Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. RE: Firecrackers on paper object 2. Job Posting - Senior Preventive Conservator, Science Museum, UK 3. The 2026 FRAME: Concept, History and Conservation Symposium 3 – CALL for PAPERS DEADLINE reminder: 30 September 2025 4. RE: Possible pollutions in new highly automated archive with low-oxygen atmosphere 5. A Conserv Guide to Dewpoint 6. Job Opportunity: Metropolitan Museum of Art, Assistant Conservator, Ceramics 7. Job Opportunity: Metropolitan Museum of Art, Associate Conservator, Wooden Objects 8. Introduction to Plastic Materials Online Course 12th November 9. Paper or Book Conservation Equipment for Sale 10. Replacement software for Nikon's Camera Control Pro ------------------------------------------------------------------------------------------------------------ 1.From: Francoise Collanges Posted: Wednesday September 24, 2025 6:28 AM Subject: RE: Firecrackers on paper object Message: Considering all the technology to detect explosives now used in airport and other places, dont we have way to detect if the amount of explosive left, after water-based removal, is critical or not? Or are all those detectors reaction at the first molecule? Would be suprising, somehow. Conseil en conservation, gestion intgre du patrimoine culturelHorlogerie, patrimoine scientifique et technique+33 (0)7 87 45 45 40 (France)+32 (0) 4 93 45 45 14 (Belgique)LinkedIn <https://www.linkedin.com/in/francoisecollanges/> ------------------------------------------- Original Message: Sent: 9/20/2025 8:52:00 AM From: Monona Rossol Subject: RE: Firecrackers on paper object Hi Susan, Regarding conservation of a small pack of fire crackers: D. Thor Minnick is right about the potassium compounds. Early flash powders were more likely to be made from potassium chlorate instead of potassium perchlorate. Fine alumimum powder could be the fuel. Over time, some of these flash powder mixtures can become unstable. My experience is primarily with the chemistry because I was a technical editor for Kosanke's Encyclopedia of Pyrotechnic Chemicals for years. So I started this inquiry for you with a very experienced pyrotechnician: First a definition: An explosive ordnance disposal (EOD) unit exists in the fire department in any major city. These people have the facilities to do this kind of thing and sometimes they get interested in wee projects like this. My contact pyro suggested the EOD people might even use these for training purposes. Of course, you run two risks: 1) they are not conservators and might muck up your objective; and 2) the fire department might just confiscate the fire crackers. It seems there are laws that may be violated by altering these firecrackers. He also said: "My limited insights into this come from military museums and collections of military explosive devices, etc. used for EOD training, where of course preserving the device is important so they can't just make solid, prop dummies of them like we generally do, yet of course they can't have the hazard. In general, what they seem to do is of course identify the hazards as best they can, then have trained, experience people safely remove the explosives, with a view toward doing as little damage to the device as practicable, have whoever did it certify that it's free of explosive, and then they maintain a record traceable to the individual object (possibly including photographs, video, etc.) of what was done, who did it and that they did it sufficiently. Using this process, huge collections of formerly very dangerous things have been successfully and safely maintained. The only problems I'm aware of come when the procedure isn't followed." Looking at the picture of the little fire crackers, he also pointed out: "Granted, it's a small quantity, but there's almost certainly flash powder in there (if they are real and not just some sort of decorative item.) There's also of course the fuse itself, which if it's real, will have some kind of priority composition in it. Both the powdered charge and the fuse have the potential to cause injuries and/or start fires." The fact that the fuse is also a hazard means a conservator would have to remove all of the charge in the cylinder and also replace the fuses. You might as well replace the cylinders, too. I also talked to conservators, and it is not uncommon to make replicas of items like this, and there is nothing unique about these that needs preservation, in my opinion, other than the chemicals you are removing. My opinion, take the originals to the Fire Department for proper disposal and make replicas. ------------------------------------------- Original Message: Sent: 9/18/2025 1:16:00 PM From: D. Thor Minnick Subject: RE: Firecrackers on paper object Hi Susan, Firecrackers of this size generally use KNO3, KClO4, or KClO3 as the oxidizers. Fuels may be Al, S, and charcoal. Interesting problem. I do not think you will be able to undo the crimped paper ends to "drain" out the mixture. Good luck. ------------------------------ D. Thor Minnick Conservator Minnick Associates Honolulu United States ------------------------------ ------------------------------------------- Original Message: Sent: 09-12-2025 17:10 From: Susan Russick Subject: Firecrackers on paper object We have a c. 1973 Yoshio Nakajima pamphlet that has a small bunch of firecrackers adhered to the cover. I'm planning to remove as much