...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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~ *~ 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, 19 December 2010

19th Century Aesthetics

Collodion is to photography what watercolor is to painting -- fast, yet requiring exquisite manipulation. Each step of the process requires dexterity and quick decisions based on observation. While this presents certain challenges it also offers a very satisfying experience for the visual artist. The experience is seductive, but results are what matter. Artists are drawn to collodion for the combined effect of long exposure, ultra fine silver particles, limited color sensitivity and unlimited opportunities to celebrate the evidence of a hand-made object. Most practitioners, however, have yet to discover that this process offers even more...

In addition to the tactile and visual qualities inherent in making collodion images, artists and photographers are drawn to the process for two reasons, which appear to be completely opposing sensibilities. Many artists are initially seduced by the streaks, swirls and markings inherent in the process. Whether produced intentionally or by indelicate handling, these honest artifacts can contribute to the image in a way that is often copied, but impossible to achieve by any other means. In rare cases, these artifacts can be found in 19th c. examples, (as seen in previous image, W.M. Rossetti, 1865, by Julia Margaret Cameron); though more often they are visible in contemporary work.

There is a dark side, however; a little goes a long way. Like all visual arts, technique is not the art and the flaws of any processes, no matter how interesting, are usually secondary to the artistic concept. Sometimes they are intentional, in many cases they are the residues left by those who have not yet mastered the process.

There is a dark side, however; a little goes a long way. Like all visual arts, technique is not the art and the flaws of any processes, no matter how interesting, are usually secondary to the artistic concept. Sometimes they are intentional, in many cases they are the residues left by those who have not yet mastered the process.

Less realized today are the more subtle aspects of the collodion process. In the hands of the skillful, collodion is not a primitive product, but a sophisticated film without compromise. It is as primitive or as sophisticated as the skills of the maker. Virtually grainless images can be made on glass, which are finer and far superior to any other negative process, old or new.

Were that not enough, collodion is also extremely versatile. Variants of the wet-plate process can be used to make one-of-a-kind positives on blackened metal, called "tintypes," or on glass, called "ambrotypes." Other collodion positives on glass are transparencies (or slides), milk glass positives and orotones, all of which are second-generation images made from negatives.
A wide variety of supports can be used, such as colored and white glass, gold backings, and even thin sheets of mica. Dry pigments can be applied combined with burnishing or polishing the silver particles, adding yet another dimension to the image. It seems the uses for collodion are only limited by the imagination.

private collection

BEN CAUCHI opening image
"Dead Arm"
355 x 275 mm
Private Collection