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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Daguerreotypes, ambrotypes and early tintypes were usually sold in small folding cases. The cases were designed to keep the fragile surfac...

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Archive you missed the past months

Saturday, 1 October 2011

the imprint of the artist



Unfortunately, very few daguerreotypes with the photographer's name provided. It is estimated that only 25 percent of all wear silver images authorization. In addition, a small percentage of unlabelled daguerreotypes, which can be proved by other evidence, however, the authorship. These include items such as studio curtains, chairs, table cloths and other accessories, but be warned against too hasty assignment it is - sometimes they were supposedly "unique features" more widespread than one might suspect.
As early as the 1850s turned her into one studio furniture series, which may therefore appear on daguerreotypes various studios alike.
The safest is the direct authorization. This can be very different.
Especially in Europe of a label on the back of the daguerreotype was quite common.




A less elegant method was the hammering of the name with a corresponding punch tool. In contrast to the actual stamp plate (manufacturer) the writing of daguerreotypists was logically not hidden under the Passeapertout. UP-Fig. punch on a silver oval shaped picture of daguerreotypists Abresch. The lettering is clearly visible from outside through the cover glass.




Larger studios employed several surgeons, who were responsible for the shooting. This sometimes left on the back of the copper plate with their respective names so that can succeed in such cases, an authorization. However, these cases are extremely rare, especially as they remain "invisible" and are only found during restoration work. UP-Fig. The incised inscription "John" refers to the natural scientist John Frederick Goddard, who in the early months of Richard Beard was working in London.





Especially in France and England are engraved the names of daguerreotypists directly in front of the silver plate, so it could see through the protective glass. UP-Fig. Engraved authorization, which is also linked with a dedication: The French daguerreotypist Guesne over appropriated on 9 October 1850 this daguerreotype to the French sculptor Henri-Charles Maniglier.