...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"

new meeting

new meeting

in studio

in studio
please send scanned in ;

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

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

last year

strawberry passion

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, 5 January 2012

the casket

decorative spacer that prevents a framed image from touching the cover glass is called a mat. These were also called passé-partout, Th is is a French term generally applied to a window mat. ... specifically the passé-partout; (mount included a deep mat and a reverse painted cover glass often decorated with a gold pin line around the opening. These were very common in Europe for the mounting of daguerreotypes and collodion positive images) ... a French term referring to the window opening that allows the image behind the mat to be seen from the front.

All daguerreotypes, ambrotypes, and ferrotypes were first covered with a mat before placing them into frames or protective cases. The earliest daguerreotype mats were made of thin paper. Eventually stamped metal mats of copper or brass became the standard for cased images. Framed prints were usually matted with paper, heavier card stock, or pasteboard. The cheap ferrotypes called bon tons were placed in a special paper mat with an integral folding paper cover.

...tinsmiths of the 19th century occasionally finished their hand-crafted products with a baked-on coating of asphaltum. The glossy black finish, which resembled Japanese lacquerware, was very popular and was applied to a wide variety of domestic objects. The most typical formula for Japan varnish was solvent, asphaltum, and Canada balsam.

Japanned black-plate iron was the support material for melainotypes and ferrotypes, popularly known as tintypes. The plates were not made by the ferrotypist but commercially manufactured in standard cased sizes or in large sheets to be cut to size as needed.

A double sided case with two ambrotype plates. Left plate has been taken apart, resealed, and replaced in case well without its brass preserver. The image package remains disassembled, with plate, mat, cover glass, and preserver displayed.