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

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The abortive trial of William H. Mumler in 1872 was the start of a decades-long battle between Science and the Séance. In the United Sta...

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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 ~ *~

Archive you missed the past months

Tuesday, 4 January 2011

woman with Greyhound







The advent of popular, vernacular (or "found") photography essentially dates from 1888 when the Eastman Dry Plate and Film Company (later the Eastman Kodak Company of New York) of Rochester, New York, introduced the Kodak camera (later to be called the "Original Kodak" camera).
 This small, box-like camera came preloaded with paper-backed roll film, sufficient for 100 exposures.
 The camera sold at a price of $25 (a significant amount in those years), had no viewfinder, and was string-loaded/set (which means that the shutter had to be manually cocked or armed by pulling a string).
The images, 2½" in diameter, were round (the crisp edges being produced by a mask, rather than by a focused lens). Once the film had been exposed, the entire camera was shipped back to Rochester where the images were printed, mounted on stiff card, and the camera reloaded and sent back to the owner.

A year after its debut, the Original Kodak was replaced by an improved version, the Kodak No. 1.
The price, the diameter of the round images it produced, the lack of viewfinder, and the factory loaded—factory printed-and-returned nature of the apparatus remained, however, essentially the same.
 (Kodak remained true to its advertising slogan: "You Press the Button, We Do the Rest".)

The Kodak No. 1 remained in production until 1895, but was, in the same year of its first appearance (1889), replaced by a still more improved version, the Kodak No. 2.

The Kodak No. 2 produced round images, 3½" in diameter, and used roll film that was not paper-backed (and thus had to be loaded in a darkroom). It sold for a steeper price ($32.50) and again the entire camera was returned for processing to Rochester, reloaded and returned (later, processing in London also became an option for those abroad). The No. 2 used film that produced 60 or 100 images and, most significantly, had a viewfinder. It remained in production until 1897.

The advent of these cameras essentially paved the way for a revolution in photography. Removed from the exclusive hands of practiced craftsmen and women, photography became democratized—the ability to document, frame and capture life’s experience suddenly being made available to the amateur. What strikes me now about these images is—in the best of them—their remarkable quality (remarkable for what was essentially a somewhat crude instrument) with their rich tones and sharp focus. Equally important are the quaintness of the circular image itself and the elegance of its presentation: on many, the back of the mounting card is decorated by a fine printing of flowers and leaves with the Kodak insignia centered on the card; the front often has a dark brown-burgundy border and gilt edging.
As with any historical image, the window into the past that it presents to the contemporary viewer is fascinating. In these early Kodak images, this attribute is pronounced with its concentration on the lives of ordinary people and families, in addition to its documentation of the inevitable holiday trip abroad or voyage to foreign and exotic locales.


private collection