Bibliografía y PDFs
Identificación de procesos fotográficos
Dibujos fotogénicos e impresiones en papel salado
Daguerrotipos coloreados a mano
Negativos de colodión sobre vidrio
Impresiones en papel de albúmina
Impresiones al carbón
Negativos de gelatina sobre vidrio
Impresiones en papel de colodión
Platinotipos y paladiotipos
Impresiones en papel de gelatina de impresión directa
Película en rollo flexible con respaldo de papel
Impresiones en papel de gelatina de revelado
Negativos sobre nitrato de celulosa
Inicios de fotografía a color
Negativos sobre acetato de celulosa
Negativos sobre poliéster
Procesos por imbibición de tintes
Procesos cromogénicos
Negativos a color
Procesos por destrucción de tintes
Procesos por difusión y transferencia de tintes
Impresiones digitales por inyección de tinta
Historia y tecnología de los materiales fotográficos
Identificación de procesos fotográficos
Albright, Gary y Monique Fischer. “Types of Photographs, part 1: 19th and Early 20th Century.” NEDCC Preservation Leaflets. Consultado el 17 de mayo de 2025. https://www.nedcc.org/assets/media/documents/Preservation%20Leaflets/5_2_1_PhotoTypes_2018.pdf
Bennett, Karen L. y Jessica S. Johnson. “Identification of Film‐Base Photographic Media.” NPS Conserve O Gram 14/9, September 1999. Consultado el 19 de diciembre de 2025. https://www.nps.gov/subjects/museums/upload/14-09_508.pdf
Casella, Luisa. “Guía De Identificación De Procesos Fotográficos Analógicos De Color De Imagen Positiva”, 2024.
Cattaneo, Ambra, Beatrice Sarti, Alice Plutino, y Alessandro Rizzi. “On the Identification of Colour Photographic Processes”. Heritage 5 (2022): 4074–4088.
Fischer, Monique. “A Short Guide to Film Base Photographic Materials: Identification, Care, and Duplication.” NEDCC Preservation Leaflets. Consultado el 7 de junio de 2025. https://www.nedcc.org/assets/media/documents/Preservation%20Leaflets/5_1_FilmBaseGuide_2020.pdf
Fischer, Monique. “Types of Photographs, part 3: Digital Output Media.” NEDCC Preservation Leaflets. Consultado el 7 de junio de 2025. https://www.nedcc.org/assets/media/documents/Preservation%20Leaflets/5_2_3_photos_Digital_2019.pdf
Fischer, Monique, y Andrew Robb. “Guidelines for Care and Identification of Film-Base Photographic Materials.” Topics in Photographic Preservation 5 (1993): 117-122.
“Graphics Atlas Visual Identification Guide: Image color.” Image Permanence Institute. Consultado el 19 de diciembre de 2025. http://www.graphicsatlas.org/media/pdfs/image_color.pdf
Image Permanence Institute. “Graphics Atlas Visual Identification Guide: Image deterioration.” Consultado el 19 de diciembre de 2025. http://www.graphicsatlas.org/media/pdfs/image_deterioration.pdf
Image Permanence Institute. “Graphics Atlas Visual Identification Guide: Image structure.” Consultado el 19 de diciembre de 2025. http://www.graphicsatlas.org/media/pdfs/image_structure.pdf
Image Permanence Institute. “Graphics Atlas Visual Identification Guide: Layer structure.” Consultado el 19 de diciembre de 2025. http://www.graphicsatlas.org/media/pdfs/layer_structure.pdf
Image Permanence Institute. “Graphics Atlas Visual Identification Guide: Surface sheen.” Consultado el 19 de diciembre de 2025. http://www.graphicsatlas.org/media/pdfs/surface_sheen.pdf
Jürgens, Martin C. The digital print: identification and preservation. Getty Conservation Institute, 2009.
Lavédrine, Bertrand, Jean-Paul Gandolfo, John McElhone, y Sibylle Monod. Photographs of the Past: Process and Preservation. Traducido por John McElhone. Getty Conservation Institute, 2009.
Maloney, Amanda y Monique Fischer. “Types of Photographs, part 2: Color.” NEDCC Preservation Leaflets. Consultado el 7 de junio de 2025. https://www.nedcc.org/assets/media/documents/Preservation%20Leaflets/5_2_2_PhotosColor_2020.pdf
Nastri, Carolina. “Copias fotográficas monocromas en soporte papel: Protocolo para el relevamiento de un conjunto documental.” Tesis de Licenciatura, Universidad del Museo Social Argentino, 2018.
Pénichon, Sylvie. Twentieth-Century Color Photographs: Identification and Care. Getty Conservation Institute, 2013.
Reilly, James. Care and Identification of 19th-Century Photographic Prints. Eastman Kodak Company, 1986.
Rempel, Siegfried. The Care of Black and White Photographic Collections: Identification of Processes. Technical Bulletin no. 6, 2.ª ed. Canadian Conservation Institute, 1980.
Stulik, Dusan y Art Kaplan. “The Atlas of Analytical Signatures of Photographic Processes: Its Past, Present, and the Future.” Topics in Photographic Preservation 15 (2013): 249-263.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Albumen. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Carbon. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Collodion. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Collotype. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Cyanotype. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Halftone. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Photogravure. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Platinotype. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Salt print. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Silver gelatin. The Getty Conservation Institute, 2013.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Woodburytype. The Getty Conservation Institute, 2013.
Valverde Valdés, María Fernanda. Los procesos fotográficos históricos. Archivo General de la Nación, 2003.
Valverde Valdés, María Fernanda. “Photographic Negatives: Nature and Evolution of Processes.”Capstone Project of Andrew W. Mellon Fellowship Advanced Residency Program in Photograph Conservation. George Eastman House, 2003.
Weaver, Gawain. “Carta de identificación de procesos: Impresiones fotográficas del siglo XIX, 2016.” Consultado el 9 de mayo de 2025. https://gawainweaver.com/images/uploads/file/Process%20ID%20Chart_19th%20Century%20Photo_ES.pdf
Weaver, Gawain. “Process ID Chart: Color Photographic Prints, 2020” Consultado el 9 de mayo de 2025. https://gawainweaver.com/images/uploads/ProcessID_Color_Jan2020.pdf
Weaver, Gawain. “Process ID Chart: Digital Prints, 2024.” Consultado el 9 de mayo de 2025. https://gawainweaver.com/images/uploads/ProcessID_Digital_2024v1.pdf
Weaver, Gawain. “Process ID Chart: Photomechanical Prints, 2014.” Consultado el 9 de mayo de 2025. https://gawainweaver.com/images/uploads/Process_ID_Chart_Photomechanical.pdf
Weaver, Gawain. “Process ID Chart: 19th Century Photographic Prints, 2016” Consultado el 9 de mayo de 2025. https://gawainweaver.com/images/uploads/file/Process%20ID%20Chart_19th%20Century%20Photo.pdf
Heliografías
Díaz, Diana, y Heather Brown. “The Niépce Heliograph, at the Harry Ransom Center.” Topics in Photographic Preservation 19 (2021): 34-36.
Dibujos fotogénicos e impresiones en papel salado
Banta, Melissa, y Elena Bulat. “Salted Paper Prints and the Harvard Class Albums.” Journal of Contemporary Archival Studies 2 (2015): Article 4.
Daguerrotipos coloreados a mano
Barger, M. Susan, y William B. White. The Daguerreotype: Nineteenth Century Technology and Modern Science. Johns Hopkins University Press, 2000.
Belloc, Auguste. Les quatre branches de la photographie. Traité complet théorique et pratique des procédés de Daguerre, Talbot, Niepce de Saint-Victor et Archer, précédé des annales de la photographie et suivi d'éléments de chimie et d'optique appliqués à cet art.W. Remquet et Cie, 1855.
Croucher, John H. Practical Hints on the Daguerreotype. T & R Willats, 1845.
Croucher, John H. Photographic Manuals, No 2. Practical Hints on the Daguerreotype. 2.ª ed. T & R Willats, 1846.
Croucher, John H., ed. Willats’s Scientific Manuals, No 1. Plain Directions for Obtaining Photographic Pictures. 2.ª ed. T & R Willats, 1845.
Great Britain. Patent Office. Patents for inventions: abridgements of specifications relating to photography. George E. Eyre and William Spottiswoode, 1861.
Henisch, Heinz K., y Bridget A. Henisch. The Painted Photograph 1839-1914: origins, techniques, aspirations. The Pennsylvania State University Press, 1996.
