The light spots in the microscope images above are not the result of fading - they are an attenuated light beam marking the position where the testing will occur.
Events
CRCC 50th Anniversary Conference Paris October 2013: Cultural heritage conservation science and sustainable development: experience, research, innovation https://www.youtube.com/watch?v=c59HGiHE9SQ
Bright Ideas! Light Management for Cultural Collections - Seminar and Workshop organised by the Icon Science and Care of Collections Groups, March 2014
The 8th AICCM Book, Paper and Photographic Materials Symposium held in Sydney at the Art Gallery of New South Wales, 7th-9th May 2014
ICOM-CC Melbourne 2014. Presented my research, carried out at the National Museum of Australia, on the response of iron gall inks to light exposure in air and under anoxic conditions and at various RHs.
Pictures
Jane, (me), Miki, Michelle, Esther from the Heritage Conservation Centre in SIngapore. Instalation and training April 2016
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Dr Rosemary Goodall, Museum Victoria installation and training January 2016
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Waiting for a taxi on the last day of the Liverpool Museums job in late March 2014.
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Getting around in Copenhagen
Kirsten and Birgit from the Royal Library (Det Kongelige Bibliotek) in Copenhagen driving solo after I set them up in October 2014
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Grandfather to Matilda.
Testing the Pre-Colombian Codex Fejérváry-Mayer with Keith Oliver at Liverpool Museums, March 2014
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A relieved Prof. Lyall Hanton, Head of Chemistry at Otago University, observing the outcome of the non-destructive fade testing of his own early 19th C Japanese woodblock print. February 2014
Kirsten Dunne from National Galleries of Scotland. whom I trained in Edinburgh in late 2012 (photo in Sydney on courier trip March 2013)
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Dinner at the True Blue Peranakan restuarant , Singapore with conservators from the National Heritage Board, March 2014
With Drs Catherine Smith and Bronwyn Lowe of Otago University's School of Applied Science (Clothing & Textile Sciences) on the last day of installation and training. February 2014
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Microfading William Blake's "Newton" through low reflective glass; Tate Gallery
Azaria Chamberlain's christening dress. Nicki Smith and Bruce Ford, National Museum of Australia
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Ian Batterham and Sally Kneebone from Australian Archives unpacking the Australian Constitutional documents, signed by Queen Victoria shortly before she died in 1901.
Testing James Cook's Endeavour Journal, National Library of Australia. Known as MS1 or Manuscript Number 1.
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Microfading a hand painted bus, National Museum of Australia
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Demonstrating the microfader live at the SPNHC (natural history) conference, Yale, June 2012. You can see the queues of conservators eager to hear about the method.
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9/11 Museum, 2011. Microfading is being used by Steven Weintraub to assess the lightfastness of graphic material attached to the Last Column.
Micrograph of the weave of a textile with the test area illuminated. The light has been attenuated to avoid flare so the picture could be taken.
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Sir John Kerr, not happy to be faded, Museum of Australian Democracy.
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Little red riding hood tapestry: probably the greatest number of different dyes in a work I have tested. National Museum of Australia
Fading the only place where the sun won't shine on an overexposed sloth at the Horniman Museum in South London Dec 2012.
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Hats too!
At the NY Guggenheim, testing a Klee. 2012
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