powder as I can from the cylinders, but am wondering about other steps that might make it safer to store in a library collection. Any thoughts? Thanks, Susan ------------------------------ Susan Russick Chief Conservator Northwestern University Libraries ------------------------------ 2.From: Kay Saunders Posted: Wednesday September 24, 2025 7:37 AM Subject: Job Posting - Senior Preventive Conservator, Science Museum, UK Message: Job Alert! ❗ (Deadline to apply is this Sunday 28th September!) We're recruiting a full-time, permanent Senior Preventive Conservator, based in London. The Conservation & Collections Care team (C&CC) support all conservation activity across the collection, and are responsible for establishing and maintaining conservation and collection care standards. We are looking for a motivated and experienced Senior Preventive Conservator to join the Conservation and Collections Care team at the Science Museum. This role will have both line management and project management responsibilities. Deadline: 28/09/2025 Salary: £38,870 per annum Contract: Permanent Kay Saunders Conservation & Collections Care Manager Work with us | Science Museum Group <https://www.sciencemuseumgroup.org.uk/work-with-us> Science Museum Group remove preview <https://www.sciencemuseumgroup.org.uk/work-with-us> Work with us | Science Museum Group The Science Museum Group's mission is to 'Inspire futures'. Find out more about working for SMG and our latest vacancies here. View this on Science Museum Group > <https://www.sciencemuseumgroup.org.uk/work-with-us> ------------------------------ Kay Saunders Conservation and Collections Care Manager Science Museum Group London United Kingdom ------------------------------ 3.From: Malgorzata Sawicki Posted: Wednesday September 24, 2025 11:12 AM Subject: The 2026 FRAME: Concept, History and Conservation Symposium 3 – CALL for PAPERS DEADLINE reminder: 30 September 2025 Message: FRAME: Concept, History and Conservation - Symposium 3 is accepting submissions for their 2026 international gathering. This symposium has established itself as the premier event in the Southern Hemisphere for picture frame research, conservation, and scholarship, building on the success of previous symposiums in 2016 and 2019. The symposium brings together curators, conservators, and industry experts from galleries, libraries, and museums worldwide to share world-class research on all aspects of picture frames. The event features distinguished keynote speakers including: Dr. Charlotte Chastel-Rousseau, Chief Curator at Musée du Louvre, Paris Josephina de Fouw MA, Conservator at Rijksmuseum, Amsterdam The symposium welcomes submissions on the following themes: Frame history and development of styles Frame design and technology Conservation framing practices Conservation of gilded and polychrome finishes on wood Conservation problems, history, technology and research on frames Call for Papers Deadline: 30 September 2025 Presentation Formats: 20-minute presentations: Abstracts of up to 250 words for contemporary research papers 5-minute lightning talks: Abstracts of up to 150 words engaging with conference themes For complete details about the symposium and submission guidelines, please visit: https://www.framesymposium3.com/ <https://www.framesymposium3.com/> On behalf of the Organizing Commitee Dr Malgorzata Sawicki, FIIC <[email protected]> ------------------------------ Malgorzata Sawicki Conservator Gilded Wood Conservation Chatswood Australia ------------------------------ 4.From: Karin von Lerber Posted: Wednesday September 24, 2025 11:13 AM Subject: RE: Possible pollutions in new highly automated archive with low-oxygen atmosphere Message: Hallo Foekje, Morten & Barry Thank you for your comments. I think we are on the same wavelength. I am familiar with Büron, but to my knowledge, unlike the current project, no wood is used there. In our case, the use of wood as building material was also a criterion in the architectural competition decision, albeit probably a rather marginal one. However, it is the client's goal to explore all options for sustainability and to set a good example. I am aware that the whole discussion naturally depends on the size of the wooden surface, the type of wood and its potential outgassing in relation to the total volume in the storage and the air exchange rage achieved. In any case, it will be challenging to combine the timber infill with the load-bearing metal structure in such a way that a high level of airtightness is guaranteed. The extent to which this choice of materials will contribute to sustainability remains to be seen. I would also like to see some monitoring of VOCs. An overall assessment of the system regarding building materials and sustainability is still pending. Nevertheless, it will be interesting to see whether this approach makes a meaningful contribution to reducing the carbon footprint - or not. To be continued! All the best Joachim & Karin ------------------------------ Karin von Lerber Co-Founder and Co-Director Prevart Ltd. Winterthur Switzerland ------------------------------ ------------------------------------------- Original Message: Sent: 09-21-2025 09:08 From: Foekje Boersma Subject: Possible pollutions in new highly automated archive with low-oxygen atmosphere Dear Karin, At the national library in the Netherlands we are currently building a super high