...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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Wednesday, 1 September 2010

Nineteenth Century Cabinet Cards

photographic print format roughly the size of a French visiting card (6 × 9 cm; 2 1/3 × 3 1/2 in), traditionally imprinted with the name of its bearer. First patented by the Parisian photographer André Disdéri in November 1854, the carte format was undoubtedly inspired by stereoscopic photographs taken with twin-lensed cameras from c. 1850. (Disdéri's carte camera incorporated four lenses and an ingenious sliding plate holder.) While the purpose of stereoscopic images was to simulate depth when viewed in a specially designed stereoscope, Disdéri's motivation was purely economic: in the time it took to produce one full-plate wet-collodion negative and one large contact-printed positive, one could expose, develop, and print many (ten as described in the 1854 patent, but eight in surviving uncut sheets) small photographs that could be mounted on thin cards.

though there is no evidence that Disdéri envisioned a stylistic change in the resultant portraits, in effect the use of faster lenses with shorter focal lengths allowed greater flexibility in posing and encouraged full-length rather than bust views. As documented in an article in La Lumière on 28 October 1854 that may have prompted Disdéri's patent registration, the wealthy amateurs Édouard Delessert and Count Olympe Aguado had already begun experimenting with visiting-card-sized portraits that showed figures tipping their hats, holding their gloves, and dressed appropriately to the visit being made. Such fashionable people, concerned about their public self-presentation in the grand new spaces of Haussmann's Paris, became the first clients for the tiny portraits by c. 1857. Members of Napoleon III's court and boulevard actresses flocked to Disdéri's and other studios to preen themselves before the camera in their evening crinolines, morning dresses, or various degrees of déshabillé.

The craze for cartes de visite and the special albums manufactured to hold them spread from Europe to the rest of the world between the late 1850s and the 1870s, with the format considered outmoded in Paris by c. 1867. As carte cameras were acquired by provincial operators, prices dropped to one franc per dozen, permitting truly working-class consumption. Carte formats were also used for tintypes, which could be inserted in the same albums as images mounted on card, or safely sent through the post.

Although the format was used for landscape and topographical views, and occasionally for scenes of contemporary events, it remained predominantly a portrait medium. Marking a shift from the scrutiny of the face to the reading of the entire body, cartes gave sitters the freedom to reveal multiple identities before the lens, and anticipated the snapshot in expanding the repertoire of poses in which people were displayed. They were also exploited in celebrity series which flooded the market with hundreds of thousands of portraits of Queen Victoria, Napoleon III, or Abraham Lincoln.