...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.



"most viewed this week on the years"

in studio

in studio
please send scanned in ;


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

last year


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

Monday, 15 November 2010

Ottoman Empire 1860-1870

Albumen print specifically have always held a soft spot in my heart for their ability to exude romantic warmth. This quality, in part, can be attributed to the creation process of using an emulsion composed of light-sensitive salts of silver suspended in albumen (egg white) on paper. It is unfortunate to note that due to their creation process, they are inherently prone to deterioration exacerbated by light sources.
There are certain precautions you can take to slow the speed of deterioration, but most result in these beautiful prints being sentenced to spend the rest of their life spans in closed boxes. Only to rarely be pulled out for work, as opposed to being leisurely viewed by the throngs of admirers they deserve.

texture of the emulsion under a microscope 40X

Albumen prints (1835-1895)

Albumen prints (1850-1890s) are probably the most common photographic print material of the 19th century. Most historical photographic collections consist for the greater part of albumen prints. The albumen paper was a printing-out paper used for contact printing of the then popular collodion negative. Ordinary paper was coated with an emulsion composed of light-sensitive salts of silver suspended in albumen (egg white). Most prints are mounted on cardboard (and commonly refered to as card photographs), because the paper is rather thin and curls easily. They can be recognized by the cream coloured highlight areas and glossy surface. After 1855, albumen prints were almost always toned with gold chloride, which enriched their colour and increased their permanence.

The first sign of deterioration of albumen prints is that the highlights become yellowish, eventually the whole print starts to fade and becomes yellow or brown, which is due to the effect of light on the albumen layer. Display, use and exposure to unfavorable circumstances, may cause serious damage within approximately forty years. Poor quality of the paper will cause staining of the albumen layer, while dryness and chemical changes can make the photograph crack and curl. Attempts to remount a curled albumen print can be very dangerous for the photograph. Albumen prints must be kept in the dark and protected by UV filters when exposed to the public.

private collection

Temple of Apollo Turkish