Acid-Free Box
Lignin-free board that will not slowly acidify the negatives inside it.
Inert plastic that holds a negative without touching the emulsion.
| Materials | Polyester (Mylar) · polypropylene |
|---|---|
| Avoid | PVC — releases acid as it degrades |
| Thickness | ≈ 3–5 mil (75–125 µm) |
| Types | Individual sleeves · strips of 5 · pages with binder holes |
| Archival test | Passes the Photographic Activity Test (PAT) |
| Fit | Slightly generous; never tight against the emulsion |
| Storage | Vertical, in acid-free boxes, cool and dry |
| Labelling | Write on the sleeve, never on the film |
A negative that survives fifty years will be handled, dropped, stored in a warm room and probably moved house at least once. The sleeve is the only thing standing between the emulsion and all of that.
Two materials are acceptable. Polyester (Mylar) is the gold standard: chemically inert, dimensionally stable, transparent, and it will not outgas. Polypropylene is a good, cheaper second. Polyvinyl chloride — the clear plastic of cheap photo albums — is the one to avoid absolutely: it decomposes and releases hydrochloric acid directly onto the film.
The other requirement is that the sleeve not touch the image. A sleeve that is a tight fit will abrade the emulsion every time the negative is slid in. A slightly generous sleeve, or a sleeve with a separate pocket for the film and one for the contact sheet, is worth the extra space.
Lignin-free board that will not slowly acidify the negatives inside it.
Carbon-fibre bristles that neutralise static and lift dust off a negative.
A tank that keeps fresh water moving past every print until the fixer is gone.
One sheet, one image — the slowest and most deliberate way to expose film.