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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~ *~ 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

Tuesday, 8 November 2011

Sheet of thin iron

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A tintype is easy to identify since it is metal, a thin sheet of black jappaned iron, coated with a collodion wet plate emulsion. The resulting image is a reversed positive one.
Another factor in the tintype's popularity was the development of the multi-lens camera, which could take multiple images on a single metal sheet. After being processed the sheet was cut apart leaving pictures of 2.5 x 3.5 inches usually. However, it was also possible to make very tiny portraits for buttons, campaign pins, etc., with 36 images on a 5 x 7 metal sheet.

Early tintypes were often put in old daguerreotype or ambrotype cases, so it is often difficult to distinguish between cased ambrotypes and tintypes. The easiest way is the magnet test. However, most tintypes are not found in cases, but loose or in photo albums. Establishing a date can be difficult because of the long period in which they were made. If the image has a chocolate-brown tone to it, it dates after 1870. To be more precise, the viewer must look at other aspects of the tintype's image, such as the props and the fashions.




Tintypes can be cleaned with a mild soap solution and then rinsed with distilled water. Since a tintype is metal, it should be thoroughly dried with a hair dryer. Although durable, tintypes can show signs of wear and abuse, such as creases and scratches. Nothing can be done to restore the original image, but professional photographers can eliminate many of these problems through retouching, etc., and provide a very good copy. The best way to store tintypes is in polyethylene sleeves, similar to the ones used for negative storage. This will protect the image and allow easy viewing.