Humphrey, Samuel Dwight. American hand book of the daguerreotype. S.D. Humphrey, 1858.
Jacob, Michael G. “Colour and the Daguerreotype.” The Daguerreotype Journal, 2014: 12-19.
Lerebours, Noël Paymal. A treatise on photography: containing the latest discoveries and improvements appertaining to the daguerreotype. Longmans, 1843.
Lundgren, Adrianne. “The History and Conservation of Coatings Applied to Daguerreotypes.” En Coatings on photographs, Materials, Techniques, and Conservation, editado por Constance McCabe. American Institute for Conservation, 2005.
Ogayar Oroz, Paula. “To Colour a Mirror. Identification of Hand-Colouring Techniques in Daguerreotypes by Studying and Reconstructing.” Tesis de Maestría, University of Amsterdam, 2022.
Pratt, William A. “Mr. Pratt’s Gallery at Richmond, VA. – Coloring Daguerreotypes.”The Photographic Art-Journal 2, no 4 (Octubre 1851): 235-236.
Rosenblum, Naomi. A World History Of Photography. 4.ª ed. Abbeville Press, 2007.
Snelling, Henry Hunt. The history and practice of the art of photography. G. P. Putnam, 1849.
Snelling, Henry Hunt, editor. The Photographic and Fine Art Journal 7, nos. 1 - 12 (Enero - Diciembre 1854).
Snelling, Henry Hunt, editor. The Photographic Art-Journal 2, nos. 1-6 (Julio - Diciembre 1851).
The Principles and Practice of Harmonious Colouring in Oil, Water, and Photographic Colours, especially as Applied to Photographs on Paper, Glass, and Silver-Plate. 2.ª ed. W. Kent & Co y James Newman, 1859.
United States Patent and Trademark Office. Patent Public Search Basic, https://ppubs.uspto.gov/basic/
Vaillat, E. “Daguerreotype on plates. Rules for operating with certainty.- Employment of the Chloro-Bromide of Lime and the Iodo-Bromine. Process for Restoring old proofs which have become stained and iodized.” (Parte 1).The Photographic and Fine Art Journal 7, no 10 (1854): 289-293.
Vaillat, E. “Daguerreotype on plates. Rules for operating with certainty.- Employment of the Chloro-Bromide of Lime and the Iodo-Bromine. Process for Restoring old proofs which have become stained and iodized.” (Parte 2).The Photographic and Fine Art Journal 7, no 11 (1854): 321-324.
Valicourt, Edmond de. “A New And Complete Photographic Manual. For Metal Plates And Paper. Containing All The Latest Discoveries.” Traducido por W. Grigg, A. B. The Photographic and Fine Art Journal 7, no. 11 (Noviembre 1854): 333-338.
Valicourt, Edmond de. Nouveau manuel complet de photographie sur métal, sur papier et sur verre. Roret, 1851.
Negativos sobre papel
Blanquart-Évrard, Louis-Désiré. “Photographie sur papier; moyen d’obtenir l’image à la chambre noire sur papier sec (Préparation du papier positif à l’albumine).”Comptes rendus hebdomadaires des séances de l'Académie des Sciences 30 no. 21 (1850): 663-665.
Blanquart-Évrard, Louis-Désiré. “Procédés employés pour obtenir les Épreuves de Photographie sur Papier.”Comptes rendus hebdomadaires des séances de l'Académie des Sciences 24, no. 4 (1847): 117-123.
Blanquart-Évrard, Louis-Désiré. Traité de photographie sur papier. Roret, 1851.
Brettel, Richard, Roy Flukinger, Nancy Keeler y Sydney Mallett Kilgore. Paper and Light, the Calotype in France and Great Britain 1839 – 1870. David R. Godin, 1984.
Burbank W. H. The Photographic Negative. Scovill Manufacturing Company, 1888.
Crookes, W. “On the wax and waxing paper.” Journal of the Photographic Society, September 21 (1855): 231-232.
Cundell, G. S. “On the practice of the Calotype Process of Photography.” The London, Edinburgh and Dublin Philosophical Magazine and Journal of Science 3rd series 24, no. 160, (1844): 321-332.
Daffner, Lee Ann. “‘A transparent atmosphere”: The Paper Negatives of Frédéric Flachéron in the Harrison D. Horblit Collection.” Journal of the American Institute for Conservation 42 (2003): 425-439.
Eder, Josef Maria. History of Photography. Reimpresión no abreviada y sin alteraciones de la edición publicada en Nueva York en 1945. Traducido por Edward Epstean. Dover, 1978.
Eremin, Katherine, James Tate y James Berry. “On the Chemistry of John and Robert Adamson’s Salted Paper Prints and Calotype Negatives.” History of Photography 27, no. 1 (2003).
Fenton, Roger. “Photography on waxed paper.” En A guide to Photography. 5.ª ed. Horne, Thornthwaite and Wood, 1852.
Fitt, George Robert. “On waxed paper.” The Liverpool Photographic Journal 3. vol. no. 25 (1856): 1-11.
Freeman, Sarah. “The Art and Science of the Paper Negative.” En Real Ideal, Photography in Mid-Nineteenth-Century France, editado por Karen Hellman, 53-54. The J. Paul Getty Museum, 2016.
Furlonge, W. Holland. "On the Calotype Process." Photographic Notes 1, no. 1 (1 January 1856): 10-13.
Gaudin, Antoine. “Substitution du bromure au chlorure d'iode dans les opérations photographiques,”Comptes Rendus Hebdomadaires des Séances de L’Académie des Sciences 13, no. 16 (1841): 832.
Gernsheim, Helmut y Alisson Gernsheim. The History of Photography. McGraw-Hill Book Company, 1969.
Gernsheim, Helmut. A Concise History of Photography. 3rd ed. Dover Publications, 1986.
Jammes, Andre y Eugenia Parry Janis. The Art of the French Calotype with a Critical Dictionary of Photographers, 1845 – 1870. Princeton University Press, 1983.
Jennings, Katherine. “Research into the Conservation of Nineteenth Century Paper Negatives.”Capstone Project of Andrew W. Mellon Fellowship Advanced Residency Program in Photograph Conservation. George Eastman House, 2003.
Kraus, Hans P. Sun Pictures, Catalogue Six: Dr. Thomas Keith and John Forbes White. Hans P. Kraus Jr. Fine Photography, 1993.
Le Gray, Gustave. Nouveau traité théorique et pratique de photographie sur papier et sur verre. Lerebours et Secretan, 1851.
Le Gray, Gustave. “On a new mode of preparing negative photographic paper.” Comptes Rendus 23, (1851).
Le Gray, Gustave. Photographic Manipulation: The Waxed Paper Process. 3.ª ed. George Knight and Sons, 1855.
Le Gray, Gustave. Practical Treatise on Photography, upon Paper and Glass. Traducido por Thomas Cousins. T & R Willats, 1850.
Le Gray, Gustave. Traite Pratique de Photographie sur Papier et sur Verre. Germer Baillière, 1850.
Morris, Richard. “Calotype Negatives.” En Coming into Focus. A step- by-step Guide to Alternative Photographic Printing Processes. Chronicle Books, 2000.
Osman, H. C. “Calotype papers and Richard Turner of Chafford Mills.” The Quarterly. The Journal of the British Association of Paper Historians 22, (1997): 1-6.
Reinhold, Nancy. “The exhibition of an Early Photographic Drawing by William Henry Fox Talbot.”Topics in Photographic Preservation 5, (1993): 89-94.
Schaaf, Larry J. Out of the Shadows, Herschel, Talbot and the Invention of Photography. Yale University Press, 1992.
Schaaf, Larry J. “‘Splendid Calotypes’ Henry Talbot, Amelia Guppy, Sir Thomas Phillipps, and Photographs on Paper.” En Six Exposures. Essays in Celebration of the Opening of the Harrison D. Horblit Collection of Early Photography. Harvard University, 1999.
Schaaf, Larry J. Sun Pictures, Catalogue Seven, Photogenic Drawings by William Henry Fox Talbot. Hans P. Kraus Jr. Fine Photography, 1995.
Schaaf, Larry J. Sun Pictures, Catalogue Ten, British Paper Negatives 1839 – 1864. Hans P. Kraus Jr. Fine Photography, 2001.
Schaaf, Larry J. The Photographic Art of William Henry Fox Talbot. Princeton University Press, 2000.
