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Caring for early chromogenic film: a methodological approach to understand its use and significance through Portuguese collections by Lénia Oliveira Fernandes
The history of colour photography shifted in the 1930s as the industry began researching the manufacture and use of chromogenic dyes. Transparencies on plastic film with this type of colourants yielded direct positive images, simplifying the process of obtaining, viewing, and reproducing images in full colour. A dynamic visual communication tool, colour slide film was distributed and adopted in many contexts. Over the years, and as other technologies took over, slide film started to make its way into numerous private and public collections worldwide.
Although an estimated 6 million colour slides became part of several Portuguese cultural institutions, little is known about their relationship with the global photographic industry. Collection surveys are taking place to learn more about these objects’ sociocultural context and material characteristics. To this point, it has been possible to ascertain that their use became more common after the 1950s, especially by professional photographers. Specific issues arose across institutions, which further motivate in-depth investigation into their characterization and preservation. The study of colour slide film is being complemented by documenting memories related to their use and attributed values, on both national and international levels.
This presentation will explore the transition of colour photography into chromogenic processes, focusing on early slide film (1930s-1950s) and the challenges presented by these materials. The main focus will be on objects found in Portuguese institutions, studied in the scope of the ongoing PhD project “Chromogenic film: Characterization, conservation and appreciation of case-studies in Portuguese collections” (ref. 2022.13036.BDANA). 
 
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Lénia Oliveira Fernandes is a PhD student at NOVA University Lisbon that is researching colour slide film in Portuguese collections, financed by Fundação para a Ciência e Tecnologia). She is a photograph conservator whose professional experience is connected to the following institutions: Rijksmuseum, Nederlands Fotomuseum, Historisches Archiv der Stadt Köln, Hochschule für Technik und Wirtschaft - Berlin, Arquivo e Biblioteca da Madeira, and Image Permanence Institute. She has been a volunteer in several cultural heritage associations, including APOYOnline – Association for Heritage Preservation of the Americas.
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