density automated storage and retrieval (AS/RS) repository for our entire collection. Our building will be passive and also under low oxygen. We are currently looking into how we will monitor different parameters to enable 'remote' collection management, including monitoring VOC's. Please refer to my recent post on the subject. Questionnaire: monitoring in super high density storage facilities | Global Conservation Forum (ConsDistList) <https://www.culturalheritage.org/discussion/questionnaire-monitoring-in-super-high-density-storage-facilities#bme9a26753-b494-4795-ae78-8845e6e27f78> We are anticipating slower off-gassing because of the genally lower temperatures. But we would very much like to monitor this. If you are interested to join our discussion, please feel free to contact me and/or to fill in the questionnaire. You may well be familiar with the Speicherbiliothek in Büron - this low oxygen super high density AS/RS has been in operation for over 5 years. Kind regards, Foekje ------------------------------ Foekje Boersma Head of Collection Care KB, National Library of the Netherlands ------------------------------ Original Message: Sent: 09-12-2025 00:39 From: Karin von Lerber Subject: Possible pollutions in new highly automated archive with low-oxygen atmosphere A highly compact, automated high-bay storage facility over 20 metres high is currently being planned for a large state archive in Switzerland. Parts of the upper walls are to be constructed using timber (infill), and the interior will be equipped with a low-oxygen atmosphere as a fire protection measure. This measure means that there will be allmost no air exchange inside the storage facility. My question: are there any other archive, library or museum projects that have dealt with this Situation (pollutant emissions in high-bay warehouses with low-oxigen atmosphere, timber construction)? Does anyone have experience with the emission of building materials (in this case wood) or archive material in such a situation? Is there any knowledge of pollutant accumulation (top/bottom/corners of a room), or is the minimal leakage through the operation of an airlock sufficient to make the problem negligible? Thank you for all your answers and comments. ------------------------------ Karin von Lerber & Joachim Huber Co-Founders and Co-Directors Prevart Ltd. Winterthur Switzerland ------------------------------ 5.From: M. Susan Barger Posted: Wednesday September 24, 2025 1:11 PM Subject: A Conserv Guide to Dewpoint Message: Download the free Conserv Guide to Dewpoint <https://bit.ly/3W18tp4> and learn how moisture monitoring affects collection preservation. Expert techniques for HVAC assessment and environmental detection. ------------------------------ M. Susan Barger, PhD [email protected] Santa Fe NM ------------------------------ 6.From: Keelia Jacobs Posted: Wednesday September 24, 2025 3:59 PM Subject: Job Opportunity: Metropolitan Museum of Art, Assistant Conservator, Ceramics Message: Link to apply: https://metmuseum.wd5.myworkdayjobs.com/en-US/metmuseumcareers/details/Assistant-Conservator---Ceramics-_JR-43783 About the Metropolitan Museum of Art The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in two iconic sites in New York City-The Met Fifth Avenue and The Met Cloisters. Millions of people also take part in The Met experience online. Since its founding in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. We are committed to fostering a collaborative and respectful work environment with a staff as diverse as the audiences we engage. Our staff members are art lovers who are passionate about working toward a common goal: creating the most dynamic and inspiring art museum in the world. At The Met, every staff member – from security officers to researchers to scientists and beyond – lives by our core values of respect, inclusivity, collaboration, excellence, and integrity. Respect: Engage one another with collegiality, empathy, and kindness, always. Inclusivity: Ensure that all are and feel welcome and valued. Collaboration: Reach across boundaries to exchange ideas and work together toward our shared mission. Excellence: Lead the cultural world in quality and expertise-and inspire curiosity and creativity. Integrity: Hold ourselves to the highest moral standards, admit when we fall short, and then evolve. About the Department The Department of Objects Conservation is responsible for the conservation and mounting/installation of three-dimensional art at the Museum's two venues. The scope of the Objects Conservation's mission-critical responsibilities extends to every curatorial department and all of the Museum's collections-based activities, including acquisitions, deaccessioning, exhibitions, capital projects, scholarly research, teaching and outreach, etc. The substantial scope of work includes over 7,000 completed object requests annually and the variation in scale ranges from single beads to historic interiors and architectural stone elements embedded in the Museum's buildings. GENERAL STATEMENT OF RESPONSIBILITES & DUTIES: The Department of Objects Conservation at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum's three-dimensional works of art. You will be responsible for European and American ceramics from antiquity through the early twentieth century: a collection of approximately twenty thousand objects, ranging in scale from archaeological