Sisson, Joseph Lawson. The Turpentine Waxed Paper Process. A. Marion & Co., 1858.
Sisson, Joseph Lawson. “The Turpentine Waxed Paper Process.” The Photographic News 2, no. 50 (August 19, 1859).
Snelling, Henry Hunt. The History And Practice of the Art of Photography. Morgan & Morgan, inc. Publishers, 1849. https://www.gutenberg.org/cache/epub/168/pg168-images.html
Sutton, Thomas. The Calotype Process. A handbook to photography on paper. Joseph Cundall, 1855.
Sutton, Thomas. “Photographic Processes. The wax-paper process.” Photographic Notes 1, no. 14, 1 (1856): 217-222.
Talbot, William Henry Fox. “An Account of Some Recent Improvements In Photography.” Proceedings of the Royal Society 4, no. 48 (1841): 312 – 316.
Talbot, William Henry Fox. “Calotype (Photogenic) Drawing. February 19, 1841.” Journal of the Belles Lettres no. 1258, February 27, 1841.
Talbot, William Henry Fox. “Some account of the Art of Photogenic Drawing, or the process by which natural objects may be made to delineate themselves without the aid of the artist’s pencil.” Leído ante the Royal Society January 31 1839, London, 1839.
Talbot, William Henry Fox. “The Process of the Talbotype (formerly called the calotype) Photogenic Drawing.” Communicated to the Royal Society, June 10, 1841, London: J. L. Cox & Sons, 1841.
Taylor, Roger y Mike Ware. “‘Pilgrims of the sun’, The Chemical Evolution of the Calotype 1840-1852.”History of Photography 27, no. 4 (Winter 2003): 308-319.
“The Talbotype-Sun-pictures.” The Art-Union 8, London (June 1, 1846): 143-144.
Thornthwaite, W. H. A guide to Photography. 5th edition. Horne, Thornnthwaite and Wood, 1852.
Towler, J. “Negatives on paper.” En The Silver Sunbeam: A Practical and Theoretical Text-book on Sun Drawing and Photographic Printing. Joseph H. Ladd, 1864.
F. Townshend, “Photographic Apparatus. “On the quality of paper required for Photographic purposes, more particularly for the wax-paper process.” Journal of the Photographic Society 1, no. 30, 21 May 1855, pp. 166-167.
Trutat, Eugène. Traité Practique de Photographie sur Papier Négatif. Gauthier-Villars, 1892.
Valicourt, Edmond de. Nouveau Manuel Complet de Photographie sur Métal, sur Papier et sur Verre. La Librairie Encyclopédique De Roret, 1862.
Cianotipos
Atkins, Anna. Photographs of British Algae: Cyanotype Impressions. London, 1843–1853.
Eastman Kodak Company. The Kodak Manual. Eastman Kodak Company, ca. 1890.
González Flores, Laura María. “La cianotipia: un proceso fotográfico alternativo en la plástica.” Tesis de licenciatura, Universidad Nacional Autónoma de México, 1986.
Held, Lauren, Daniel Burge y Douglas Nishimura. “The Effects of Acidic, Alkaline, Buffered, and Non-Buffered Enclosures on Cyanotypes.” Topics in Photographic Preservation 14 (2011): 237–249.
Herschel, John F. W. “On the Action of the Rays of the Solar Spectrum on Vegetable Colours, and on Some New Photographic Processes.” Philosophical Transactions of the Royal Society of London 132 (1842): 181–214.
Lavédrine, Bertrand, Jean-Paul Gandolfo, John McElhone y Sibylle Monod. Photographs of the Past: Process and Preservation. Traducido por John McElhone. Getty Conservation Institute, 2009.
Reilly, James M. Care and Identification of 19th-Century Photographic Prints. Eastman Kodak, 1980.
Schaaf, Larry J. Sun Gardens: Victorian Photograms by Anna Atkins. Aperture, 2004.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes: Cyanotype. Getty Conservation Institute, 2013.
Vogt-O’Connor, Diane y Dianne van der Reyden. “Caring for Blueprints and Cyanotypes.” Conserve O Gram 19/9. National Park Service, 1995.
Ware, Mike. “A Blueprint for Conserving Cyanotypes.”Topics in Photographic Preservation 10 (2003): 2–18.
Ware, Mike. Cyanotype: The History, Science and Art of Photographic Printing in Prussian Blue. Science Museum, 1999.
Ware, Mike. Cyanomicon: History, Science and Art of Cyanotype. University of Manchester, 2008.
Negativos de colodión sobre vidrio
Abney, William de Wiveleslie. A Treatise on Photography. Longmans, Green and Co., 1878.
Archer, Frederick Scott. “On the Pyro-Gallic Acid in Photography.”The Chemist 1, no. 8 (May 1850): 360-361.
Archer, Frederick Scott. “On the Use of Collodion in Photography.”The Chemist 2 (1851): 257-258.
Archer, Frederick Scott. The Collodion Processon Glass. 2.ª ed.. Impreso para el autor, 1854.
Bingham, Robert J. Photogenic Manipulation, The Theory And Plain Instructions In The Art Of Photography. Parts 1 & 2. George Knight and Sons, 1847-1848.
Bingham, Robert J. “On the Employment of Collodion in Photography.”The Chemist 3, no. 34(1852): 458-459.
Belloc, Auguste. Photographie Rationnelle. Chez Dentu Éditeur, 1862.
Burbank, William Henry. The Photographic Negative. Scovill Manufacturing Company, 1888.
Davanne, Alphonse. La Photographie, Traité Théorique et Pratique. Tome Premier. Gauthier-Villars, 1886.
De Valicourt, Edmond. Nouveau Manuel Complet de Photographie sur Métal, sur Papier et sur Verre. Manuels-Roret, 1862.
Eastman Kodak Company. Collodion and the Making of Wet-Plate Negatives. A handbook on the Production of Wet-Plate Negatives and a List of Eastman Materials for the Wet-Plate Process. Eastman Kodak Company, 1935.
Eastman Kodak Company. Collodion and the making of Wet Plate Negatives for Photo-Engraving Work. Eastman Kodak Company, 1928.
Ellis, M. H. The Ambrotype and Photographic Instructor or, Photography on Glass and paper. Myron Shew, 1856.
Focal Encyclopedia of Photography. 4.ª ed. Editada por Michael R. Peres. Elsevier/Focal Press, 2007.
Gaffield, Thomas. “The Uses of Glass in Photography.” The British Journal of Photography 28, No. 1115 (September 16, 1881).
Gernsheim, Helmut y Alison Gernsheim. The History of Photography. Thames and Hudson, 1969.
Humphrey, Samuel Dwight. A Practical Manual of The Collodion Process. Humphrey’s Journal Print, 1857.
Lacan, Ernest. “French Correspondence”. The Photographic News 21, no. 977 (May 25, 1877): 247-248.
Lundgren, Adrienne. “Employing the Preserved Negative: The Dry Collodion Process and Artists Who Used It.” Topics in Photographic Preservation 20 (2023).
Mertle, Joseph S. “Materials for Negative-Making (Collodion Processes).” Photolithographic Procedure 2, (June 20, 1941).
Monckhoven, Désiré van. Traité de Photographie Sur Collodion. Gaudin et Frère, 1855.
Monckhoven, Désiré van. Traité Populaire De Photographie Sur Collodion. Leiber Éditeur, 1862.
Niépce de Saint-Victor, Abel. “Note sur la photographie sur verre.”Comptes Rendus Hebdomadaires des Séances de l’Académie des Sciences de Paris 26 (1848): 637-639.
Osterman, Mark. “Minding the Light: The Photographic Skylight.” The Collodion Journal VI, no. 21 (Winter 2000).
Osterman, Mark. “Red Skies and Blackened Cheeks.” The Collodion Journal V, no. 17 (January 1999).
Osterman, Mark. “Surviving ‘The Black Art’: Poison in the Darkroom.” The Collodion Journal IV, no. 13 (January 1998).
Osterman, Mark. “Taking a Closer Look: The Development of Microphotography and Photomicrography.” The Collodion Journal V, no. 18 (Spring 1999).
Osterman, Mark. Wet-Plate Collodion Negative Process. Scully & Osterman, 2005.
Price, Lake. A Manual Of Photographic Manipulation. John Churchill Publisher, 1858.
