For The Use Of Digital Photo Restoration, Repair
and Reconstruction Techniques For Archival and Preservation Purposes
| 1.0 |
The Object of
Photo Restoration and Repair for Archival and Preservation Purposes |
| |
1.0.1 |
These ethical guidelines
are intended to be applied by archivists who are involved in the restoration
or repair of damaged or deteriorated historical images. The purpose of the
guidelines is to create a clear set of standards for archival image restoration,
and thereby preserve the integrity of visual history and avoid inaccuracies
created by the use of digital editing technology. |
| |
1.0.2 |
A fundamental distinction
exists between original imperfections in an image, due to the photographer's
judgments, actions or errors, lighting circumstances, capture technology,
printing and emulsion technology and happenstance, and after-acquired
damage, deterioration or injury to the image. |
| |
1.0.3 |
The object of archival
photo restoration, repair and reconstruction is to counteract the impact
of after-acquired damage, deterioration or injury, while retaining original
imperfections in unmodified form. |
| |
|
|
| 2.0 |
Repair of After-Acquired
Damage, Deterioration or Injury |
| |
2.0.1 |
Original imperfections
may not be repaired, unless there is evidence that the imperfection was
repaired when the image originally was created. For example, if the archivist
holds the negative of an image and there is evidence that an imperfection
in the image was repaired in the original prints, the archivist may digitally
execute the identical repair prior to printing. |
| |
2.0.2 |
After-acquired damage,
deterioration or injury may be repaired, provided the repair is executed
consistent with the principles set forth in these guidelines. |
| |
|
|
| 3.0 |
Use of Enhancement
and Reconstruction Techniques to Repair After-Acquired Damage |
| |
3.0.1 |
Enhancement Procedures:
Damaged image elements may be reconstructed by digitally enhancing an element
to recover definition that has been lost or obscured due to after-acquired
damage, deterioration or injury. Example: If fading has caused a loss of
contrast and definition in the leaves of a tree, adjustment of contrast,
brightness and other levels may be performed. |
| |
3.0.2 |
Extension Reconstruction:
Damaged image elements may be repaired by extending a part of an element
to an area that is presumed from the context to have been in the original,
but which is lost as a result of after-acquired damage, deterioration or
injury. Example: If part of a fence has been lost to water damage, the undamaged
parts of the fence may be used to complete the fence if there is enough
information to determine the original appearance. |
| |
3.0.3 |
Symmetrical Reconstruction:
A damaged element may be reconstructed by grafting into the damaged area
part of an undamaged element that is presumed to be symmetrical (or nearly
so) to the part that requires reconstruction. Example: If half of a human
face is obliterated, but the other half is visible, the visible half may
be used to reconstruct the damaged part. |
| |
3.0.4 |
Reference Reconstruction:
A damaged element may be reconstructed by grafting from a reference image
that is a fair representation of the damaged element. Reference reconstruction
should be used cautiously and care should be taken to ensure that any reference
image is a reliable match. |
| |
|
|
| 4.0 |
Modifications
of Image Composition |
| |
4.0.1 |
Modifications of
image composition are disfavored and should be disclosed. The cropping of
an image to exclude damage constitutes a modification. |
| |
4.0.2 |
Cropping, rotation
or image enhancement beyond the repair of after-acquired damage or deterioration
(including contrast change) are substantive modifications of an image that
should be applied to archival images only when necessary to achieve a proper
archival purpose (e.g. analysis of a particular architectural feature) and
in a manner that is consistent with the principles herein. |
| |
4.0.3 |
Cropping of the
secondary support, frame or vignettes in the original should be avoided
when possible. Secondary supports, frames and vignettes should be considered
an integral part of a photographic artifact and may carry valuable historical
information, such as watermarks, signatures, stamps and studio names. A
digital image of a secondary support, frame or vignette may be restored
in a manner that is consistent with the photo restoration. |
| |
4.0.4 |
Reference To Journalism
Ethics: It is impermissible to modify a historical image in a manner that
would violate ethics pertaining to manipulation of journalistic images.
