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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Sunday, 6 February 2011

Daguerreotypist


Portrait of a Daguerreotypist
1850 (ca)

Daguerreotypist coloring a plate with a daguerreian coloring box. Illustrated is the standard box with eight bottles of powdered colors, brushes and a palette for mixing colors. The powders were so fine that they adhered to the plate with as little as the moisture from an expelled breath.



Portrait of a Daguerreotypist (detail)

Close-up of the coloring box showing a bottle of liquid in front of the box which could be used as an agent to mix colors before applying to the plate.








Portrait of John H. Fitzgibbon, daguerreotypist
Fitzgibbon Studio
Date unknown
Half-plate

The daguerreotype resulted from years of experimentation undertaken by Joseph Nicéphore Niépce and Louis Jacques Mandé Daguerre. The first publicly announced photographic process, it was demonstrated to the Paris Academy of Sciences in January 1839. As this image of daguerreotypist John J. Fitzgibbon (1816?-1882) shows, the process was a complicated one in which a silver-coated copper plate was sensitized with iodine vapor, exposed in the camera, and then developed in mercury vapor. The result was a grainless image of exquisite detail.
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