Schultz-Sellack, Carl. “Uber die Lichtempfindlichkeit von Jod- Brom- und Chlorsilber.”Photographische Mitteilungen 7 (1871) 298–303.
Scully Osterman, France. “How the Collodion Process Was Invented.” The Collodion Journal VII, no. 23 (Winter 2001).
Scully Osterman, France. “The Varnished Truth.” The Collodion Journal V, no. 17 (January 1999).
Scully Osterman, France. “Wrinkles and Dodges: A Sink Full of Dirty Plates.” The Collodion Journal VI, no. 22 (Autumn 2000).
Scully Osterman, France. “Wrinkles and Dodges: Oysters on My Plate.” The Collodion Journal V, no. 20 (Autumn 1999).
Scully Osterman, France. “Wrinkles and Dodges: Watching for Comets.” The Collodion Journal II, no. 6 (April 1996).
Skladnikiewitz, Pia, Dirk Hertel, e Irene Schmidt. “The Wet Collodion Process – A Scientific Approach.” Journal of Imaging Science and Technology 42, no. 5 (September/October 1998): 450-458.
“The Origin of the Collodion Process.” The Photographic News, vol. XIII, no. 587 (December 3, 1869): 575-577.
Tissandier, Gaston. A History and Handbook of Photography. Scovill Manufacturing Company, 1877.
Vogel, Hermann W. Handbook of the Art and Practice of Photography. Traducido por Edward Moelling. Benerman & Wilson, 1871.
Wetzel, Rachel. “Exposing the Preserved Negative: The Overlooked History of the Dry Collodion Plate.” Topics in Photographic Preservation 20 (2023).
Impresiones en papel de albúmina
Baas, Valerie, Christopher Foster, y Karen Trentelman. “The Effects of Four Different Wet Treatments on Albumen Photographs.” Journal of the American Institute for Conservation 38, no. 2 (1999): 176-185. https://cool.culturalheritage.org/albumen/library/c20/baas1999.html
Blanquart-Évrard, Louis-Désiré. Intervention de L'art dans la Photographie. Leiber, 1864.
Blanquart-Evrard, Louis-Désiré. La Photographie, ses Origines, ses Progrès, ses Transformations. Imprimerie L. Danel, 1869.
Blanquart-Evrard, Louis-Désiré. Traité de photographie sur papier. Librairie Encyclopédique Roret, 1851.
Burke, John, Walter Henry, Paul Messier, y Timothy Vitale. Album photographs: history, science and preservation. 2000. https://cool.culturalheritage.org/albumen/
Darrah, William Culp. Cartes de Visite and Cabinet Portraits: Their History and Evolution. W. C. Darrah, 1989.
Darrah, William Culp. Cartes de Visite in Nineteenth Century Photography. Darrah, 1981.
Eder, Josef Maria. History of Photography. Reimpresión no abreviada y sin alteraciones de la edición publicada en Nueva York en 1945. Traducido por Edward Epstean. Dover, 1978.
Lavédrine, Bertrand, Jean-Paul Gandolfo, John McElhone, y Sibylle Monod. Photographs of the Past: Process and Preservation. Traducido por John McElhone. Getty Conservation Institute, 2009.
Lavédrine, Bertrand. Reconoce y conserva las fotografías antiguas. Traducción de Pau Maynés y Soledad Muñoz Gouet. Éditions du Comité des travaux historiques et scientifiques (CTHS), Colección Orientaciones y Métodos n° 16, 2010.
Martínez Gorgojo, Lucía. “Copias fotográficas a la albúmina: estudio de la técnica y metodología en su conservación.” Tesis de grado en Conservación-Restauración de Bienes Culturales, Universitat de Barcelona, 2018.
Messier, Paul y Timothy Vitale. “Cracking in Albumen Photographs: An ESEM Investigation.” Microscopy Research and Technique 25, nos. 5–6 (1993): 374-383. https://cool.culturalheritage.org/albumen/library/c20/messier1993.html
Messier, Paul y Timothy Vitale. “Effects of Aqueous Treatment on Albumen Photographs.” Journal of the American Institute for Conservation 33 (1994): 257-78.
Messier, Paul. “Work in progress: an Analysis of the Effect of Water on the Cracking of Albumen Photographs.” Topics in Photographic Preservation 4 (1991): 170-78.
Monckhoven, Désiré van. A Popular Treatise on Photography. Traducido por W. H. Thornthwaite. Virtue Brothers, 1863.
Newhall, Beaumont. The History of Photography: From 1839 to the Present. 4.ª ed. Museum of Modern Art, 1982.
Price, Lake. A Manual Of Photographic Manipulation. John Churchill Publisher, 1858.
Reilly, James M. The Albumen & Salted Paper Book: The History and Practice of Photographic Printing 1840 - 1895. Extended Photo Media Series 2. Light Impressions Corp, 1980.
Robinson, Henry Peach y Capt. Abney. The Art and Practice of Silver Printing. E. and H. T. Anthony, 1881.
Rubinstein, Mark. "The Stereoscopic Era: 1850-1920." History of Photography 23, no. 3 (1999) 201-215.
Stulik, Dusan y Art Kaplan. The Atlas of Analytical Signatures of Photographic Processes. Albumen. The Getty Conservation Institute, 2013. https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/atlas_albumen.pdf
Tyler, David. "The History of Cabinet Cards." The Photograph Collector 11, no. 2 1990: 14-20.
Vitale, Timothy y Paul Messier. “Physical and Mechanical Properties of Albumen Photographs.” Journal of the American Institute for Conservation 33 (1994): 279-99.
Ware, Mike. Cyanotype: The History, Science and Art of Printing in Prussian Blue. Science Museum, 1999.
Ambrotipos
Gold, Jens. “The Ambrotype / Wet Collodion Positives on Glass: Treatment Challenges on Complex Nineteenth-Century Photographic Objects.” Tesis de maestría, University of Oslo, 2018.
Panotipos
Archer, Frederick Scott. “On the Use of Collodion in Photography.”The Chemist 2 (1851): 257-258.
Arnold, Andrea, Barbara Spalinger Zumbühl, Vai van den Heiligenberg y Stefan Zumbühl. “Pannotypien [sind] unstreitig unter allen Collodiumpositivs die Empfehlenswertesten. Die Pannotypie – ein Transferverfahren auf schwarzes Wachstuch. Zur Geschichte, Technik, Materialität und Schadensphänomenen.”Rundbrief Fotografie, 23 (2016): 29-41.
Barreswil, Charles-Louis, y Louis Alphonse Davanne. Tratado Práctico de Fotografía O Sea Química Fotográfica. Traducido por Benito de Cereceda. Carlos Bailly-Baillière, 1864.
Belloc, Auguste. Le catéchisme de l'opérateur photographe: traité complet de photographie sur collodion, positifs sur verre et sur toile, transport du collodion sur papier, stéréoscopes, vitraux… Chez L’Auteur, 1860.
Eder, Josef Maria. History of Photography. Reimpresión no abreviada y sin alteraciones de la edición publicada en Nueva York en 1945. Traducido por Edward Epstean. Dover, 1978.
Cartier-Bresson, Anne. Le vocabulaire technique de la photographie. Marval, Paris musées, 2008.
Cutting, Ambrose. “Improvement in the preparation of collodion for photographic pictures”. Patentes registradas en Boston: EE UU: US 11213A, US 11266A y US 11267A.
Dubois-Rubio, Christophe. “Le panotype, un procédé photographique oublié”. Support/Tracé, n. 19 (2019): 173-182.
García Ballesteros, Teresa, y Juan A. Fernández Rivero. "Tras los pasos de Lorichon". Colección Fernández Rivero de Fotografía Antigua. https://cfrivero.blog/2015/01/07/tras-los-pasos-de-lorichon/
García Felguera, María de los Santos. “De Bélâbre à l’Espagne: sur les traces d’Henri Lorichon, miniaturiste et photographe du 19e siècle”.Mémoire Bélâbraise (2025): 38-57.
García Felguera, María de los Santos. “Del retrato en miniatura a la fotografía: Enrique Lorichon (1798-1862).” En Fotografía y Patrimonio, Simposio Internacional, Centro de Iniciativas Culturales de la Universidad de Sevilla, 2019, 23-50.
Hamilton L. Smith. U.S. Patent No 14, 300. U.S. Patent No 14, 300.
