Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Need help identifying mould and foxing in paper conservation 2. Sustainable surface protection for work benches 3. RE: Plaster sculptures reinforced with carbon rods 4. RE: Passing of Alan Balicki 5. Testing for the presence of blood on textile 6. Call for Volunteers - Icon Emerging Professionals Group Committee 7. Online Conference: Focus on Conservation 2025: Routes to Resilience 8. RE: Replacement software for Nikon's Camera Control Pro ------------------------------------------------------------------------------------------------------------ 1.From: Jetawat Sawadmanaschai Posted: Thursday October 2, 2025 7:21 AM Subject: Need help identifying mould and foxing in paper conservation Message: As a new conservator, not specializing in the field of paper conservation, my current project involves preventing and addressing pest and mould infestations. I am encountering difficulty in identifying certain spots on the paper and am unsure whether they are foxing or something else. I have attached a picture of what I have found within this thread and would greatly appreciate your assistance in identifying these marks and understanding how they occur. Thank you in advance. ------------------------------ Jetawat Sawadmanaschai Conservator Reform Archaeology Co., Ltd. Thailand UCL Institute of Archaeology (Alumni) London United Kingdom ------------------------------ 2.From: Arianne Panton Posted: Thursday October 2, 2025 7:26 AM Subject: Sustainable surface protection for work benches Message: Hi everyone, We have been lucky enough to purchase some new work benches for our studio and are keen to keep them in good condition for as long as possible. We often have heavy objects on our benches and items that can scratch, so are looking for sustainable options for suitable protection. It would be great to hear what others are using (we are based in the UK). Best wishes, Arianne ------------------------------ Arianne Panton ACR Manager of Conservation & Research The Leather Conservation Centre Canopy Duke Street Leicester LE1 6WB ------------------------------ 3.From: Melanie Schneppel Posted: Thursday October 2, 2025 7:26 AM Subject: RE: Plaster sculptures reinforced with carbon rods Message: Dear everyone, I see its a bigger question than i thought. I'm happy and grateful for the many responses. @ Carolyn: Oh yes, sorry. I don't told you about the size. We have some small reliefs like 1m x 0,5m ( 40" x 20") and bigger ones with the measurement of 2m x 1m (80" x 40"). Also we have sculptures smaller and bigger than life size up to 3m (120"). It is a collection of plaster-cast from ancient sculptures Greek, partically Egypthian, Roman and so on. Yes, you're right about the compatibility. I think I should check how fiberglass and carbon behave in combination with plaster. I think I don't need a pin for every broken part. I also have good experiences with the use of glue without a pin. But if I remove a reinforcement, I will probably have to replace it with a new one. And you're right I should think about the need. I asked a stuccoworker about rods in Reliefs and she wondered why there where rods used and no grid or gauze or something area-measured material. Maybe it wasn't possible back then when they're were manufactured. I don't know. Some of our sculptures are 200 years old. Do you know how much a rod in the back of a big relief stabilizes it? And how the rod must be aligned? We have reliefs with diagonal rods and some have vertical rods and some have a big X on the Back. I can't detect any system. The sculptures and Reliefs have many different defects and damages. Some of them have vertical cracks and some cracks criss-cross through the objects. I think we don't have that much horizontal cracks.. Only at parts where two pieces of the cast put together. @ Berenice: Acrylic Rods are mybe good because of the low elastic modulus, but I'm not happy with material that carries the weight of a sculpture part and is that brittle and may not resistant to aging. I don't know why but I'm affraid that a acrylic rod break one day without warning. George is right about the plastic deformationen before failure. And I also don't know if carbon or glassfibre give a better hint that they will break soon. Maybe some cracks (as hint) in the sculpture are better than an arm of the sculpture will fall down or something and I have so put hundred little fragments together. @ George: Thanks for the video. Glassfibre rods have obisouly a flexibility and a high breaking strenght compared to glass or plastic rods. But what happend when the plastic component aged and get brittle or something. Do you know if someone analyzed the aging of glassfiber and carbonfiber in considertation of the plastic component? Someone told me that there were glassfiber used to stabilizise a tower as