fragments to large architectural installations. PRIMARY RESPONSIBILIES & DUTIES: Conserve relevant objects, including examination, research, treatment, and oversight of environmental conditions in storerooms and galleries according to AIC guidelines and Museum protocols. Examine and document objects for incoming or outgoing loans, acquisitions, and gifts. Study objects for questions of material identification and technology, including the use of analytical instrumentation such as X-ray radiography, X-ray fluorescence spectroscopy (XRF), and microscopy. Prepare samples for analysis by the Department of Scientific Research and communicate with scientists regarding goals and results. Liaise with conservators, conservation preparators, curators, technicians, art handlers, Buildings and Exhibitions staff, and the Registrar's Office on incoming and outgoing loans, exhibitions, permanent gallery rotations, and storage. Advise on preventive measures regarding object stability and gallery safety, integrated pest management, and other environmental concerns. Participate in the selection and supervision of external specialists engaged for projects relating to conservation. Prepare visual and written documentation of treatments and research and file according to departmental protocols. Travel domestically and internationally as needed to examine and courier artworks in connection with new acquisitions and loans. Supervise departmental fellows and students. Assist with time-sensitive projects as assigned by Conservator in Charge. Participate in departmental fundraising activities. Broaden knowledge of the conservation field by taking advantage of the department's expertise and resources, and the Museum's opportunities for professional development. Disseminate activities and findings on various platforms, including public and professional lectures, and print and digital publications. Participate in Museum-wide committees and initiatives as appropriate. Other related duties REQUIREMENTS & QUALIFICATIONS: Master's degree from an internationally recognized graduate conservation program required. 1-3 years of conservation experience working with a wide range of objects required. Ceramics focus preferred. Museum experience preferred. Experience in the technical examination of ceramic objects required. Skill using investigative techniques such as digital microscopy, multi-spectral imaging, XRF, and X-ray radiography preferred. Proficiency with common conservation documentation tools required. Excellent hand skills, color matching and inpainting, attention to detail, and ability to produce consistent results required Proficiency in pottery making and glazing preferred. Proven project-management skills and ability to work effectively and collaboratively in partnership with other colleagues. Excellent written, verbal, and interpersonal skills required. FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required. Ability to safely lift heavy objects and work on a ladder or rig required. COMPENSATION RANGE: Pay Range: $80,000.00 - $85,000.00 / Annually The advertised pay scale reflects the good faith minimum and maximum salary range for this role. The advertised pay scale is not a promise of a particular wage for any specific employee. The specific compensation offered to a candidate may be dependent on a variety of factors including, but not limited to, the candidate's experience, education, special licensing or qualifications, and other factors. Location Requirements At time of employment, employees are expected to be located within commuting distance of the Museum. "Commuting distance" means that they are located in one of following states: New York, New Jersey, Connecticut, or Pennsylvania (the "Tri-state and PA" areas), and be able to commute to and from the Museum in a single day. Benefits Offerings The Museum provides competitive compensation, and generous benefits and perks for all eligible employees. Note: Benefits Offering may differ based on Employee Status. Medical, dental, vision and life insurance 403(b) basic retirement plan and optional matching retirement plan with an outstanding employer match Considerable paid time off, including annual leave, sick leave, and 13 Museum holidays Long-term disability coverage Flexible Spending Accounts & Health Savings Account (pre-tax income for eligible health care expenses) Commuter benefits (pre-tax income for parking or mass transit expenses) Free financial-planning services Financial assistance for relevant coursework, seminars, and training programs 25% discount for staff in Museum shops A subsidized staff cafeteria Access to the Museums Council pass, which grants free admission to various museums and cultural institutions We recognize that it is highly unlikely that someone meets 100% of the desired attributes for a role. If much of this job description describes you, then please apply for this role. The Met is committed to the full inclusion of all qualified individuals. As part of this commitment, The Met will ensure that persons with disabilities are provided reasonable accommodations. If reasonable accommodation is needed in this process, please contact [email protected]. The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment. ------------------------------ Keelia Jacobs Senior Manager, Administration and Operations Metropolitan Museum of Art, Department of Objects Conservation