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It also means, of course, that lignin free paper is going to be more expensive, but that is nevertheless what
archivist must look for in his supplies. There is no point whatsoever in carefully placing our valuable artifacts in paper or card that is going to hasten their demise. Acid is particularly harmful to photographic materials, causing them to fade and is some cases simply vanish!
So, how do we tell a piece of suitable paper or card from one that is unsuitable? You cannot do it by simply looking, and rather disappointingly, you cannot always rely on
label. ‘Acid free’ might be true inasmuch as a test on
paper may indicate that it is a neutral material at this time. But lignin can take years before it starts
inevitable process of breaking down, and in
right conditions it will speed up enormously.
Added to this, as I have indicated earlier, paper may also contain other materials added during manufacture such as bleach, china clay, chemical whiteners and size. This looks like a bleak picture, and it would be but for
fact that there are suppliers who will guarantee
material that they sell. If you want to be absolutely sure that you are storing in, or printing on,
correct material then this is probably
only way.
Incidentally, acids can migrate from material to material. Lining old shoe boxes with good quality acid free paper will do little to guard
contents. The acid will get there in
end.
Paper from Rag. Paper is also commonly made from cotton and rag waste. This has
advantage of being lignin free, but because there is much less cotton and rag than trees, it also tends to be much more expensive than wood pulp paper. You will still need to purchase from a reliable source though, since even rag paper and card can contain undesirable additives.
A reliable source for quality rag papers is a recognised art stockist. Many water colour artists insist on using only fine quality rag paper and board.
The main lesson to learn from this information is that you cannot rely on purchasing archival materials from
high street. The only safe solution is to purchase from specialist suppliers. It may cost rather more, but in
end you will know that your important and valuable data and images have
best home possible.

Peter Amsden has many years experience in photography, film and television. An Associate of both The Royal Photographic Society and of the British Institute of Professional Photographers. He had made a special study of conserving and archiving imaging media and is author of "Images for the Future". Runs consultancy and web design business. http://www.ASAT.biz