wall-anchor and they have to remove it. This fibers has a production defect. They have not enough plastic content. Therefore they absorbed water and swelled. What happens if the plastic ages or have an other defect and it loses its connection to the glass fibers or undergoes other chemical changes? Will the glassfiber always be that strong or does it just break after a long time pressure? Thank you all. I have so many new questions and a lots of new thoughts. I'm really happy about our discussion. ------------------------------ Melanie Schneppel Objects Conservator Rheinische Friedrich-Wilhelms-Universität Bonn Bonn Germany ------------------------------ ------------------------------------------- Original Message: Sent: 10-01-2025 15:27 From: George Wheeler Subject: Plaster sculptures reinforced with carbon rods Carolyn has given you alot of good advice about thinking carefully if you actually need rods at all for repairs. Berenice is also on the right track when suggesting an acrylic rod. What's good about that is it has a low elastic modulus and one that is similar to plaster (in the range of 2-7 Gpa). What's not so good about acrylic rods is that while they are quite flexible, they are also brittle - they do not undergo permanent plastic deformation before failure. While metal rods often too stiff for most of our applications they have ductility/malleability so they bend (and not break). Its this property the doctors take advantage of when repair badly broken bones (now usually titanium). Finally, I will repeat my support for Carolyn's observation, i.e. make sure you actually need pins! I've uploaded a short video that was presented at the TIPS session in Salt Lake City that I hope might be helpfu. ------------------------------ George Wheeler Senior Scientist Highbridge Materials Consulting, Inc. New York United States ------------------------------ Original Message: Sent: 09-26-2025 03:54 From: Melanie Schneppel Subject: Plaster sculptures reinforced with carbon rods Hello everyone, Does anyone have experience with restoring plaster sculptures? I work as a restorer in a museum with many plaster sculptures and reliefs. Many of them have iron reinforcements. Some have come loose due to severe rust. Does anyone have experience with whether plaster can also be reinforced with carbon rods? My predecessor replaced some of the reinforcements with stainless steel. Considering the weight, maybe carbon is a good alternative? Or is carbon too brittle? Of course, I don't want to replace intact reinforcements. Thanks a lot! ------------------------------ Melanie Schneppel Objects Conservator Rheinische Friedrich-Wilhelms-Universität Bonn Bonn Germany ------------------------------ 4.From: Marieka Kaye Posted: Thursday October 2, 2025 10:43 AM Subject: RE: Passing of Alan Balicki Message: Thank you so much for sharing this, Katarzyna. Alan was one of my first mentors, encouraging me to go to graduate school and making every workday special. He was the epitome of a good mentor, conservator, friend, and human being. I am lucky to have shared some time with him, although it was way too brief. Sending my condolences to all who knew and loved him. ------------------------------ Marieka Kaye Director, Preservation Services, Physical Collections University of Michigan Library Ann Arbor, MI 734-647-8461 [email protected] ------------------------------ ------------------------------------------- Original Message: Sent: 09-30-2025 16:17 From: Katarzyna Vargas Subject: Passing of Alan Balicki In Memoriam: Alan Balicki (1954-2025) Our dear colleague, mentor, and friend, Alan Balicki, passed away on Wednesday, September 17th. Over the course of more than 32 years at the New York Historical (formerly the New-York Historical Society), his presence became an integral part of the institution's identity and left an enduring impact on all who had the privilege of working with him. Alan's path to preservation began with a decade at the Historic New Orleans Collection, after which he pursued formal training at Columbia University School of Library Service Conservation Education Program, earning his MSLS in 1992 and Certificate in Library and Archives Conservation in 1993. Alan joined the New York Historical shortly after, where he would spend the rest of his career devoted to the care and conservation of its collections. Alan was more than a conservator-he was a protector of history. With quiet authority and deep expertise, he guided the conservation department through the challenges and changes of the early 21st century. His leadership laid the groundwork for future generations of conservators, and his legacy will endure in NYH's new conservation studio, a space that embodies his commitment and vision. But beyond his professional excellence, Alan was beloved for the joy, humor, and generosity he brought to every day. He