Kleffel, Ludwig Gustav. Handbuch der practischen Photographie: vollständiges Lehrbuch zur Ausübung dieser Kunst, unter besonderer Berücksichtigung der neuesten Erfahrungen und Verbesserungen. Nebst einer ausführlichen Abhandlung über Stereoskopie und Panotypie. 4ª ed. C. F. Amelang, 1863.
Kleffel, Ludwig Gustav. Manuel de photographie pratique: guide complet pour l’exercice de cet art, accompagné de rapports spéciaux sur les dernières expériences et améliorations & d’un traité détaillé de la stéréoscopie à l’usage des photographes et des amateurs. Libr. Centrale des Sciences de Leiber; Librairie d’Auguste Schnée, 1861.
Lavedrine, Bertrand, Jean Paul Gandolfo, y Sibylle Monod. [Re]Conocer y conservar las fotografías antiguas. Éditions du Comité des travaux historiques et scientifiques, 2010.
Leborgne, Auguste. Photographie. Épreuves positives directes obtenues par le collodion sur toile, soie, porcelaine, pierre, ivoire, etc. Alexis Gaudin, 1853.
Le Gray, Gustave. “Transport sur papier de l’épreuve négative sur verre.” La Lumière, año 2, n. 28 (3 de julio de 1852): 112.
Llorens, Martí, y Mutell, Rebeca, eds. Buscando lo imposible, una antología de textos sobre el origen de la fotografía. Traducido por Ana Galán. Universidad de Navarra, 2024.
Martin, Adolphe Alexandre. “Méthode pour obtenir des épreuves positives, directes, sur glace.” Comptes rendus hebdomadaires des séances de l'Académie des sciences, tomo 35 (5 de julio de 1852): 29-30.
Monckhoven, Désiré van. Traité général de photographie. 2.ª ed. A. Gaudin et frère, 1856.
Paulin-Désormeaux, M. O. Nouveau manuel complet du fabricant d'objets en caoutchouc, en gutta-percha et en gomme factice: suivi de documents étendus sur la fabrication des tissus imperméables, des toiles cirées et des cuirs vernis. Rouret, 1855.
Seely, Charles, A. “Transfering the Collodion Film. Howell’s Patent.” The American Journal of Photography and the Allied Arts & Sciences 1, n. 9 (1 de octubre de 1858): 131-132.
Šíblová, Markéta. “Pannotypie – Charakteristické Projevy Degradace.” Forum for Conservators-Restorers XIV, no. 2 (2024): 34-38.
Towler, John. The Silver Sunbeam: A Practical and Theoretical Text-book on Sun Drawing and Photographic Printing. Joseph H. Ladd, 1864.
Truchelut, Jean Nicolas. “Correspondance.” La Lumière, 5.º año, no. 13 (31 de marzo de 1855): 52-53.
Vasallos, Ioannis. “The pannotype mystery: Part 1 – historic photographic processes in Design Registers”. The National Archives, 25 octubre 2019. https://webarchive.nationalarchives.gov.uk/ukgwa/20250613150507/https://blog.nationalarchives.gov.uk/the-pannotype-mystery-part-1-historic-photographic-processes-in-design-registers/
Vasallos, Ioannis. “The pannotype mystery: Part 2 – identifying rare historic photographic processes.” The National Archives, 12 noviembre 2019. https://webarchive.nationalarchives.gov.uk/ukgwa/20250613144938/https://blog.nationalarchives.gov.uk/the-pannotype-mystery-part-2-identifying-rare-historic-photographic-processes/
Vermeulen, Marc. “The pannotype mystery: cracking the code of a forgotten photographic process”. The National Archives, 31 marzo 2025. https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-pannotype-mystery-cracking-the-code-of-a-forgotten-photographic-process/
Weiske, Adolph. Handbuch des Pannotypisten: Gründliche Unterweisung in der Anfertigung von Lichtbildern auf Wachstuch. Leipzig Abel, 1859.
Platinos
McCabe, Constance, editora. Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation. American Institute for Conservation of Historic and Artistic Works, 2017. https://www.culturalheritage.org/groups/photographic-materials-group/platinum-palladium-book
Ampliaciones coloreadas (Crayon enlargement prints)
Albright, Gary E., y Michael K. Lee. “A Short Review of Crayon Enlargements: History, Technique, and Treatment.” Topics in Photographic Preservation 3 (1989): 28–36.
Artetxe Sánchez, Enara, Marta Barandiaran Landin, Itxaso Maguregui Olabarria, Beatriz San Salvador Ageo, Carlos Venegas García, y Fernando Bazeta Gobantes. “Más allá del blanco y negro. Estudio histórico de fotografías coloreadas y su conservación.” Ge-Conservacion, 1 (2010): 193-207.
Ayres, George B. How to paint photographs. 6ta edición. Daniel Appleton & Company, 1883.
Barhydt, Jerome. A. Crayon Portraiture: Complete Instructions for Making Crayon Portraits on Crayon Paper and on Platinum, Silver, and Bromide Enlargements. Revised and Enlarged Edition. Baker & Taylor Co., 1892.
Bartz, Marissa, Luisa Casella y Abbott Nixon. “Investigation of Portrait with Applied Oil Color.” Topics in Photographic Preservation 18 (2019): 24-38.
Bringas Botello, Jennifer Libertad, y Castañeda Hernández, María Magdalena. “Análisis del Klucel® G en el laminado de papel albanene y vegetal.” Publicaciones Digitales ENCRyM, 2014. https://revistas.inah.gob.mx/index.php/digitales/article/view/4658
Caldararo, Niccolo. Crayon Enlargements and Colored Photographs. Preprints, 2022.
Duncan, Lisa, Saori Kawasumi Lewis, Jessica Keister, y Thomas M. Edmondson. “What Is It: Empirical Research into the Art of Bleaching Crayon Enlargements.” Topics in Photographic Preservation 17 (2017): 122–131.
Helion, Courtney. "The Rainbow Connection: Treatment and Analysis of Hand-Colored Photographs." Art Conservation Master's Projects 43. 2019 https://digitalcommons.buffalostate.edu/art_con_projects/43
Hendricks, Klaus B., y Sebastian Dobrusskin. “The Conservation of Painted Photographs.” Preprints, 9th Triennial Meeting ICOM, Committee of Conservation, 1990, 249–251.
MacKay, Anne. “Enhanced: Nineteenth Century Hand-Colored Photographic Portraits.” Topics in Photographic Preservation 17 (2017): 74-88.
Wagner, Sarah, Monique Fisher y Clara von Waldthausen. “The Hand‑Coloring and Retouching of Photographic Prints: An Annotated Bibliography.” Topics in Photographic Preservation 9 (2001): 118–126.
Ware, Mike. Mechanisms of Photographic Enlargement in 19th-Century Studios. Science Museum, 1999.
Wetzel, Rachel K. “Confronting the Challenges of Treating Crayon Enlargements.” Topics in Photographic Preservation 16 (2015): 168–175.
Whitman, Katharine. “The Technology of Solar Enlargements.” Topics in Photographic Preservation 11, (2005): 104-110.
Gomas bicromatadas
Graphics Atlas: Identification. “Gum Dichromate.” Accessed February 5, 2026. http://www.graphicsatlas.org/identification/?process_id=343
Maskell, Alfred, y Robert Demachy. Photo-aquatint, or, the gum-bichromate process: A practical treatise on a new process of printing in pigment especially suitable for pictorial workers. 3.ª ed. Hazell, Watson, & Viney, Ld, 1901.
Van Keuren, Sarah. A Non-Silver Manual : Cyanotype, Brownprint, Palladium & Gum Bichromate: with Instructions for Making Light-Resists Including Pinhole Photography. 3.ª ed., 10.ª rev. S.V. Keuren, 2010.
Vila, Anna, Silvia A. Centeno, Lisa Barro y Nora W. Kennedy. “Understanding the gum dichromate process in pictorialist photographs: A literature review and technical study.”Studies in Conservation 58, no. 3 (2013): 176-188.
Warren, William James. A handbook to the gum-bichromate process: For obtaining a permanent print in pigment by photographic means without transfer. Iliffe & Son, 1897.
Pantallas de color aditivo
Lavedrine, Bertrand y Jean-Paul Gandolfo. “Historical and Technical Investigation of the Autochrome Process and Attempts at Re-creation.” Topics in Photographic Preservation 5 (1993): 138-145.
Fotografías a color
Gamble, William Burt. Color Photography, A List Of References In The New York Public Library. The New York Public Library, 1924.
