...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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~ *~ 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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Wednesday, 4 May 2011

step back in time


ORGIN late 19th cent.:
from French, from photo- "relating to light" + gravure "engraving"

A means of reproducing a photograph by printing on paper from an inked and etched copper plate. Perfected by Karl Klíc in 1879, the process came into general use in the 1890s for photographic reproductions.

Over time, photogravures have become increasingly valued as works of fine art.
Today photogravure is considered one of the finest and most time intensive of the photographic processes.

Between 1868 and 1898 Thomas Annan, a leading Scottish photographer, photographed the "old and interesting landmarks" of Glasgow, where he was based. Most of the images show dark, narrow passages between slum buildings that were damp, dirty and overpopulated by the city's poor, who occasionally appear in doorways. Annan initially printed his wet-plate collodion negatives onto albumen and carbon paper but in 1900 issued them as photogravures in The Old Closes and Streets of Glasgow.

Annan began his firm T. & R. Annan and Sons as a portrait studio and in 1883 purchased a license to the photogravure process from its inventor Karl Klic. The company soon became known for its high-quality printing in gravure, under the watchful eye of J. Craig Annan, an artistic photographer who went on to be a regular contributor to Camera Work, often producing his own photogravures for the journal. "The Old Closes and Streets of Glasgow" is a significant record of the squalid conditions of the city at the time, but also is an outstanding example of pre-pictorialist grain gravure. The plates are sharp, rich and deep in tone, often revealing noticeable hand retouching.

Close No. 115, High Street
The Old Closes and Streets of Glasgow, 1868
17.5 x 21 cm

Close No. 28 Saltmarket
The Old Closes and Streets of Glasgow, 1868
18.3 x 22.5 cm

Close No. 11 Bridgegate
The Old Closes and Streets of Glasgow, 1868
17.1 x 22.2 cm

Main Street Gorbals, Looking North
The Old Closes and Streets of Glasgow, 1868
23.5 x 16.9 cm

High Street from College Open
The Old Closes and Streets of Glasgow, 1868
24 x 17.8 cm