had a keen wit, a sweet tooth, and a gift for bringing people together. He made workdays lighter and more fun with Cappuccino Fridays, Crazy Pants Day, and the occasional impromptu dance routine-reminders that joy and professionalism can coexist. Alan was a generous mentor, a kind-hearted friend, and a universally loved presence. His warmth, laughter, and wisdom enriched the lives of so many, and his spirit will remain with us in every shared story, preserved artifact, and act of kindness. His last words of advice to us were simple and profound: "Love your work, and take care of each other." We will, Alan. And we will miss you deeply. ------------------------------ Katarzyna Vargas Conservator The New York Historical New York United States ------------------------------ 5.From: Roger Williams Posted: Thursday October 2, 2025 3:16 PM Subject: Testing for the presence of blood on textile Message: Hi everyone, We have a textile war relic in our collection that exhibits stains, which a curator suspects may be blood. We are considering conducting a test to confirm whether or not this is true. While I am aware of various forensic tests for IDing blood (and we have a faculty member on campus who is a forensic specialist), I am wondering if anyone out there has conducted such tests in a collections context, specifically on textiles. I would also be interested in hearing about any ethical discussions anyone may have had concerning such testing, as well as the use and display of bloodied collections. Many thanks, Roger ------------------------------ Roger Williams Head of Libraries Conservation Brown University Library Providence United States ------------------------------ 6.From: Joanne Fulton Posted: Thursday October 2, 2025 3:17 PM Subject: Call for Volunteers - Icon Emerging Professionals Group Committee Message: The Icon Emerging Professionals Group is seeking volunteer committee members to fill the following roles: Secretary Treasurer Communications Officer Events Co-ordinator We are looking for individuals passionate about conservation and enthusiastic in working with and advocating for other emerging conservators. No previous committee experience necessary! If successful, we would require a small time commitment (around an hour a fortnight depending on the role, and attendance of a bi-monthly meeting) to dedicate towards the work of the committee. If interested, please send a statement of interest (250 words) to [email protected] by 23:59PM on 24/10/25. Any questions can also be sent to this email address. We encourage all applicants to check out our webpage here <https://www.icon.org.uk/groups-and-networks/emerging-professionals-group.html> ------------------------------ Joanne Fulton Conservator (Collections Care) Durham University Library United Kingdom ------------------------------ 7.From: Kate Seymour Posted: Thursday October 2, 2025 3:21 PM Subject: Online Conference: Focus on Conservation 2025: Routes to Resilience Message: Dear colleagues, We're pleased to share the Save the Date for the upcoming online conference: Focus on Conservation 2025: Routes to Resilience, taking place on 2-5 December 2025 This international event will explore how cultural heritage institutions can strengthen their resilience in the face of current and future challenges-including climate change, shifting societal expectations, and financial uncertainty. Structured around four key themes: Resilient Collections & Spaces Resilient Conservation Practice Resilient Resources & Finances Resilient Futures for Conservation The conference will bring together global voices to share strategies, case studies, and insights that support sustainable conservation. The event is free to attend, and open to all conservation professionals, heritage workers, researchers, and students. More information on the programme and registration will follow soon. Please find the Save the Date flyer attached - feel free to share it within your networks. We look forward to seeing many of you online in December 2025! 8.From: Steven Prins Posted: Thursday October 2, 2025 10:27 PM Subject: RE: Replacement software for Nikon's Camera Control Pro Message: Greetings all from sunny Santa Fe, Not having used Nikon digital cameras I am unfamiliar with CameraControl2. But I am unclear about how it was being used if you are using the Adobe workflow. Is it just to tether your camera? Or is it also contributing to the post download workflow? Were you using it as processing software as well? I ask because Capture One is being suggested as an alternative. One should be aware when selecting processing software for digital images that each manufacturer has developed their own proprietary RAW file format: Nikon NEF, Canon CR2, etc. Each company also produces image processing software that will handle their proprietary images in their native format. Software like