Hutcheson, Rachel Lee. "Coming Attraction: The Event of Color, Techniques of Screening and Filtering in Early “Natural” Color Film and Photography." Grey Room 96 (2024): 6-29.
Wilhelm, Henry, y Mark McCormick-Goodhart. “An Overview of the Permanence of Inkjet Prints Compared with Traditional Color Prints.” En Proceedings of IS&T’s Eleventh International Symposium on Photofinishing Technologies, Society for Imaging Science and Technology, 2000.
Wilhelm, Henry y Carol Brower. The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Preservation Publ. Co, 1993.
Impresiones digitales por inyección de tinta
Allen, Ross R., John D. Meyer, y William R. Knight.“Thermodynamics and Hydrodynamics of Thermal Ink Jets.”Hewlett-Packard Journal 36, no.5 (1985): 21-27.
Bale, Mark. “Inkjet Ink and its Important Additives.” Inkjet Insight, October 19, 2018. https://whattheythink.com/articles/124460-inkjetinsight-inkjet-ink-important-additives/
Fischer, Monique C. “Creating Long-lasting Inkjet Prints.”WAAC Newsletter 28, No. 1 (2006): 16-18.
Image Permanence Institute. “Inkjet.” DP3, Digital Print Preservation Portal. Accessed February 27, 2020. http://www.dp3project.org/technologies/digital-printing/inkjet
Jürgens, Martin C. The Digital Print: a complete guide to processes, identification and preservation. Thames and Hudson, 2009.
Jürgens, Martin C. The eye. 2019. www.the-eye.nl
Martin, Tony. “Dye-based or Pigment-based? Debunking the Myths of Digital Inks.” Digital photo techniques (2004).
PCMAG. “IRIS printer.” Consultado el 27 de febrero de 2020. https://www.pcmag.com/encyclopedia/term/iris-printer
Schröder, Heinz y Schupp, Georg. "Recording Paper for Inkjet Recording Processes." US Patent 4,474,847, emitida 2 octubre 1984.
Solomon, Ella A. “The effects of finish coatings on ultraviolet and visible light stability of inkjet prints.” Tesis de maestría, University of Amsterdam, 2020.
Wilhelm, Henry. "A 15-Year History of Digital Printing Technology and Print Permanence in the Evolution of Digital Fine Art Photography – From 1991 to 2006." En 22nd International Conference on Digital Printing Technologies Final Program and Proceedings, Society for Imaging Science and Technology, 2006.
Williamson, Neil. “A Short History of Digital Fine-Art Printing.” Print Art. Consultado el 27 de febrero de 2020. https://www.printartct.co.za/post/a-short-history-of-fine-art-digital-printing
Historia y tecnología de los materiales fotográficos
Burgess, Nathanial G. The Photographic Manual: A Practical Treatise Containing The Cartes de Visite Process and the Method of Taking Stereoscopic Images. Appleton and Co. 1862.
Eder, Josef Maria. History of Photography. Reimpresión no abreviada y sin alteraciones de la edición publicada en Nueva York en 1945. Traducido por Edward Epstean. Dover, 1978.
Frizot, Michel, ed. A New History of Photography. Könemann, 1998.
Márquez, Miguel B. "Sobre los orígenes de la fotografía". Actas de Cultura y Ensayos Fotográficos “f/8”, nº 1. Sevilla, 1980.
Mees, C. E. K. The Fundamentals of Photography. 3.ª ed. Eastman Kodak Co., 1927.
Ramírez García, Héctor. “Química de los Procesos Fotográficos Alternativos.” Tesis de Licenciatura, Universidad Nacional Autónoma de México, 2006.
Werge, John. The Evolution of Photography, with A Chronological Record Of Discoveries, Inventions, Etc.Piper & Carter, 1890.
Procesos y efectos de deterioro
Weaver, Gawain. “A Guide to Fiber-Base Gelatin Silver Print Condition and Deterioration.” Capstone Project of Andrew W. Mellon Fellowship Advanced Residency Program in Photograph Conservation. George Eastman House, 2007.
Glosario de efectos de deterioro en fotografías
American Institute for Conservation. “Lexicon.” AIC Wiki. Febrero 13, 2026. https://www.conservation-wiki.com/wiki/Lexicon
American Institute for Conservation. "BPG Glossary of Terms." AIC Wiki. Febrero 13, 2026. https://www.conservation-wiki.com/wiki/BPG_Glossary_of_Terms.
Bojanoski, Silvana y Márcia Almada. Glossário ilustrado de conservação e restauração de obras em papel: danos e tratamentos. Português, Espanhol, Inglês, Grego. Fino Traço Editora, 2021.
Centeno, Silvia A., Franziska Schulte, Nora W. Kennedy y Alejandro G. Schrott. “The formation of chlorine-induced alterations in daguerreotype image particles: a high resolution SEM-EDS study.” Applied Physics A 2011, volume105, 55–63. https://doi.org/10.1007/s00339-011-6570-2
Conservation and Art Materials Encyclopedia Online (CAMEO). https://cameo.mfa.org/ Marzo 21, 2026.
Dirksen, Vicki. “The Degredation and Conservation of Leather.”Journal of Conservation and Museum Studies, volume 3, 1997. https://jcms-journal.com/articles/jcms.3972
Grup de treball sobre fotografia a museus i arxius. “Mirall de plata: Lèxic visual de deterioraments en fotografia.” https://miralldeplata.com/
Hendriks, Klaus B. y Rudiger Krall. “Fingerprints on Photographs.”Topics in Photographic Preservation 5. 1993 8-13.
Herrmann, Jennifer K., Sara Shpargel, Lauren M. Varga, Karen Gaskell, y Mark Ormsby. “The Phenomenon of Platinum Print ‘Image Transfer’ to Adjacent Papers.” En Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation, editado por Constance McCabe. American Institute for Conservation of Historic and Artistic Works, 2017.
Kozachuk, Madalena. S., Tsun-Kong Sham, Ronald R. Martin, Andrew J. Nelson y Ian Coulthard. “Exploring tarnished daguerreotypes with synchrotron light: XRF and μ-XANES analysis.” Heritage Science 6, 12 (2018). https://doi.org/10.1186/s40494-018-0171-8
Kunicki-Goldfinger, Jerzy. “Unstable historic glass: symptoms, causes, mechanisms and conservation.”Reviews in Conservation 9 (2008): 47–60.
Passafiume, Tania, editora. Lingua franca: A Common language for conservators of photographic materials. Library and Archives Canada, 2018. https://www.canada.ca/en/library-archives/collection/engage-learn/publications/lingua-franca.html
Quintero Balbas, Diego, Barbara Cattaneo, Andrea Cagnini, Paolo Belluzzo, Sandra Rossi, Raffaella Fontana y Jana Striova. “The Degradation of Daguerreotypes and the Relationship with Their Multi-Material Structure: A Multimodal Investigation.”Sensors 2023, 23 (9), 4341. https://doi.org/10.3390/s23094341
Reilly, James M. IPI Storage Guide for Acetate Film. Image Permanence Institute, 1993. https://www.rit.edu/ipi/sites/rit.edu.ipi/files/documents/acetate_guide.pdf
Van Camp, Kristel. “Damage Atlas for Photographic materials.”CeROArt, EGG 1, 2010. Consultado el 18 de febrero de 2026. https://doi.org/10.4000/ceroart.1770
Wagner, Sarah S. “An Update on the Stability of B+W Resin Coated Papers.”Topics in Photographic Preservation 8. 1999: 60-66
Weaver, Gawain. “A Guide to Fiber-Base Gelatin Silver Print Condition and Deterioration.” Capstone Project of Andrew W. Mellon Fellowship Advanced Residency Program in Photograph Conservation. George Eastman House, 2007.
Photographic Materials Group, American Institute for Conservation. “PMG Resin Coated (RC) Papers History and Conservation”. Photographic Materials Group Wiki, 2026. Consultado el 18 de febrero de 2026. https://www.conservation-wiki.com/wiki/PMG_Resin_Coated_%28RC%29_Papers_History_and_Conservation
Teoría de la conservación
Avrami, Erica, Randall Mason, y Marta de la Torre. Values and Heritage Conservation: Research Report. Getty Conservation Institute, 2000.
Muñoz Viñas, Salvador. Contemporary theory of conservation. Elsevier Butterworth-Heinemann, 2005.
Muñoz Viñas, Salvador. The Transactional Nature of Heritage Conservation. Reinwardt Academy, 2017.