New York United States ------------------------------ 7.From: Keelia Jacobs Posted: Wednesday September 24, 2025 3:59 PM Subject: Job Opportunity: Metropolitan Museum of Art, Associate Conservator, Wooden Objects Message: Link to apply: https://metmuseum.wd5.myworkdayjobs.com/en-US/metmuseumcareers/details/Associate-Conservator--Wooden-Objects_JR-43786 About the Metropolitan Museum of Art The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in two iconic sites in New York City-The Met Fifth Avenue and The Met Cloisters. Millions of people also take part in The Met experience online. Since its founding in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. We are committed to fostering a collaborative and respectful work environment with a staff as diverse as the audiences we engage. Our staff members are art lovers who are passionate about working toward a common goal: creating the most dynamic and inspiring art museum in the world. At The Met, every staff member – from security officers to researchers to scientists and beyond – lives by our core values of respect, inclusivity, collaboration, excellence, and integrity. Respect: Engage one another with collegiality, empathy, and kindness, always. Inclusivity: Ensure that all are and feel welcome and valued. Collaboration: Reach across boundaries to exchange ideas and work together toward our shared mission. Excellence: Lead the cultural world in quality and expertise-and inspire curiosity and creativity. Integrity: Hold ourselves to the highest moral standards, admit when we fall short, and then evolve. About the Department The Department of Objects Conservation is responsible for the conservation and mounting/installation of three-dimensional art at the Museum's two venues. The scope of the Objects Conservation's mission-critical responsibilities extends to every curatorial department and all of the Museum's collections-based activities, including acquisitions, deaccessioning, exhibitions, capital projects, scholarly research, teaching and outreach, etc. The substantial scope of work includes over 7,000 completed object requests annually and the variation in scale ranges from single beads to historic interiors and architectural stone elements embedded in the Museum's buildings. GENERAL STATEMENT OF RESPONSIBILITES & DUTIES: The Department of Objects Conservation at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum's three-dimensional works of art. You will be one of three conservators dedicated to the conservation of European and American wooden furniture, objects, and historic interiors. You will be responsible for painted and gilded wooden furniture, objects, and historic interiors from the fourth through early twentieth centuries. PRIMARY RESPONSIBILIES & DUTIES: Conserve relevant objects, including examination, research, treatment, and oversight of environmental conditions in storerooms and galleries according to AIC guidelines and Museum protocols. Examine and document objects for incoming or outgoing loans, acquisitions, and gifts. Study objects for questions of material identification and technology, including the use of analytical instrumentation such as X-ray radiography and microscopy. Prepare samples for analysis by the Department of Scientific Research and communicate with scientists regarding goals and results. Liaise with conservators, conservation preparators, curators, technicians, art handlers, Buildings and Exhibitions staff, and the Registrar's Office on incoming and outgoing loans, exhibitions, permanent gallery rotations, and storage. Advise on preventive measures regarding object stability and gallery safety, integrated pest management, and other environmental concerns. Participate in the selection and supervision of external specialists engaged for projects relating to conservation. Prepare visual and written documentation of treatments and research, and file according to departmental protocols. Travel domestically and internationally as needed to examine and courier artworks in connection with new acquisitions and loans. Supervise departmental end-date or junior conservators, fellows, and students. Assist with time-sensitive projects as assigned by Conservator in Charge. Participate in departmental fundraising activities. Broaden knowledge of the conservation field by taking advantage of the department's expertise and resources, and the Museum's opportunities for professional development. Disseminate activities and findings on various platforms, including public and professional lectures, and print and digital publications. Participate in Museum-wide committees and initiatives as appropriate. Other related duties REQUIREMENTS & QUALIFICATIONS: Master's degree from an internationally-recognized graduate conservation program required. At least five years of conservation experience working with painted and gilded wooden furniture, objects, and historic interiors required. Museum experience preferred. Knowledge of the development of styles and techniques of historic wooden furniture, objects, and historic interiors required. Experience in the technical examination of painted and gilded historic woodwork required. Skill using investigative techniques such as microscopy, multi-spectral imaging, X-ray Fluorescence Spectroscopy, and X-ray radiography preferred. Experience with stratigraphic analysis of painted and gilded surfaces, cross-section