...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

Thursday, 24 March 2011

album OVI

... Take white of eggs, to which add the fifth part, by volume, of saturated solution of chloride of sodium, or what is still better, hydrochlorate of ammonia; then beat it into a froth, and decant the clear liquid after it has settled for one night. ...

Albumen derives its name from album ovi, the Latin name for white of egg. It exists most abundantly and in its purest natural state in eggs. It is one of the chief constituents of many animal solids and ......... Its chief characteristic is its coagulability by heat. ... The albumen of the hen's egg is the easiest of access. The eggs must be fresh, not more than five days old. They ought to be kept in a cool place. Those from the country are better than town-laid eggs, and I advise, where practicable, that the hens should have carbonate and phosphate of lime strewn about them to peck at. This enriches the albumen and renders it more limpid. Each egg must be broken separately into a shallow cup, and the yelk [sic] retained in the shell as well as the germ; then pour into a measure until the required quantity of limpid albumen is obtained.

The albumen print was an exceptionally convenient answer to many of early photography's problems and one of the most luxuriously beautiful photographic paper surfaces ever devised. When introduced in France in 1839, photography took the form of the daguerreotype, a relatively small albeit spectacularly detailed image on a polished, silver-coated plate of copper. The daguerreotype truly reflected—or mirrored—the world as seen through the lens of the camera obscura and recorded it on a small flat surface with a consummate finesse and precision of fact. Observers could, with the aid of a magnifying glass, examine the smallest details of architecture or landscape and were in awe of the sheer magnitude of information captured on the tiny silver plate. But the daguerreotype had its limitations. Besides being very small, the daguerreotype was exceptionally fragile; its delicate image was merely a silver-mercury amalgam film lying atop the silver plate. The image had to be constantly protected from touch and the atmosphere to prohibit abrasion and tarnishing of the silver. Furthermore, the process was fairly complicated and expensive. Most limiting, however, was the daguerreotype's inability to replicate itself. Like the modern Polaroid, the daguerreotype technique did not produce a negative that could in turn be used for printing any number of positive images. It was a unique, singular picture experience

This paper gives much depth to the blacks, and great brilliancy to the whites. In leaving it a shorter time on the nitrate bath (about a minute), and using Whatman's paper, you may obtain a reddish purple tint very harmonious. Canson's papers, and usually all those which contain much amidine, give black tints.