Csillag Pimstein, Ilonka. Conservación de Fotografía Patrimonial. 5.ª ed. rev. y ampliada. Dirección de Bibliotecas, Archivos y Museos, Centro Nacional de Conservación y Restauración, 2000.
Clark, Susie y Franziska Frey. Care of photographs. European Commission on Preservation and Access, 2003.
Clark, Susie. Preservation of Photographic Materials. Ed. Revisada 2021. British Library - Scottish Council of Archives, 2021.
Fuente de Cía, Ángel. La conservación de archivos fotográficos. Documento de Trabajo nº 3, SEDIC, 2012.
Hendriks, Klaus B. Fundamentals of Photograph Conservation: A Study Guide. Lugus, 1991.
Herrera Garrido, Rosina. Conservación y restauración de fotografía. Editorial Síntesis, 2022.
Laguna Monroy, Ishtar y Elia Alejandra Mendoza Olmos. “Conservación y Documentación de Archivos Fotográficos de Autor”. Tesis de Licenciatura, Escuela Nacional de Conservación, Restauración y Museografía “Manuel Del Castillo Negrete”, 2006.
Roosa, Mark. Care, Handling and Storage of Photographs. International Preservation Issues, N° 5, International Federation of Library Associations and Institutions - Core Activity on Preservation and Conservation, 2004.
Conservación de fotografías
Documentación y análisis
Angelin, Eva Mariasole, Clarimma Sessa, Martin Jürgens, Élia Roldão, Cornelia Kemp, y Marisa Pamplona. “Carl August Steinheil's pioneering daguerreotypes: Nondestructive investigation of his production and processing methods.” En Working Towards a Sustainable Past. ICOM-CC 20th Triennial Conference Preprints. International Council of Museums, 2023.
Hardman-Peavy, Colette, Marcie B. Wiggins, Richard Hark, Aniko Bezur, Paul Messier, Lucia Noor Melita, Valentina Risdonne, y Lucia Burgio. “‘Indigenous Spots’: Microscopic Imaging and Spectroscopic Analysis of Galvanic Halos Associated with Metal Inclusions in the Paper of Mid-19th Century Salted Paper Prints by William Henry Fox Talbot.” Preprint, Research Square, 2023. https://doi.org/10.21203/rs.3.rs-3081471/v1.
McClelland, Arthur, Elena Bulat, Brenda Bernier, y Erin L. Murphy. “Specular Reflection FTIR: A Non-Contact Method for Analyzing Coatings on Photographs and Other Cultural Materials.”Journal of American Institute of Conservation 59, no 2 (2019): 123-136.
Quintero Balbas, Diego, Eva Luna Ravan, Michela Botticelli, Claudia Caliri, Teresa Brancolini, Andrea Cagnini, Francesco Paolo Romano, y Jana Striova. “High-lateral resolution image recovery and degradation mapping of daguerreotypes using mobile reflectance, μ-XRF, MA-XRD, and benchtop μ-vibrational spectroscopies.”Talanta, volume 299, 2026. https://doi.org/10.1016/j.talanta.2025.129140
Preservación y almacenamiento
Adelstein, Peter Z. IPI Media Storage Quick Reference. 2.ª edición. Image Permanence Institute, 2009. https://www.rit.edu/ipi/sites/rit.edu.ipi/files/documents/msqr.pdf
Bigelow, Sue. Cold Storage of Photographs at the City of Vancouver Archives. Canadian Council of Archives, 2004. https://archivescanada.ca/wp-content/uploads/2022/08/Storage_English.pdf
Comité Técnico de Normalización Nacional de Documentación de México (COTENNDOC). Lineamientos para la preservación de acervos documentales. 2024.
Norris, Debra Hess, y Jennifer Jae Gutierrez. “Preventing Destruction: Preserving Our Irreplaceable Photographic Heritage.”American Art 31, no. 1 (2017): 18–23.
Lavédrine, Bertrand, Jean-Paul Gandolfo, y Sibylle Monod. A Guide to the Preventive Conservation of Photograph Collections. Traducido por Sharon Grevet. Getty Conservation Institute, 2003.
Lavédrine, Bertrand, Jean-Paul Gandolfo, John McElhone, y Sibylle Monod. Photographs of the Past: Process and Preservation. Traducido por John McElhone. Getty Conservation Institute, 2009.
Library of Congress, Preservation. “El cuidado, manipulación y almacenamiento de fotografías”. Consultado el 28 de enero de 2026. https://www.loc.gov/preservation/espanol/foto.html
Reilly, James M. IPI Storage Guide for Acetate Film. Image Permanence Institute, 1993. https://www.rit.edu/ipi/sites/rit.edu.ipi/files/documents/acetate_guide.pdf
Reilly, James M. Storage Guide Color Photographic Materials. Image Permanence Institute, 1998. https://www.rit.edu/ipi/sites/rit.edu.ipi/files/documents/color_storage_guide.pdf
Ritzenthaler, Mary Lynn, Diane Vogt-O'Connor, Helena Zinkham, Brett Carnell y Kit A. Peterson. Photographs: Archival Care and Management. Society of American Archivists, 2006.
Salgado Aguayo, Dolores Cecilia. “Bóvedas De Almacenamiento, Una Estrategia Para La Conservación De Fotografías”. Tesis de Licenciatura, Escuela Nacional de Conservación, Restauración y Museografía “Manuel Del Castillo Negrete”, 2005.
“Storage Enclosures for Photographic Materials.” NEDCC Preservation Leaflets. Consultado el 27 de enero de 2026. https://www.nedcc.org/assets/media/documents/Preservation%20Leaflets/5_5_photostorage_2018.pdf
Voellinger, Theresa A., Sarah S. Wagner y Constance McCabe. “Cold Storage for Photograph Collections – An Overview.” NPS Conserve O Gram 14/10, August 2009. Consultado el 5 de febrero de 2026. https://www.nps.gov/subjects/museums/upload/14-10_508.pdf
Voellinger, Theresa A., Sarah S. Wagner y Constance McCabe. “Cold Storage for Photograph Collections – Using Individual Freezer Units.” NPS Conserve O Gram 14/11, August 2009. Consultado el 5 de febrero de 2026. https://www.nps.gov/subjects/museums/upload/14-11_508.pdf
Voellinger, Theresa A., Sarah S. Wagner y Constance McCabe. “Cold Storage for Photograph Collections – Vapor-Proof Packaging.” NPS Conserve O Gram 14/12, August 2009. Consultado el 5 de febrero de 2026. https://www.nps.gov/subjects/museums/upload/14-12_508.pdf
Diagnóstico de archivos y colecciones
Banta, Melissa, Paul Messier, Andrew Robb, Brenda Bernier, y Robert Burton. “A Methodology for Surveying Photograph Collections.” Harvard Library, 2012.
Boadas i Raset, Joan. “Jerarquía versus cooperación: Estrategias de gestión del patrimonio fotográfico de una nación.”Cartas diferentes. Revista canaria de patrimonio documental, no. 19 (2023): 13-39.
Boadas, Joan, Lluís-Esteve Casellas, y M. Àngels Suquet. Manual para la gestión de fondos y colecciones fotográficas. Biblioteca de la imagen 3. CCG Ediciones; Centre de Recerca i Difusió de la Imatge (CRDI), Ajuntament de Girona, 2001.
Cimadevilla Cervera, Ilse. “El diagnóstico en conservación como construcción cognoscitiva.” Tesis de licenciatura, Escuela Nacional de Conservación, Restauración y Museografía “Manuel Del Castillo Negrete”, 2011.
Durant, Fletcher. “Preservation Assessments.” En Assessment Strategies in Technical Services, editado por Kimberley A. Edwards y Michelle Leonard. American Library Association, 2019.
Farge, Arlette. The Allure of the Archives. Yale University Press, 2013.
Fracornel, Guilherme, Consuelo Méndez Tamargo, y María Fernanda Valverde Valdés. Manual de diagnóstico de conservación en archivos fotográficos. Archivo General de la Nación; Cooperación Iberoamericana, 2000.
Herrera Garrido, Rosina. Conservación y restauración de fotografía. Editorial Síntesis, 2022.
Lavédrine, Bertrand. A Guide to the Preventive Conservation of Photograph Collections. Getty Conservation Institute, 2003.
Mason, Randall. “Assessing Values in Conservation Planning: Methodological Issues and Choices.” En Assessing the Values of Cultural Heritage. Getty Conservation Institute, 2002.
