Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. OnionSkin paper 2. Workshop on Collection Care in Libraries and Archives in Lima, Peru / Taller de conservación preventiva para archivos y bibliotecas en Lima, Peru 3. RE: mold remediation in collections 4. RE: Testing for the presence of blood on textile 5. RE: Replacement software for Nikon's Camera Control Pro 6. RE: Passing of Alan Balicki ------------------------------------------------------------------------------------------------------------ 1.From: Rita Udina Posted: Friday October 3, 2025 10:09 AM Subject: OnionSkin paper Message: Dear colleagues, I recently had to restore a print on onion skin paper, and in the process I found myself wondering whether it should be considered a type of tracing paper or not. While looking into this, I came across some historical and technical aspects that might be of interest to share with you. I'd be very glad to hear your views and experiences on this material. Onion skin paper: History, Uses, Composition and Conservation <https://www.ritaudina.com/en/2025/02/18/onion-skin-paper-history-composition-and-conservation/> Kind regards, Rita Udina Book an Paper Conservation C. Sant Pere, 24 08330 – Premià de Mar (Barcelona, SPAIN) +34 937548880 https://ritaudina.com <https://ritaudina.com> ------------------------------ Rita Udina Book & Paper Conservator Freelance/Private Practice/Self-employed/Independent Barcelona Spain ------------------------------ 2.From: Zoe Voice Posted: Friday October 3, 2025 10:09 AM Subject: Workshop on Collection Care in Libraries and Archives in Lima, Peru / Taller de conservación preventiva para archivos y bibliotecas en Lima, Peru Message: The Instituto Riva-Agüero <https://ira.pucp.edu.pe/> together with the British Library's Endangered Archives Programme <https://eap.bl.uk/> are calling for applications for a three-day workshop on the care of library and archival collections at the Casa O'Higgins, Lima, Peru, on 19th-21st November 2025. This workshop is aimed at all the professional figures working in archives and libraries. No prior conservation knowledge is required. The workshop will be delivered in English, and, through the assistance of a live translator, in Spanish. However, a proficient level of reading comprehension and discussion in English would be beneficial. It is free to attend, but travel, accommodation and subsistence costs are not included. Deadline to apply is by Midnight (BST) on 14th October 2025. We are reviewing applications on a rolling basis, so encourage timely responses to secure a place. For more information and to apply: https://forms.office.com/e/Yxzq8McNK4 <https://forms.office.com/e/Yxzq8McNK4> <https://forms.office.com/e/HHnegNxLhk> El Archivo Histórico del Instituto Riva-Agüero <https://ira.pucp.edu.pe/> de la Pontificia Universidad Católica del Perú y el Programa de Archivos en Peligro <https://eap.bl.uk/> de la Biblioteca Británica tienen el agrado de anunciar la realización de su primer taller de conservación preventiva para América Latina. Recibimos postulaciones para participar de manera gratuita en el taller Conservación preventiva para archivos y bibliotecas, a realizarse en la Casa O'Higgins (Jirón de la Unión 554, Lima), los días 19 al 21 de noviembre de 2025. Este taller introductorio está dirigido a profesionales de archivo y bibliotecas, así como a quienes dirigen la custodia de patrimonio documental. No se requiere experiencia previa en conservación. Ofreceremos el taller en inglés con traducción simultánea al castellano. Sin embargo, un nivel competente de comprensión lectora y discusión en inglés sería beneficioso. Son bienvenidas las postulaciones procedentes de cualquier lugar de América Latina, pero la aceptación en el curso no incluye gastos de viaje, alojamiento o manutención. La convocatoria se encuentra abierta hasta el 14 de octubre de 2025 y la postulación se realiza a través del siguiente formulario en línea: https://forms.office.com/e/Yxzq8McNK4 <https://forms.office.com/e/Yxzq8McNK4> ------------------------------ Zoe Voice Conservation Training Manager The British Library London, UK ------------------------------ 3.From: Valeria Orlandini Posted: Friday October 3, 2025 10:10 AM Subject: RE: mold remediation in collections Message: Dear Alice and Maria Alejandra, I understand that Alice has a variety of materials with mold which include textiles, leather, works on paper, books, plastic, ceramics, glass, metals, wood, and others that are currently stored in lockers off-site. I've never used and recommended quaternary ammonium compounds (QACs) to arrest mold in collections nor culture heritage buildings. >From a post in the GDL (2020) the author, a paper conservator mentioned: >"After closely reading the products' Safety Data Sheets we were able to >immediately reject the use of some products [such as QACs] due to >inappropriate pHs that could harm our interior finishes." Hope