The Domino Effect: Navigating Crisis in Archival Preservation
- Discovering chemical decay in film collections can trigger a cascading series of urgent preservation projects that require immediate infrastructure overhauls.
- Balancing physical safety with digital accessibility often requires adapting standard workflows, such as digitizing before full cataloging, to arrest degradation.
- Success in mass digitization relies on flexibility, rigorous documentation, and cross-departmental collaboration to manage competing priorities effectively.
When conservators at The Mariners’ Museum and Park conducted a routine survey of their motion picture film collection in 2018, they uncovered more than just aging media; they discovered a preservation emergency. The identification of severe deterioration in acetate and nitrate stocks set off a chain reaction of logistical challenges that would reshape the institution’s entire approach to storage and digitization.
This case study explores how the museum managed this “domino effect,” transforming a potential catastrophe into a robust model for agile archival management and mass digitization.
The Catalyst: Identifying the Nitrate and Acetate Threat
The crisis began with the discovery of “vinegar syndrome” affecting the acetate film stock and the presence of highly volatile nitrate film within the collection.
Vinegar syndrome, characterized by the release of acetic acid as the cellulose acetate base decays, not only destroys the image carrier but can also infect nearby healthy reels.
Even more alarming was the confirmed presence of nitrate film, a material so flammable that it produces its own oxygen as it burns, making it nearly impossible to extinguish once ignited. This revelation made one thing immediately apparent: the museum’s existing storage facilities (standard climate-controlled closets and basic coolers) were wholly insufficient. To protect the collection and the facility itself, the team had to isolate these materials immediately.
This urgent need for purpose-built cold storage became the first domino to fall, forcing the department to pivot from standard operations to crisis management. The goal was no longer just organization; it was the physical stabilization of history that was literally crumbling (and potentially combustible) on the shelf.
Infrastructure Overhaul: Building Cold Storage in a Crisis
Addressing the chemical decay required more than just new boxes; it demanded a complete overhaul of the infrastructure. The team identified the need for specialized freezers to arrest the degradation, but installing them presented a logistical nightmare. The only suitable location for the new cold storage units was an internal area already occupied by the museum’s ceramics collection.
This triggered a secondary project: the rapid relocation of thousands of fragile ceramic and porcelain objects. To complicate matters further, the museum was undergoing broader renovations, meaning this delicate game of “archival musical chairs” had to be conducted amidst active construction zones. The team had to coordinate the movement of disparate collections, manage vibrations from construction work, and oversee the installation of industrial freezers—all while maintaining strict inventory control.
This phase of the project highlighted a critical lesson for archivists: preservation often requires stepping outside the silo of one’s own department to solve facility-wide logistical puzzles.
Rethinking Workflows for Mass Digitization
While the physical infrastructure was being upgraded, the team faced a simultaneous administrative challenge: a “Save America’s Treasures” grant that mandated the cataloging and digitization of approximately 30,000 at-risk negatives. With the clock ticking on both the grant funding and the film’s physical integrity, the team had to design a high-throughput workflow from scratch.
Standard archival practice typically dictates a linear process: catalog first, then digitize.
However, given the fragile state of the “vinegar” negatives, some of which suffered severe channeling and warping, the team prioritized digitization. By capturing the image content immediately with the DT Atom digitization system, they ensured that a digital surrogate existed even as the original carrier continued to deteriorate.
This workflow required significant adaptation. The team utilized the DT Atom’s glass carrier to carefully flatten warped negatives without damaging the emulsion, a necessity for achieving FADGI-compliant sharpness on uneven surfaces. They also implemented a “batch” processing approach based on material size (e.g., processing all 4x5s together) rather than archival order, significantly increasing throughput efficiency. This pragmatic flexibility allowed them to meet grant deadlines while ensuring the highest quality of image preservation.
Flexibility as a Core Competency
Ultimately, the experience of The Mariners’ Museum and Park demonstrates that rigid adherence to “ideal” workflows often fails in the face of physical reality. Success in this multi-year saga relied on the team’s ability to pivot, whether that meant dealing with construction delays, managing volunteer teams for rehousing, or navigating federal funding pauses. By documenting every step, communicating constantly across departments, and remaining willing to adapt their methods to the immediate needs of the collection, Brock Switzer and Emily Ransone successfully navigated the falling dominoes, securing the future of the museum’s visual heritage.
Preserve Your At-Risk Collections with the DT Atom
The Mariners’ Museum and Park relied on the DT Atom to safely and efficiently digitize thousands of fragile, deteriorating negatives. Purpose-built for cultural heritage, the DT Atom offers the precision and gentleness required to handle at-risk materials while delivering FADGI-compliant image quality.
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