Connecting to Collections Care

The suggestions and information below were provided by an expert in objects conservation and collections care:

Rachael Perkins Arenstein
A.M. Art Conservation, LLC
Conservation Treatment, Preservation Consulting & Collection Management

Rather than blowing off the dust with a rubber bulb though I would probably recommend dusting towards the nozzle of a vacuum cleaner so that it removes the dust rather than moving it around.  I would recommend covering the nozzle of the vacuum with gauze or purchasing a set of microtool attachments – something like seen in these video clips

https://manual.museum.wa.gov.au/dust-and-brush-vacuuming

https://arts.unimelb.edu.au/grimwade-centre-for-cultural-materials-conservation/ccc/cultural-conservation-channel/videos/brush-vacuuming

or picture here

https://www.nationaltrust.org.uk/chartwell/features/the-winter-deep-clean-at-chartwell

If the cameras came to a trained objects conservator they might use solvents for additional cleaning but I would not recommend that for untrained staff without knowing the solubility of the components.  I think a brush cleaning  with a vacuum is the best way to remove the dust with the least risk of unintentional damage.

Posted by:

Dear Sarah – Great responses to your questions here on the C2CC forum here from Sonya and Rachel. I'll add a little context for their recommendations and perhaps a couple of my own.

As you can likely tell from the recommendations, Sonya and Rachel have focused their recommended steps on DRY working methods. That advice is spot on, not because the calcium sulfate and silica are highly corrosive (they have a nearly neutral pH between acidic and alkaline when dissolved). The wisdom of the advice is keeping liquids away from cameras in general and water in particular. Cameras are always composed of a series of finely machined fittings and threads that are designed to secure films, lenses, shutters and aperture rings while keeping light out of the interior, with the exception of the lens-to-film pathway. Those threads and fittings, key to the preservation of historic cameras, were made of machined brass, aluminum and steel and they can all corrode in the presence of water and moisture, causing corrosion products that can damage the fittings.

The major components of drywall dust, calcium sulfate and silica, are microscopic in size, about 3 microns or 0.003 millimeters, equal to 0.00012 inches. Tiny! They are easily suspended in room air currents and remain suspended in the air until they float to an area of still air, often under or around an object, where it will settle. Both these components, once on a surface like a lens or bellows or resting within the seams of threads, shutters, film backs and aperture fittings, will cause abrasions if they are rubbed, even with a soft cloth. If the drywall dust is not removed, it will attract and hold moisture and pollutants in the air, starting a corrosion reaction. So, removing the dust with a brush or the compressed air from a rubber bulb syringe, AND trapping it with a nearby, safely secured and screened vacuum nozzle is important.

Before you set to work, make certain that the camera to be cleaned is sitting safely and securely on a clean, dry, level padded and well-lit surface with plenty of safe space for soft brushes, the vacuum hose and the weight bags or clamps you will use to hold the vacuum hose and nozzle securely. Dusting with a moveable light overhead and a darkened background will make the dust you are lifting off the surface easier to see. Make certain that you will be comfortable and take a break BEFORE you start to feel tired.

PROTECT YOURSELF! While not toxic, the dusts are irritants to the eyes, nose, throat and respiratory systems. Some of the dust will almost certainly end up on your clothing so wear a smock or work clothes that you can change at the end of your work. That way, you won't be breathing the dust for the rest of the day and evening when you go home. Wear eye protection, just like those used in a wood shop and wear a dust mask. Also remember that the oils and salts from your fingers and hands will likewise cause long-term corrosion and damage to camera parts and finishes so wear well-fitted nitrile gloves to do your work. I know your hands will get sweaty inside the gloves – that is exactly the amount of perspiration coming off your skin every minute and even though the moisture normally evaporates, the salts and oils remain on our hands. Clean cotton gloves are not recommended because they wick the salts, oils and moisture to the exterior palms and fingers of the gloves and transfer them onto the object. They are more comfortable but really do nothing to protect the historic object.

Finally, if some of the cameras are from the 1960's, onwards and had built in-flash systems, check to make certain that any historic batteries have been removed as these can leak and cause damage. Have fun - these are wonderful examples of the dawning of precision-machining and lens manufacture!

Dear Sarah – Great responses to your questions here on the C2CC forum here from Sonya and Rachel. I'll add a little context for their recommendations and perhaps a couple of my own.

As you can likely tell from the recommendations, Sonya and Rachel have focused their recommended steps on DRY working methods. That advice is spot on, not because the calcium sulfate and silica are highly corrosive (they have a nearly neutral pH between acidic and alkaline when dissolved). The wisdom of the advice is keeping liquids away from cameras in general and water in particular. Cameras are always composed of a series of finely machined fittings and threads that are designed to secure films, lenses, shutters and aperture rings while keeping light out of the interior, with the exception of the lens-to-film pathway. Those threads and fittings, key to the preservation of historic cameras, were made of machined brass, aluminum and steel and they can all corrode in the presence of water and moisture, causing corrosion products that can damage the fittings.

The major components of drywall dust, calcium sulfate and silica, are microscopic in size, about 3 microns or 0.003 millimeters, equal to 0.00012 inches. Tiny! They are easily suspended in room air currents and remain suspended in the air until they float to an area of still air, often under or around an object, where it will settle. Both these components, once on a surface like a lens or bellows or resting within the seams of threads, shutters, film backs and aperture fittings, will cause abrasions if they are rubbed, even with a soft cloth. If the drywall dust is not removed, it will attract and hold moisture and pollutants in the air, starting a corrosion reaction. So, removing the dust with a brush or the compressed air from a rubber bulb syringe, AND trapping it with a nearby, safely secured and screened vacuum nozzle is important.

Before you set to work, make certain that the camera to be cleaned is sitting safely and securely on a clean, dry, level padded and well-lit surface with plenty of safe space for soft brushes, the vacuum hose and the weight bags or clamps you will use to hold the vacuum hose and nozzle securely. Dusting with a moveable light overhead and a darkened background will make the dust you are lifting off the surface easier to see. Make certain that you will be comfortable and take a break BEFORE you start to feel tired.

PROTECT YOURSELF! While not toxic, the dusts are irritants to the eyes, nose, throat and respiratory systems. Some of the dust will almost certainly end up on your clothing so wear a smock or work clothes that you can change at the end of your work. That way, you won't be breathing the dust for the rest of the day and evening when you go home. Wear eye protection, just like those used in a wood shop and wear a dust mask. Also remember that the oils and salts from your fingers and hands will likewise cause long-term corrosion and damage to camera parts and finishes so wear well-fitted nitrile gloves to do your work. I know your hands will get sweaty inside the gloves – that is exactly the amount of perspiration coming off your skin every minute and even though the moisture normally evaporates, the salts and oils remain on our hands. Clean cotton gloves are not recommended because they wick the salts, oils and moisture to the exterior palms and fingers of the gloves and transfer them onto the object. They are more comfortable but really do nothing to protect the historic object.

Finally, if some of the cameras are from the 1960's, onwards and had built in-flash systems, check to make certain that any historic batteries have been removed as these can leak and cause damage. Have fun - these are wonderful examples of the dawning of precision-machining and lens manufacture!