Méndez Sánchez, Dora. “Más vale prevenir que lamentar: importancia del diagnóstico de conservación oportuno en los museos.” Gaceta de Museos, no. 56 (2013): 8-11.
Michalski, Stefan. A Systematic Approach to Preservation. Canadian Conservation Institute, 1994.
Osorio Alarcón, Fernando. Un modelo para la gestión, organización y administración de las tareas que inciden en el desarrollo de colecciones de imágenes fotográficas y medios audiovisuales. s.f.
Patkus, Beth. Assessing Preservation Needs: A Self-Survey Guide. Northeast Document Conservation Center, 2003.
Peniche Montfort, Ana Laura, y María de Lourdes Gallardo Parrodi. El diagnóstico para la intervención de colecciones y acervos. Principios, procedimientos y herramientas para su elaboración.Serie manuales número 4. Instituto Nacional de Antropología e Historia, 2024.
Reed, Caroline. Reviewing Significance 3.0. Collections Trust, 2018.
Reedy, Thomas J., y Chandra L. Reedy. Statistical Analysis in Art Conservation Research. Getty Conservation Institute, 1988.
Reilly, James M. Care and Identification of Nineteenth-Century Photographic Prints. Eastman Kodak Company, 1986.
Tullock, Janice, Anita Hollinshead, Heather Lomas y Mairead O’Rourke. Managing mixed collections, Guidance for archive services. The National Archives UK, 2021.
Walker, Alison, y Julia Foster. “Statistical Tools for the Evaluation of Preservation Needs.” 75th IFLA General Conference and Council, 2009. https://www.ifla.org/past-wlic/2009/92-walker-en.pdf
Waller, Robert, Stefan Michalski, y José Luiz Pedersoli Jr. Risk Management for Collections: A Manual. Canadian Conservation Institute; ICCROM, 2016.
Tratamientos de restauración
Albright, Gary E., Jiuan-Jiuan Chen, y Kate Jennings. “Treatment options for paper negatives.” Topics in Photographic Preservation 10 (2003): 19-28.
Hongos: identificación y atención
Bertalan, Sarah, Mary Wood Lee, y Lois Olcott Price, compiladores. American Institute for Conservation – Book and Paper Group: Mold, 2017. Consultado el 15 de octubre de 2017, http://www.conservation-wiki.com/wiki/BPG_Mold#Removing_Fungal_Growth
Borrego, Sofía. “Cladosporium: género fúngico que deteriora soportes documentales y afecta la salud del hombre”. Boletín del Archivo Nacional (2012): 104-118.
Flieder, Françoise, y Christine Capderou. Sauvegarde des collections du Patrimoine: la lutte contre les détériorations biologiques. CNRS Éditions, 1999.
Florian, Mary-Lou E. “Aseptic technique: a goal to strive for in collection recovery of moldy archival materials and artifacts”. Journal of the American Institute for Conservation 39, no. 1 (2000): 107-115. https://cool.culturalheritage.org/jaic/articles/jaic39-01-008.html
Florian, Mary-Lou E. Fungal facts: solving fungal problems in heritage collections. Archetype publications, 2002.
Florian, Mary-Lou. “Water, heritage photographic materials and fungi.”Topics in Photographic Preservation 10 (2003): 60-73.
Guild, Sherry y Maureen MacDonald. “Mould Prevention and Collection Recovery: Guidelines for Heritage Collections.” Technical Bulletin 26, Canadian Conservation Institute, 2020.
Hoyos Velasco, Susana Aurora. “Evaluación de dos productos biocidas en impresiones fotográficas de plata gelatina en soporte de papel de fibra.” Tesis de Licenciatura, Escuela Nacional de Conservación, Restauración y Museografía “Manuel Del Castillo Negrete”, 2018.
Lourenco, Miguel J. L. y Jose Paulo Sampaio. “Microbial Deterioration of Gelatin Emulsion Photographs: A case study.” Topics in Photographic Preservation 12 (2007): 19-34.
Lucas, Chloé, Greg Hill y Nancy E. Binnie. “Disinfection of Photographic Materials with Ethanol Vapours: Preliminary Evaluation of the Effects on Chromogenic Prints.” Journal of the Canadian Association for Conservation, volume 45, 2020: 29-50.
Lucas, Chloé, Franck Déniel y Philippe Dantigny. “Ethanol as an Antifungal Treatment for Silver Gelatin Prints: Implementation Methods Evaluation.” Restaur 38 (3): 235–248. https://www.degruyterbrill.com/document/doi/10.1515/res-2017-0003/html
Lucas, Chloé. "L’asphalte même est un miroir”: étude et conservation de sept tirages de la Bibliothèque Historique de la Ville de Paris. Traitement aux vapeurs d'éthanol des gélatines photographiques altérées par des micro-organismes.” Diplôme de Restaurateur du Patrimoine, Spécialité: Photographie, Institut National du Patrimoine, 2016. https://mediatheque-numerique.inp.fr/documentation-oeuvres/memoires-diplome-restaurateurs-patrimoine/lasphalte-meme-est-miroir-etude-conservation-restauration-sept-tirages-bibliotheque-historique-ville-paris-traitement-aux-vapeurs
Madigan, Michael T., John M. Martinko, y Jack Parker. Brock: Biología de los microorganismos. 10.ª ed. Pearson Prentice Hall, 2013.
Paredes Medina, Daysi Anabel, Mario Fernando Alvarez Nuñez, y Mónica Silva Ordoñes. “Obtención de enzimas celulasas por fermentación sólida de hongos para ser utilizadas en el proceso de obtención de bioalcohol de residuos del cultivo del banano.” Revista Tecnológica ESPOL – RTE 23, no. 1 (2010): 81-88.
Sequeira, Sílvia Oliveira, Eurico J. Cabrita, y Maria Filomena Macedo. “Antifungals on paper conservation: an overview.” International Biodeterioration and Biodegradation 74 (2012): 67-86.
The National Archives. “Mould in archive collections.” Reino Unido. https://www.nationalarchives.gov.uk/archives-sector/advice-and-guidance/managing-your-collection/mould-in-archive-collections/. Consultado el 5 de abril de 2026.
Valgañón, Violeta. Biología aplicada a la conservación y restauración. Editorial Síntesis, 2008.
Prevención y recuperación ante desastres
Dadson, Emma. Salvaging library and archive collections. British Library - The Preservation Advisory Centre, 2012.
Gestión y manejo de colecciones
Boadas, Joan, Lluís-Esteve Casellas, y M. Àngels Suquet. Manual para la gestión de fondos y colecciones fotográficas. Biblioteca de la imagen 3. CCG Ediciones, Centre de Recerca i Difusió de la Imatge (CRDI), Ajuntament de Girona, 2001.
Brokerhof, Agnes, Bart Ankersmit, y Frank Ligterink. Risk Management for Collections. Cultural Heritage Agency of the Netherlands, 2017.
Michalski, Stefan y José Luiz Pedersoli Jr. The ABC Method: a risk management approach to the preservation of cultural heritage. Canadian Conservation Institute; ICCROM, 2016.
Pedersoli Jr., José Luiz, Catherine Antomarchi, y Stefan Michalski. A Guide to Risk Management of Cultural Heritage. Canadian Conservation Institute; ICCROM, 2016.
Howard Besser, Sally Hubbard, y Deborah Lenert. Introduction to imaging, revised edition. Getty Research Institute, 2003.
“Informe Final Proyecto ADAI: Digitalización del Archivo Fotográfico de Aurelio Escobar Castellanos”. Dirección de Tecnologías de la Información, Archivo General de la Nación, 2012. https://www.iberarchivos.org/wp-content/uploads/2014/12/2010-155.pdf. Consultado el 3 de agosto de 2025.
Murtha Baca, ed. Introducción a los metadatos: vías a la información digital. Traducido por Marisol Jacas-Santoll.J. Paul Getty Trust, 1999.
Salgado Aguayo, Cecilia. “Sostenibilidad ambiental en la preservación digital de patrimonio documental”. 2025.
The Technical Guidelines for Digitizing Cultural Heritage Materials: Third Edition. Federal Agencies Digital Guidelines Initiative, 2023. https://www.digitizationguidelines.gov/guidelines/FADGITechnicalGuidelinesforDigitizingCulturalHeritageMaterials_ThirdEdition_05092023.pdf. Consultado el 18 de julio de 2025.