Reference is made to the "DigitalCustom Model Rules To Preserve The
Integrity of Images For Journalistic Purposes" (Release Version #2.0,
March 1, 2003)(available at |
|
|
| 5.0 |
Restoration and
Recolorization of Original Handcoloring,Tinting or Other Colorization |
| |
5.0.1 |
Archival images
that were captured on monochrome media, and were handcolored, tinted or
otherwise colorized, should be restored to their colorized state. |
| |
5.0.2 |
In restoring originally
colorized images, care should be taken to apply a palette that is consistent
with the colors that were used in the original. |
| |
5.0.3 |
Care should be taken
to ensure that colors in the restored image do not have unrealistic saturation
that is inconsistent with the age of the image. |
| |
|
|
| 6.0 |
Colorization
of Originally Monochrome Images |
| |
6.0.1 |
A colorized image
is not a fair archival rendering of an image that was captured and printed
solely on monochrome media. Colorization of an originally monochrome image
should be disclosed and a non-colorized version should be retained as the
sole as excusive archival rendering of the image. Likewise, the decolorization
of an image or removal of original tinting is a fundamental alteration of
the original image and should be disclosed. |
| |
6.0.2 |
Sepia: There is
a distinction between "browning" due to aging/deterioration and
sepia toning or tinting added by the creator of the image. On detection
of sepia toning or original colorization, the original work should be restored
to an approximate of the original toning to the extent ascertainable. |
| |
6.0.3 |
No position is taken
in these guidelines on the appropriateness of colorizing an originally non-color
image for personal or creative purposes. The digital colorization of non-colored
images may dramatically enhance the aesthetics and impact of an image in
the eyes of a viewer and does not involve alteration of the original image.
The digital and non-digital "handcoloring" of black and white
images is a longstanding, well-respected art form separate from photography,
in which the selection of color palette, color selection and the application
to particular areas largely defines the art form. |
| |
|
|
| 7.0 |
Preservation
of Historical Print Media and Handling of Textures |
| |
7.0.1 |
Original Texture.
Retention of original media texture in a digital image often creates a poor
visual result when the image is printed. The print typically is not a likeness
of the original because the original texture was part of the print media,
not part of the composition of the original image. |
| |
7.0.2 |
It is permissible
for a digital editor to remove the texture from the image, thereby creating
a digital master that more closely approximates the negative. |
| |
7.0.3 |
It is appropriate
to print the restored image on the same or similar textured media, and the
better practice is to do so when media is available. |
| |
|
|
| 8.0 |
Disclosure of
Restoration and Colorization |
| |
8.0.1 |
Archivist's Disclosure
of Restoration: A restored image should contain an restoration disclosure
(such as "This image was originally created by ___________________
(photographer, if known) in ___________ (year or time period of photograph
if known), and was restored in ____ (year or time period, if known.")
under the direction of (archivist individual or institution). |
| |
8.0.2 |
Archivist's Disclosure
of New Colorization and Colorization Artist: When an originally non-color
image has been colorized or tinted after-the-fact, it should not be displayed
by an archivist as original work and should include an appropriate colorization
disclosure (such as "This image was originally created in black and
white by ___________________ (photographer, if known) in ___________ (year
or time period of photograph if known), and was digitally colorized by _______________
colorization artist, if known) in ____ (year or time period of the colorization,
if known."). |
| |
|
|
| 9.0 |
Preservation
of Source Images In Pre-Restored and Post-Restored Conditions |
| |
9.0.1 |
Digital image editing
does not require alteration of the original ("source") image.
Source images (including negatives and other source media) should be retained
and preserved according to sound preservation practices. |
| |
9.0.2 |
The archivist should
retain records of restoration procedures, including digitalized versions
of the source and restored image at the time of restoration. |
| |
9.0.3 |
The digital "watermarking"
of archival images to index, track copyright protect, or otherwise manage,
the image is ethical so long as the technology permits a non-watermarked
image to be rendered by an authorized party. The placement of a copyright
notice on a border is permitted.
|
1. If an original support, frame
or vignette is colored (e.g. gold leaf), should a restorer colorize that part
of the digital version to approximate the original?
2. If a restored image is displayed,
should the archivist display the pre-restoration image (although perhaps smaller)
next to the restored version?
