...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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Me: I am modern day alchimist practicing photographic process of the 19th Century and the handcraft

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Thursday, 2 June 2011

the trunk of memories

Daguerreotypes, ambrotypes and early tintypes were usually sold in small folding cases. The cases were designed to keep the fragile surfaces of these images safe behind glass. Over the years, the cover glass in the cases can crack or become dirty. Some researchers report the glass itself can deteriorate, causing damage to the surface of daguerreotypes.

Collectors and conservators choose to replace the old cover glass. This is an operation that requires EXTREME CAUTION. The fragile surface of a daguerreotype was compared to the delicate wings of a butterfly--one inadvertent touch and it will be marred forever. Removing the image from its case also requires care, because a slip can permanently bend a daguerreotype or tintype...or crack an ambrotype. One other potential drawback to replacing the glass: some collectors put a premium on daguerreotypes that have their original paper seals intact. If the seal is present, breaking it to replace the glass may have an impact on the image's market value.

When in doubt, consult an expert.

N.B.Roughly 80% of all daguerreotypes have had their original seals broken. Those images have been resealed with paper tape, or left unsealed. Many times the glass was changed. Underneath that glass about 95% of the time is a layer of hazy film that both diminishes the contrast and softens the appearance of the image. Often, it can't be seen until the old piece of glass has been removed. If moisture is also present, very detrimental problems can occur on the actual silvered surface.