fibre-based prints tend to curl more than RC prints? b) Suggest one practical method to flatten these curled fibre-based prints after they are completely dry.
Solution 3: a)
Reason for curling in fibre-based prints: Fibre-based prints curl more than RC prints primarily because of the nature of their paper base. Fibre-based paper consists of absorbent paper fibers that absorb and release moisture, causing the paper to expand and contract unevenly as it dries. The emulsion layer also dries at a different rate, creating tension between the two layers, which results in significant curling. RC prints, on the other hand, have a plastic (resin) coating on both sides of their paper base, which prevents the paper fibers from absorbing water. This makes them much more dimensionally stable and less prone to curling. (Teacher's
Commentary: This delves into the material science behind print types and their behavior during drying.) b) Practical method to flatten curled fibre-based prints: Method: Weighting/Pressing.
Step 1: Ensure the prints are completely dry.
Step 2: Place the curled prints emulsion-side down (or face down) between two pieces of clean, acid-free blotter paper or smooth, clean cardboard.
Step 3: Stack several heavy, flat objects (e.g., large books, wooden planks, or a stack of other heavy, flat items) evenly on top of the prints.
Step 4: Leave the prints under weight for several days to a week. The sustained pressure will gradually flatten the prints. (Teacher's
Commentary: This is a simple, effective, and accessible method for flattening prints in most Nigerian settings.)* ---
This topic has significant real-life applications in various aspects of Nigerian community, culture, and economy. Preserving Family History and Cultural Heritage: Application: In Nigeria, photographs play a vital role in documenting family histories, cultural events (weddings, naming ceremonies, festivals, chieftaincy titles), and community milestones. Proper drying and storage ensure these invaluable visual records are preserved for future generations. Many old family photos in Nigerian homes are often faded, stained, or damaged due to poor storage conditions (e.g., stacked in humid cupboards, exposed to light).
Integration: Students can be tasked to observe the condition of old photographs in their homes or communities and suggest improved storage methods based on what they've learned, advocating for better preservation of their family's visual legacy. This fosters appreciation for their heritage and practical application of knowledge. Professional Photography Business and Archiving: Application: Professional photographers in Nigeria (e.g., wedding photographers, studio portraitists, photojournalists) rely on producing high-quality, durable prints for their clients. Incorrect drying can lead to curled or dusty prints, while poor storage can damage client deliverables or studio archives. Knowing proper techniques ensures client satisfaction and protects the photographer's professional reputation and business assets.
Integration: The lesson can be linked to entrepreneurship. Students can discuss how delivering long-lasting prints adds value to a photography service. They could also research local printing labs or studios to understand their drying and storage practices, or consider how they might offer photo restoration and preservation services as a business. Archiving Historical Documents and Community Records: Application: Beyond personal use, photographs are crucial for historical documentation of Nigerian society, infrastructure development, environmental changes, and political events. National archives, museums, and community centers often manage vast collections of photographic records. Proper archival drying and storage are essential to prevent the loss of these irreplaceable historical assets.
Integration: Students could research a historical photographic archive in Nigeria (e.g., National Archives of Nigeria) and learn about the challenges they face in preserving their collections due to climate or funding. This connects the lesson to broader national heritage and the importance of professional archival practices. ---