DIGITAL VIDEO MICROSCOPY: A PRACTICAL VISUAL ANALYSIS TECHNIQUE FOR THE CONSERVATOR
The author would like to acknowledge the great work of Marc Reeves, New York Public Library Conservation Department, that has inspired the author's interest in digital video microscopy. The author also thanks very much Ersev Erdogan, Princeton Class of 1999 and now with Microsoft; Michele Hamill, Cornell University Preservation Department; and Stuart Kohler, Norwich University Computer Systems Department, for reviewing the drafts of this paper. I would also like to thank the reviewers and editors of JAIC.
The digital video microscopy system used in the Special Collections Conservation Unit of Princeton University Library includes:
Power Mac G4/400MHz, 256 MB RAM
Mac OS 9
Apple 17 in., .25 dot pitch color monitor
Digital Video Capture Card
Aurora Fuse, 9 MB capture rate
Polarized Light Microscope
Stereo Binocular Microscope
Zeiss OpMI 1-FC
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SOURCES OF MATERIALSCCD camera and microscopes
Middlebush, N.J. 08875Chemicals
A division of Mallinckrodt Baker
Phillipsburg, N.J. 08865Computer and monitor
1 Infinite Loop
Cupertino, Calif. 95014–6299Digital video capture card
Irvine, Calif. 92618Fiber reference sets
850 Pasquinnelli Drive
Westmont, Ill. 60559–5531
Institute of Paper Science and Technology
500 10th Street, NW
Atlanta, Ga. 30318Japanese paper
2525 Michigan Ave.
Santa Monica, Calif. 90404Microscopes (Polarized light)
P.O. Box 5155
Middlebush, N.J. 08875McCrone paint pigment sample set
850 Pasquinnelli Drive
Westmont, Ill. 60559–5531Wheat starch paste
New York, N.Y. 10012
TED STANLEY has been the head of the Special Collections Conservation Unit and a paper conservator for Princeton University Library since 1992. From 1976 to 1992, he was a senior paper conservator at the Library of Congress in Washington, D.C. He has also studied paper conservation through the National Endowment for the Arts Fellowship for Museum Professionals at the Biblioth�que Nationale, Paris, and the Centro Nationale de Conservacion y Restauracion de Bien Culturales in Madrid, from 1984 to 1985. Address: Preservation Office, Firestone Library, Princeton University, One Washington Rd., Princeton, N.J. 08544–2098
Received for review March 16, 1999. Revised manuscript received November 5, 1999. Accepted for publication November 23, 1999.
1.. The 1868 print had been mounted on a solid-ground wood board and was previously repaired with lengths of transparent pressure-sensitive tape, which had discolored and stained the print. Subsequently, the print was conserved by the following steps: mechanically removing the mount; removing the tape carrier, reducing the adhesive residue and stain in several baths of ethyl acetate; suction table washing with a (90:10) solution of absolute ethanol and carbon-filtered water spray; and a stretch-lining using double layers of tengujo Japanese paper and ethanol-saturated wheat starch paste. The print was pre-wetted with a (90:10) solution of absolute ethanol and carbon-filtered water spray before lining. The conservation treatment did not adversely affect the print in any way.The 1890 print was not mounted. It had severe planar distortion that could not be treated effectively. Severe skinning of the paper support at its verso was reinforced with tengujo Japanese paper and wheat starch paste.