preparation, and interpretation required. Proficiency with common conservation documentation tools required. Excellent hand skills, attention to detail, and ability to produce consistent results required. Woodworking skills required. Proven project-management skills and ability to work effectively and collaboratively in partnership with other colleagues. Excellent written, verbal, and interpersonal skills required. FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required. Ability to safely lift heavy objects and work on a ladder or rig required. COMPENSATION RANGE: Pay Range: $92,000.00 - $97,000.00 / Annually The advertised pay scale reflects the good faith minimum and maximum salary range for this role. The advertised pay scale is not a promise of a particular wage for any specific employee. The specific compensation offered to a candidate may be dependent on a variety of factors including, but not limited to, the candidate's experience, education, special licensing or qualifications, and other factors. Location Requirements At time of employment, employees are expected to be located within commuting distance of the Museum. "Commuting distance" means that they are located in one of following states: New York, New Jersey, Connecticut, or Pennsylvania (the "Tri-state and PA" areas), and be able to commute to and from the Museum in a single day. Benefits Offerings The Museum provides competitive compensation, and generous benefits and perks for all eligible employees. Note: Benefits Offering may differ based on Employee Status. Medical, dental, vision and life insurance 403(b) basic retirement plan and optional matching retirement plan with an outstanding employer match Considerable paid time off, including annual leave, sick leave, and 13 Museum holidays Long-term disability coverage Flexible Spending Accounts & Health Savings Account (pre-tax income for eligible health care expenses) Commuter benefits (pre-tax income for parking or mass transit expenses) Free financial-planning services Financial assistance for relevant coursework, seminars, and training programs 25% discount for staff in Museum shops A subsidized staff cafeteria Access to the Museums Council pass, which grants free admission to various museums and cultural institutions We recognize that it is highly unlikely that someone meets 100% of the desired attributes for a role. If much of this job description describes you, then please apply for this role. The Met is committed to the full inclusion of all qualified individuals. As part of this commitment, The Met will ensure that persons with disabilities are provided reasonable accommodations. If reasonable accommodation is needed in this process, please contact [email protected] <[email protected]>. The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment. ------------------------------------------- 8.From: Brenda Keneghan Posted: Wednesday September 24, 2025 4:44 PM Subject: Introduction to Plastic Materials Online Course 12th November Message: Plastics are present in all kinds of museum collections, so join our new online course to explore them in detail. This one-day introductory course will guide you through these occasionally problematic materials and help you identify which ones are most at risk.Follow the link for full details.https://www.westdean.ac.uk/short-courses/m1w39002-introduction-to-plastic-materials-online <https://www.westdean.ac.uk/short-courses/m1w39002-introduction-to-plastic-materials-online> Dr Brenda Keneghan FRSC Preservation Consultant for Plastics in Heritage Collections email: [email protected] <[email protected]> tel. 07811 040117 tel. 089 4899197 9.From: Dorothy McCord Posted: Wednesday September 24, 2025 8:01 PM Subject: Paper or Book Conservation Equipment for Sale Message: Hello, I have the following equipment for sale. Everything is in excellent condition. I am in Peterborough, Ontario. 1. A multi-purpose adjustable press 21.5 x 22.5 x 12” Weight about 22 pounds. Very solid. I have used it in paper conservation, or for books. $100 plus shipping. Because of its weight, I will only ship to a Canadian address and would prefer if it could be picked up in person. 2. A double sided hand strop, wooden handle, used very slightly with honing compound. New price would be $34.90 and the honing compound $21.50 at Lee Valley Tools. Selling both for $35 plus shipping. 3. A headband magnifier: OptiVisor (Donegan Optical Company), DA -10, 4", 3.5 magnification. Includes a light attachment. New price would be approximately $113 for both. Will sell for $65 plus shipping. Thank you, Dorothy McCord [email protected] ------------------------------------------- ------------------------------ Dorothy McCord Peterborough Canada ------------------------------ 10.From: Geneva Griswold Posted: Wednesday September 24, 2025 8:02 PM Subject: Replacement software for Nikon's Camera Control Pro Message: Hi all, We seek a replacement tethering software (Nikon D850 compatible) for Camera Control Pro 2, which Nikon no longer supports. Camera Control Pro was replaced by NX Tether, but the latter supports very few DSLR models. We follow the Adobe Bridge workflow in the AIC Guide to Digital Photography and Conservation Documentation, 2nd and 3rd eds). Capture One ($) 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] ------------------------------ 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.