Adobe LightRoom converts all of the those native image files into a common file format for processing, i.e. DNG. That is why when you import an image into LightRoom it already looks different than the RAW image you started with, even though it has the same name. In LightRoom this happens transparently behind the scenes. Unless you tell it to, LightRoom does not expose the DNG to the user during processing or save the working file. The only time the user is likely to even find out about DNG is if their RAW format has not been incorporated into Adobe's conversion algorithm. Normally, the user only sees the working file identified as the RAW file they imported. For Capture One to compete with Adobe they had to develop their own alternative import conversion algorithms and processing file format. When I test drove C1 long ago, this processing file was completely concealed from the user. At its inception, Capture One targeted the commercial and fashion markets particularly. Anticipating their users' preferences they built certain adjustment into the import process, in particular white balance and color temperature. Imported RAW images looked noticeably warmer. These adjustments were not concealed however. If you looked at the processing parameters of an imported image, the altered values could be reverted to zero, restoring the import to a 'true' RAW state. Perhaps current Capture One users can report back if this is still the case or not. The point of this is, there are many experts who will tell you that if you want the best processing of your RAW files use the manufacturer's software. Otherwise your files are all being converted to an intermediary processing format, losing data and altering appearance, which you may then be attempting to restore in your subsequent processing. Having said that, since their basic photo suite became available at such a reasonable rate I have been using the Adobe workflow myself for a very long time now. Always with a color checker! Anyone want to talk about Apple RAW!? Cheers! Steven ------------------------------ Steven Prins Santa Fe, NM ------------------------------ ------------------------------------------- Original Message: Sent: 09-30-2025 08:33 From: John Castronovo Subject: Replacement software for Nikon's Camera Control Pro ControlMyNikon is what I use and it's very capable and inexpensive. It's full featured and has tremendous control including image stacking and time lapse as well as support for all Nikons. It's certainly worth checking out. john castronovo techphoto, llc Boonton, NJ Original Message: Sent: 9/29/2025 12:21:00 PM From: Adam Neese Subject: RE: Replacement software for Nikon's Camera Control Pro Hello Geneva, and all, This question is perfect for the AIC Imaging Working Group forum! Did you know we existed? We do: https://www.culturalheritage.org/groups/imaging <https://www.culturalheritage.org/groups/imaging> Capture One is a good one-stop software experience for imaging. It has many advantages to Capture Control Pro, but I don't want to get into too big of a sales pitch. I use it extensively and teach it at NYU in my imaging classes. There is a learning curve, and there are more tools than needed, but it is robust and dynamic. Tethering, metadata, profiles, curves, adjustment layers, a wider latitude slider for UVF, all performing seamlessly together in one software. Adam ------------------------------ Senior Collections Photographer for Conservation The David Booth Conservation Department The Museum of Modern Art +1 (212) 708 8455 [email protected] <[email protected]> ------------------------------ Original Message: Sent: 09-24-2025 17:55 From: Geneva Griswold Subject: Replacement software for Nikon's Camera Control Pro Hi all, We seek a replacement tethering software (Nikon D850 compatible) for Camera Control Pro 2, which Nikon no longer supports. Camera Control Pro was replaced by NX Tether, but the latter supports very few DSLR models. We follow the Adobe Bridge workflow in the AIC Guide to Digital Photography and Conservation Documentation, 2nd and 3rd eds). Capture One ($) and DigiCamControl (free) both support Nikon D850. Does anyone have experience with one or the other? All software recommendations would be appreciated. Thank you, Geneva ------------------------------ Geneva Griswold Objects Conservator Seattle Art Museum [email protected] <[email protected]> ------------------------------ You are subscribed to "Global Conservation Forum (ConsDistList)" as [email protected]. To change your subscriptions, go to http://community.culturalheritage.org/preferences?section=Subscriptions. To unsubscribe from this community discussion, go to https://community.culturalheritage.org/HigherLogic/eGroups/Unsubscribe.aspx?UserKey=d16eaa87-0f69-494b-9f2f-303dbc1222e1&sKey=fab9aa4f27a04c5d876e&GroupKey=757a8f16-505f-4323-8e74-e376757aa9f7.