these discussions are helpful and useful to you. I'd like to share our work/ research with ink-corroded materials containing biodeterioration. Kindly, Valeria <[email protected]> -- Canadian Conservation Institute (CCI) - Canada (2020) Quaternary ammonium compounds (QACs, "quats"): Quaternary ammonium formulations are a large fraction of commercially produced antiviral disinfectants so they are readily available. Any QAC can have a variety of organic molecules attached to a central nitrogen atom which is commonly forming a salt with bromine or chlorine. To improve their efficacy, the QACs are blended with detergents, chelating agents and pH adjusters (strong acids and bases), although some formulations are near neutral. Strongly acidic or basic solutions can have harmful effects on heritage materials so careful decisions are required. Quaternary ammonium formulations are more prone to leaving residues than simple solutions like ethanol/water or hydrogen peroxide, and often require thorough rinsing. CCI47_Covid-notes-v1-EN <https://publications.gc.ca/collections/collection_2020/pch/CH57-4-14-2020-eng.pdf> (released April 17, 2020) ------------------------------ Valeria Orlandini Conservator of Works on Paper and Photographic Materials Chevy Chase MD (301) 657-2682 ------------------------------ ------------------------------------------- Original Message: Sent: 10-01-2025 11:45 From: Alice Paterakis Subject: mold remediation in collections Dear Maria, Thank you very much for the information. Best, Alice Alice Boccia Paterakis Head of Conservation Pronouns: She/Hers/Her Missouri Historical Society PO Box 775460 St. Louis, MO 63177 Tel. ">https://www.google.com/search?q=library+research+center&oq=library+research+center&gs_lcrp=EgZjaHJvbWUqCggAEAAY4wIYgAQyCggAEAAY4wIYgAQyEAgBEC4YrwEYxwEYgAQYjgUyCAgCEAAYFhgeMggIAxAAGBYYHjIICAQQABgWGB4yCAgFEAAYFhgeMggIBhAAGBYYHjIICAcQABg";> <https://url.avanan.click/v2/r01/___https:/www.google.com/search?q=library+research+center&oq=library+research+center&gs_lcrp=EgZjaHJvbWUqCggAEAAY4wIYgAQyCggAEAAY4wIYgAQyEAgBEC4YrwEYxwEYgAQYjgUyCAgCEAAYFhgeMggIAxAAGBYYHjIICAQQABgWGB4yCAgFEAAYFhgeMggIBhAAGBYYHjIICAcQABgWGB4yCAgIEAAYFhgeMg0ICRAAGIYDGIAEGIoF0gEJMjQzNzRqMWo3qAIAsAIA&sourceid=chrome&ie=UTF-8___.YXAzOm1vaGlzdG9yeTphOm86MTliMjBkYjg3NzM4MDg5ZjAyMjU4ZWMxMWY0NjlhM2U6NzphZGU0OmM5MzRiM2JmYjQyMmNiZTMwNmI1YWIzNzliYzU1YWE5YjFjODdkNGU4N2U3ZWQwZjFkY2U5ODBiYTY3ODg0OWE6aDpUOk4>(314) 746-4543 [email protected] <[email protected]> https://mohistory.org/society <https://mohistory.org/society> Original Message: Sent: 9/29/2025 3:53:00 PM From: Maria Garavito-Posada Subject: RE: mold remediation in collections Dear Alice It's crucial to dry-clean the surface of the object before applying any fungicide, and it is also essential to disinfect the storage environment to reduce the microbial load. In Colombia, due to the climate diversity we have, our spaces are prone to fungal growth; therefore, our National Archive has done research on the uses of quaternary ammoniums as a fungicide for archival storage. And they have also done tests on quaternary ammoniums for localized disinfection in documents. Some brand of quaternary ammonium you might search for is Timnsen. It's used in the Agriculture Industry for the disinfection of crops. In photography, work out the use of grapefruit seed extract, which comes in different brands, and is normally used to clean vegetables and fruits at home. Both quaternary ammonium and grapefruit seed extract are used dissolved in Alcohol 70%, and can be applied by nebulization, aspersion or locally. Hope this helps. ------------------------------ Maria Alejandra Garavito-Posada Art Conservator & Conservator of Photography Colombia ------------------------------ Original Message: Sent: 09-27-2025 17:35 From: D. Thor Minnick Subject: mold remediation in collections Hello to all, I am a bit puzzled that so little information is available concerning the use of "chlorine dioxide" for mold remediation in the conservation field. It is used in so many industries as a fungicide, bactericide, and virucide. It is used in municipal water treatment plants for drinking water, vegetable/fruit washes, and slaughter house associated uses. As a gas, it was used to eliminate the anthrax spore attack of 2001 in The Senate Hart Office Building. ClO2 is not the same as "bleach" but is an oxidizer and certainly is capable of "bleaching" if used in too high a concentration or for too long an exposure time. A search on CoOL will bring these listings up: https://cool.culturalheritage.org/search.html?cx=001380950021459995551:ivvcscwhhgg&cof=FORID:10&ie=UTF-8&q=%22chlorine+dioxide%22&sa=Search&siteurl=cool.culturalheritage.org/search.html&ref=&ss=0j0j1 <https://cool.culturalheritage.org/search.html?cx=001380950021459995551:ivvcscwhhgg&cof=FORID:10&ie=UTF-8&q=%22chlorine+dioxide%22&sa=Search&siteurl=cool.culturalheritage.org/search.html&ref=&ss=0j0j1> I have