Winter 2023

larger than film negatives, which came later. They
are typically postcard size, and the Wulz sisters
used three sizes [9 x 12 cm, 10 x 15 cm and 13 x
18]. These plates were industrially produced and
sold in standard dimensions. The technique’s
heyday was from 1880 to 1950, but it continued
to be used until the 1970’s. Despite being heavy,
inconvenient and fragile, photographers were
slow to give up the dry-plate technique because
of the high quality images it rendered.
Can you tell us about the restoration
process? How do the Wulzs’ materials affect
your work today?
EDR: I restored the collection’s broken negatives
by reassembling their glass plates, worked on
those that were bent – to correct image distortion
– and revisited negatives that had been poorly
restored in the past. Fortunately, the Wulz Archive
is in good condition, so most of my work involved
cleaning. Because of their patinas, it was mostly
a ‘dry clean’ using soft brushes, controlled air jets
and microfiber cloth. All the products we use,
including the paper in which the dry plates are
packed and stored, have to be verified as being
compatible with photographic materials. I have
a degree in Mathematics and Physical Sciences,
but my training is mostly chemical. Photographic
restoration is largely a question of chemistry.
40 Restoration Conversations • Winter 2023