...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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~ *~ 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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Tuesday, 10 January 2012

Mad Tea Party


Carroll referred to photography as devotion, entertainment, fascination, practice, chief interest, and his "one amusement." His long career as a photographer (1856-1880) coincides with the "Golden Era" of nineteenth-century photography, which centered on the wet collodion negative process and the corresponding positive albumen print process.
These processes were complex and required considerable technical expertise, practice, patience and experience to master. The photographer was required to set up his camera and tripod and pose his subject. The next step involved coating and sensitizing a plate of glass in the darkroom (or, if in the field, in a portable darkroom tent), transporting the "wet plate" to the camera, and almost immediately making an exposure upon it. Finally, the plate was returned to the darkroom for rapid developing and fixing before it could dry.
Carroll favored the albumen print almost exclusively, like most photographers of his day. Utilizing a binding solution of processed egg whites to hold light-sensitive silver salts onto the coated surface of a thin sheet of paper, the albumen process allowed the wet collodion negatives, once they had been fixed and dried, to be placed in contact with the sensitized paper surface and printed. The resulting prints typically had a lustrous surface and a broad tonal range. Carroll’s surviving glass negatives and paper prints within the Ransom Center collections display a mastery of the technique which only a devoted practitioner could accomplish. They were the product of his own special looking-glass: the camera.

ALICE LIDDELL or Alice in Wonderland "muse"
Born 4 May 1852 Westminster London
died 16 November 1934 Kent UK

The first, taken in 1859 by Lewis Carroll (Charles Dodgson) shows 7 year-old Alice posed as a beggar girl.
The last, taken by the famous Victorian photographer Julia Margaret Cameron, (11 June 1815 – 26 January 1879) was a British photographer shows Alice as a young woman–posed as the mirror image of Carroll’s beggar girl.