...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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I am modern day alchimist practicing photographic process of the 19th Century and the handcrafting of unique image-object

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To a Lock Of Hair Sir Walter Scott (1771 – 1832) Thy hue, dear pledge, is pure and bright As in that well - remember`d night When first ...

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~ *~ 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

Thursday, 14 December 2017

Wednesday, 18 October 2017



... On the removal of the plate from the camera no image is visible, it has to be developed. This operation is nothing more than giving an increased density and depth to an exceedingly faint and delicate impression which the light refracted through the lens of the camera has defined upon the iodide of silver in the film; it is, in fact, a continuation of the action of light, which action is the commencement of the reduction of the iodide of silver contained in the collodion to the metallic state, carried on, when thus commenced in the camera, by the reducing agent employed.
We have now to bring out this image. The developing liquids made from formula 1,2,3, as given in the preceding division of the subject, will effect this object.
Take a small quantity of the solution to be used, in a porcelain cup or glass measure, and pour it over the surface of the plate; this should be done with a quick and steady motion of the hand; beginning at the nearest left-hand comer of the glass, giving it, at the same time, a tilting motion, to assist in covering the glass evenly. Precise and certain directions cannot be given when to stop the action of the developing liquid, although there are indications which the operator will detect after he has acquired some little experience from practice, sufficient to tell when it has done its work.
During the progress of the development on the plate it should be examined, to ascertain whether the more delicate shades of the view are coming out. Whilst the attention is being directed to this point, the parts of the picture which have already appeared may be left to themselves; for the chief difficulty will be to bring out the more delicate markings of the shadows, as these are the parts which will be the latest to make their appearance on the plate. The action of the developing liquid should, therefore, be continued until these faint impressions are visible; if, however, the liquid has become entirely decomposed before this is accomplished, it may be poured off, and a fresh supply, with two or three drops of nitrate of silver solution added to it, poured on ; this fresh dose will probably bring out the faint parts as desired.
If, after fixing the image, it is found that the faint and delicate markings of the shadows have not been developed, it must be concluded that the exposure in the camera has been too short; consequently, the next plate must be kept longer in the camera. Sometimes a difficulty is experienced in getting the plate covered sufficiently quick, although the developing liquid has got a proper proportion of acetic acid mixed with it; this often is caused by the plate having been removed to the camera before it is quite saturated in the exciting bath; or from the plate having become too dry, from long exposure in the camera.
A slight immersion in the silver bath after exposure in the camera, just before pouring on the developing liquid, will remedy this fault. Another reason why the developing liquid will not flow evenly over the plate is, that the exciting bath has acquired, from constant use, a large quantity of alcohol, which is thrown out from the film during its saturation in the bath; this defect will be quickly produced, when using a prepared collodion having a large proportion of alcohol in it.
The addition of a small quantity of alcohol to the developing liquid will often be found a remedy; but if this is not sufficient, the solution of nitrate of silver should be boiled either in a German beaker or porcelain dish, to drive off the alcohol. The liquid will, of course, be reduced in bulk by this operation, but if it is measured previous to commencing, water can afterwards be added to make up the original quantity.

Archer used Talbot’s calotype process which produced paper negatives but, dissatisfied with the results, he soon began his own experiments to develop a more sensitive and finely detailed process.
For his experiments Archer used collodion—a newly-discovered substance which was used as a medical dressing. A sticky solution of gun cotton in ether, collodion dried quickly to produce a tough, transparent, waterproof film.
The process he discovered was to coat a glass plate with collodion mixed with potassium iodide and then immerse the plate in a sensitising solution of silver nitrate. Exposed in the camera while still wet, the plate was then developed and fixed immediately. Crisp, detailed negatives were produced by exposures of only a few seconds.
Initially called the Archertype, but commonly known as the wet-collodion process, Archer’s process was to dominate photography for the next thirty years.

see you soon to Budapest

Friday, 28 July 2017

between a ball of wool and sipping a cup of tea

Midsummer tree,folk festivals around which a MAYPOLE DANCE often takes place

In Britain the maypole was found primarily in England and in areas of Scotland and Wales which were under English influence. However, the earliest recorded evidence comes from a Welsh poem written by Gryffydd ap Adda ap Dafydd in the mid-14th century, in which he described how people used a tall birch pole at Llanidloes, central Wales. Literary evidence for maypole use across much of Britain increases in later decades, and "by the period 1350-1400 the custom was well established across southern Britain, in town and country and in both Welsh-speaking and English-speaking areas."

how can you not stay enchanted with these old photographs
... looking in my library a knitting book to make a sweater for this winter 
I found this book of Welsh woman  in traditional  rural dress.

the unique Welsh hat

The cap

Also known as the mob cap, the cap was a linen or cotton head cover with goffered  folded fabrics around the face. Some had long lappets which hung down the front below shoulder level.

The Welsh hat

The distinctive feature of Welsh hats is the broad, stiff, flat brim and the tall crown. There were two main shapes of crown: those with drum shaped crowns were worn in north-west Wales and those with slightly tapering crowns were found in the rest of Wales. They were probably originally made of felt (known as beaver, but not necessarily made of beaver fur), but most surviving examples are of silk plush (also sometimes known as beaver) on a stiffened buckram base. A third type of hat, known as the cockle hat, was worn in the Swansea area.

Sorg ond slaep