successfully used it in the treatment of mold on leather and closed bookcases several times over the past several years.. It can be used as a dilute solution of the dissolved gas in water or as the gas. The gas can easily be generated from NaClO2 and an acid (of your choice) or from a convenient tablet form available here: https://safrax.com <https://safrax.com/>. This commercial site has a lot of ancillary but useful information on it as well as easy to use calculators to arrive at desired concentrations of the gas or solution. Look forward to hearing from others who have used it successfully. Sincerely, ________________________________ D. Thor Minnick 913 Waimanu St. Honolulu, HI 96814 808 597 8142 Minnickassociates.com ------------------------------ D. Thor Minnick Conservator Minnick Associates Honolulu United States Original Message: Sent: 09-26-2025 11:14 From: Alice Paterakis Subject: mold remediation in collections Dear Colleagues, We have organic and inorganic objects with mold contamination and want to determine the best way of cleaning and decontaminating these objects before bringing them into our collection space. We also wonder if freezing kills all forms of mold ? If so, what temperature and duration is required? The objects are currently stored in lockers off-site. We had one company analyze swabs that confirmed mold but did not identify species. Do PPE and protocols depend on species found? We are currently looking at the Midwest Mold Removal company that uses GM2000 (a Goldmorr System product for mold and spore elimination) and an anti-microbial disinfectant. The MSDS for GM2000 does not identify the ingredients of the product! We are looking for recommendations for mold remediation companies that people have used and are happy with. Any advice you can send would be most appreciated. Thank you, Alice Boccia Paterakis Head of Conservation Missouri Historical Society St. Louis MO 63105 [email protected] <[email protected]> . 4.From: Jean Dendy Posted: Friday October 3, 2025 11:18 AM Subject: RE: Testing for the presence of blood on textile Message: I recommend getting in touch with Prof Daniel Attinger at Iowa State University. His research group can help give you clues about whether the blood stain came from the inside or the outside of the textile. ------------------------------ Jean Dendy Senior Conservator, Organic Materials Royal Ontario Museum Toronto Canada ------------------------------ ------------------------------------------- Original Message: Sent: 10-02-2025 10:45 From: Roger Williams Subject: Testing for the presence of blood on textile 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 ------------------------------ 5.From: John Castronovo Posted: Friday October 3, 2025 2:44 PM Subject: RE: Replacement software for Nikon's Camera Control Pro Message: It's worth noting that it's impossible to view a totally raw camera file. First, there's always processing done to the image before it's even saved on the camera, but to view it at all it has to be interpreted to an RGB image. Every raw converter whether it's Adobe Camera Raw, Lightroom, Camera 1, or the manufacturer's own program interprets the raw data to a viewable image and they all allow changes to how that's done. They begin with settings that were in play on the camera when the shot was taken, but those parameters can be changed in the raw interpreter. Some things cannot be changed, for example image size, but almost everything can be overridden and modified. Unlike scanners that have tri-linear sensors to capture actual RGB data, the camera sensor has twice as many green pixels as either red or blue so the image has to be 'built' from that data before we even get a raw image that's viewable. john castronovo techphoto, llc boonton, nj ------------------------------------------- Original Message: Sent: 10/2/2025 9:01:00 PM From: Steven Prins Subject: RE: Replacement software for Nikon's Camera Control Pro 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]> ------------------------------ 6.From: Greta Llanes Posted: Friday October 3, 2025 10:48 PM Subject: RE: Passing of Alan Balicki Message: Alan was an exceptional mentor and leader, known for his unwavering integrity, deep passion for his work, and genuine care for those around him. It was a true privilege to learn from him. I'm deeply grateful to have known him, his legacy continues to inspire me, and he will be profoundly missed. In his honor, I'll proudly carry on the traditions he began with us, like Cappuccino Fridays and Crazy Pants Day. Thank you Kate!! ------------------------------ Greta M. Llanes Serrano (she/her/ella) Graduate Fellow, M.A. and M.S. candidate, Class of 2026 Patricia H. & Richard E. Garman Art Conservation Department SUNY Buffalo State University, Buffalo, NY [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 ------------------------------ 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.
