CABARET of SPIRITS Atelier ... BLOG VERSION

CABARET of SPIRITS Atelier ... BLOG VERSION
...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
daguerreotypes
ambrotypes
ferrotypes
electro-cleansing of tarnished daguerreotypes
rehousing options
four-flap enclosures
clamshell boxes
polyester sleeves
encapsulation
conservation framing

PRESERVING & PROTECTING PHOTOGRAPHS

PRESERVING & PROTECTING PHOTOGRAPHS
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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~ *~ 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 ~ *~

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Sunday, 31 October 2010

Stereo wet collodion



Shall devote a chapter to the stereograph and its philosophy;in this I shall simply give plain instructions for taking the stereoscopic negative by the wet collodion process.


private collection

In the ordinary stereoscopic negative, as in every negative, the pictures are laterally inverted, and when printed, this inversion is corrected only for each picture individually, for the right-side picture is still inverted and in the place of the left-side picture. In consequence of this, the printed stereographs have to be cut apart, and mounted so that the right-hand photograph is placed on the right side, and the left hand photograph on the left side. When taking pictures of still life, as also others, where the living objects are not in motion, it is very easy to manage matters so as to invert the photographs on the negative. The method is as follows: Take a large-sized camera-stand, allowing sufficient space for the camera to slide laterally. Placing the camera in the right-hand corner, focus the left-hand lens. Next slide the camera gently, or lift it up and place it in the left corner, and focus the right-hand lens. The space between the centers of the two pictures thus focussed must be about two inches and three quarters. Whilst the camera is in this position on the left side, insert the sensitized plate, take out the slide, uncover the right-side cap for a second or two, and take this picture. Then close up the lens, lift up the camera gently and place it on the right side. In this position uncover the left-side lens for the same length of time. In this way, and in the space of ten seconds or so, the two pictures can be taken in a proper condition for printing so as to produce a non-inverted stereograph. For such work it would be no difficult task to contrive a slide by which a single lens would be all-sufficient; that is, when the camera is on the left side, the lens must slide to the right side, and vice versa on the right side.




As soon as the negative is this taken, it has to be developed before it gets dry. The development and fixing can be performed in a dark tent specially arranged for such purposes. Various contrivances have been adopted in landscape photography for these operations. For my own part I consider a simple hand-cart, with iron rods from corner to corner diagonally, in the form of semi-ellipses, and covered with a balloon-shaped tent, a very practical accommodation. But each successful photographer is somewhat of a genius, and can easily arrange a dark chamber according to his own taste and materials on hand.




Negatives thus taken and fixed are placed carefully away in slides where they can not be injured during transportation home. In the evening, or the next day, or at any convenient time, the negatives are examined; if clear, transparent in the lights, and sufficiently intense in the shades, they are varnished. On the contrary, if the opacity of the shadows is not deep enough, although the appropriate gradation exists between the lights and shades, it will then be deemed necessary to proceed to intensification. Previously the edges of the negatives must be varnished to the depth of one tenth of an inch upon the collodion, to prevent its peeling off during the operation. This is effected by dipping the quill end of a feather into the varnish, and then running along the edge of the collodion and of the glass, with this portion of the feather slightly inclined, so that the varnish does not drop oil; a sufficient quantity is attracted upon the collodion as you proceed. After this put the negatives aside, that the varnish may become thoroughly dry and hard. As soon as it is dry, immerse the plates in rain-water, and allow diem to remain there for about a quarter of an hour, by which time the collodion film will have become saturated iv with this fluid.