...Photographs should be protected from extended exposure to intense light sources. Limit exhibition times, control light exposure, and monitor the condition of the photographs carefully. Prolonged or permanent display of photographs is not recommended. Use unbuffered ragboard mats, and frame photographs with archivally sound materials. Use ultraviolet-filtering plexiglass to help protect the photographs during light exposure. Reproduce vulnerable or unique images and display the duplicate image; in this way, the original photograph can be properly stored and preserved.

Disaster preparedness begins by evaluating the storage location and the potential for damage in the event of a fire, flood, or other emergency. It is important to create a disaster preparedness plan that addresses the specific needs of the collection before a disaster occurs.

The location and manner in which photographs are housed can be the first line of defense. Identify photographic materials that are at higher risk of damage or loss. Remove all potentially damaging materials such as paper clips and poor-quality enclosures. Store negatives and prints in separate locations to increase the possibility of an image surviving a catastrophe. If a disaster occurs, protect the collection from damage by covering it with plastic sheeting and/or removing it from the affected area. If using plastic, make sure not to trap in moisture as this could lead to mold growth. Evaluate the situation and document the damage that has occurred. Contact a conservator as soon as possible for assistance and advice on the recovery and repair of damaged materials.

PS .If your photograph requires special attention or you are unsure about how to protect it, you should contact a conservator.To search for a conservator near you.

Cabaret of Spirits ATELIER

Cabaret of Spirits ATELIER

Treatment Options for Photographic Materials may include

mold removal
surface cleaning
stain reduction (only if possible and safe to do so)
tape and adhesive removal
separation from poor quality mounts
consolidation of cracked or flaking emulsion
mending tears or breaks
conservation of cased photographs and case repair
electro-cleansing of tarnished daguerreotypes
rehousing options
four-flap enclosures
clamshell boxes
polyester sleeves
conservation framing


Hundreds of millions of photographs have been lost over the years to natural disasters, wars, and the age-old urge to clean house. So there is something special about every old photograph that's survived. Someone decided to make it... someone else, to buy it... and a lot of someones decided to keep it over the years. Whether you're the caretaker of a treasured family album or a collector who has searched out the classics of photography, it's important to preserve and protect the images you value. Fortunately, there is new information about what to do and what to avoid. And there are specialized products available to help.



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Me: I am modern day alchimist practicing photographic process of the 19th Century and the handcraft

Me: I am modern day alchimist practicing photographic process of the 19th Century and the handcraft

last year

and now ... phone off.

my website

about me "work and lifestyle"

My photo
~ *~ It all starts as a photographer... the path leads me to specialized in the conservation & application of fine art and historic photographs and restoration of paper ... working in my Boudoir, CABARETøf SPIRITS ~ *~

Archive you missed the past months

Sally Mann: A Thousand Crossings On view June 30 through September 23, 2018 Save the Date: Press Pr

Sally Mann: A Thousand Crossings On view June 30 through September 23, 2018 Save the Date: Press Pr
SALEM, MA – The Peabody Essex Museum (PEM) presents the first international traveling exhibition of work by Sally Mann (b. 1951), one of the country’s most influential and distinguished photographers. For more than 40 years, Mann has made experimental, intimate and hauntingly beautiful photographs that explore such themes as the bonds of family, the nature of memory, the pull of place and the ravages of time and mortality. What unites her vision is that it is all bred of a place, the American South. Organized by the Peabody Essex Museum and the National Gallery of Art, Washington, Sally Mann: A Thousand Crossings brings together some 115 photographs, many of which have never been exhibited or published before. The exhibition reveals how Mann's relationship with her native land — a place rich in literary and artistic traditions but troubled by history — has shaped her work.

Tuesday, 5 June 2018

Sunday, 29 April 2018

my meeting date:

Discover the art of the Victorian photographer with this hands-on,
six week evening class. As part of this course you will produce cyanotypes, calotypes and salt print, in a process which would be familiar to photographers who witnessed the invention of photography.
Beginning with contact prints and ending with the production of portraits. 
No previous experience needed.
All materials provided

... ps from the Victorian Era to the modern day

May11th 18th 25th 1st

course leader : Cabaret of spirits


darkroom on" Queen Charlotte Street"  - Bristol -

Monday, 12 February 2018

Bringing back to Glory Mr.Wolcott's.Closed in a glass bell

On October 6th 1839, the firm of Alexander Wolcott & John Johnson commenced working on the daguerreotype process announced in August of that year, and on the 7th of October, 1839 they were able to produce a portrait daguerreotype. Wolcott & Johnson have claimed to be the first to produce a life portrait, however, it is unclear if this honor belongs to Wolcott, Morse or Draper.

In March 1840, with the aid of a new invention referred to as the mirror camera, Wilcott opened, which may have been the world's first portrait studio.

On May 8, 1840 Alexander Wolcott, with the assistance of John Johnson Sr., received the first American patent for photography (US Patent No. 1582) for their Daguerreotype mirror camera, which did not have a lens. The camera was based on a concave reflecting mirror built by an associate Mr Henry Fitz, similar to those used for making celestial telescopes. The Wolcott & Johnson patent camera enabled the successful taking of life portraiture by significantly reducing the subjects sitting time from 30 minutes to only 5 minutes, while still using Daguerre’s chemical formula. Mr Johnson Sr paid Daguerre 150 pounds for the use of his process

William S. Johnson who was John Johnsons father, traveled to England marketing the Wolcott & Johnson photographic camera. An English entrepreneur Richard Beard, had secured the only license for making Daguerreotypes in London from Daguerre and he agreed to jointly secured the Wolcott & Johnson camera patent for Britain with Mr. Wolcott, which was recorded on June 14th 1840. Beard then opened the first portrait studio in England.

In 1842 wolcott discovered a combination of chemicals, known in London as Wolcott's mixture which reduced sitting time and was very sensitive to the action of light. 

In 1844, Alexander Simon Wilcott died leaving behind a pioneering accomplishment as the very first American to secure a patent in the field of photography and open a portrait studio. 

Wolcott's an ingenious New Yorker, patent model for a daguerreotype camera with
concave reflector. It was the first U.S. patent for a photographic invention.
The camera is approximately one fifth the size of the working version and is the only complete model
of the Wolcott camera known to exist. (PATENT No.1,582, May 8, 1840)