...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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Tuesday, 1 June 2010

Dear Talbot

William Henry Fox Talbot1800 - 1877BackgroundTalbot's connection with Lacock Abbey in Wiltshire is well known. This was originally a nunnery, founded in 1232. Talbot's family had lived there since the sixteenth century, but due to the family's financial circumstances, they were not able to afford to live there at the time of his birth.
Talbot later returned to Lacock Abbey, and there he carried out many of his early photography experiments. The building now houses a museum dedicated to the work of Talbot.
Talbot is best remembered for his photographic discoveries, but he also had expertise in mathematics and optics and was a keen astronomer and archaeologist, with a good knowledge of ancient Greek and Hebrew.
Talbot's photographs, negatives documents and equipment were donated by his grand-daughter in 1937, some to the Science Museum , some to the Royal Photographic Society।

The Calotype Process

Conceptually, and in many ways, the photographic technique employed by Adamson and Hill was very similar to that still in use today. A negative was exposed in the camera, developed in a dark room and then printed on sensitive paper. Their cameras, while wooden and large, are easy to relate to modern cameras. However, their sensitive materials were quite different from ours in one important aspect. Modern photographic film and paper are highly refined highly technological products made under strict controls in a factory setting. In addition to the other problems they faced, Adamson and Hill had to make each and every sheet of negative or print material by hand. There are no significant records of their particular working practices. However, we know they were in close touch with the art's inventor, William Henry Fox Talbot (especially through their mutual friend, Sir David Brewster) and it can be assumed that their practice built on Talbot's approach.
The calotype negative process was sometimes called the Talbotype, after its inventor. It was not Talbot's first photographic process (introduced in 1839), but it is the one for which he became most known. Henry Talbot devised the calotype in the autumn of 1840, perfected it by the time of its public introduction in mid-1841, and made it the subject of a patent (the patent did not extend to Scotland).

The base of a calotype negative, rather than the glass or film to which we have become accustomed, was high quality writing paper. The sheet of paper was carefully selected to have a smooth and uniform texture and, wherever possible, to avoid the watermark. The first stage, conducted in candlelight, was to prepare what Talbot called his iodized paper. The paper was washed over with a solution of silver nitrate and dried by gentle heat. When nearly dry, it was soaked in a solution of potassium iodide for two or three minutes, rinsed and again dried. As long as this iodized paper was stored carefully, it could be kept for some time, so it was generally prepared in batches ahead of time.

Immediately before taking a photograph, a fresh solution of gallo-nitrate of silver was mixed up. This was made from equal quantities of a solution of silver nitrate and one of gallic acid; the solution was unstable and had to be used right away. Under weak candlelight, a sheet of iodized paper was coated with this solution, left to sit for about thirty seconds and then dipped in water. It was then partially dried in the dark, often using blotting paper. The calotype paper could be employed completely dry, but was more sensitive when moist, and in any case had to be exposed in the camera within a few hours of preparation (Talbot found that he could sometimes put it away for future use but its keeping qualities were never predictable).

Under near-total darkness, the sensitive calotype paper was loaded in the camera. It was exposed to the scene, sometimes for as little as ten seconds, usually for a time closer to a minute, and sometimes for tens of minutes. If one were to examine the sheet of paper after withdrawing it from the camera, no image would be seen (just as no image is visible on modern film when it is first removed from the camera). An invisible latent image was formed by the action of light. A fresh solution of gallo-nitrate of silver was brought into play. Washed over the sheet of paper in a darkened room, it developed a visible image, usually within a few seconds. When the operator judged that the development had proceeded far enough, the paper was then washed over with a fixing liquid. This was sometimes a solution of potassium bromide and sometimes a solution of hypo (similar to modern fixers). Washing and drying completed the process.

At this point, there would be a negative image, deep brown or black in colour, on one surface of the writing paper. Being plain paper, the temptation to correct errant details in pencil was natural to most operators. The artist Hill, and possibly the technician Adamson, frequently used pencil or ink to retouch the negatives. Sometimes the dried negative was waxed to make it more transparent.

Strictly speaking, the term calotype referred only to the developed negative process. Prints could also be made on calotype paper, exposed and then developed much like modern photographic papers, but this was a more complicated process and led to what were considered unsatisfactory cold print tones. Only a few prints were made experimentally using the calotype process itself. Instead, the common practice was to turn to Talbot's original photogenic drawing paper, invented by him in 1834 and the one first introduced to the public in 1839.

Talbot's original process was based on the same type of smooth writing paper employed in making the negatives. The printing paper was first soaked in a solution of common table salt, dried, and then brushed on one side with a solution of silver nitrate. This embedded light-sensitive silver chloride within the surface fibres of the paper. The dry paper was placed under the finished calotype negative, sandwiched under glass, and then placed in bright light. Within perhaps fifteen minutes, a visible image had formed on the print paper. It was then fixed, most often in hypo, washed and dried. The image would be present in rich brown tones, sometimes tending towards red, sometimes towards purple, depending on various factors and rarely fully controllable. These prints did not have a widely accepted name in the 1840s (they were sometimes called transfers). Today, they are generally called salted paper prints or salt prints. Like the calotype negatives, these plain paper prints could be easily retouched in ink or wash. However, unlike some of their contemporaries, Hill & Adamson preferred to do their work on the negatives, and modified the prints very little.