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.

...

...

most viewed this week

in studio

in studio
please send scanned in ; ncabaretofspirits@aol.co.uk

me

me

last year

a room all for me! prisoner of Victorian conventions.

Albumen print from wet collodion negative 1864 24 X 29.7 cm Musée d'Orsay ... admired by Lewis Carroll that he collected the work....

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

Wednesday, 6 February 2013

Observations




THE RAGE FOR three dimension pictures has had its ups and downs for centuries. The Greeks speculated on binocular vision, Giovanni Battista della Porta wrote on it in 1593; but little was done about it until Sir Charles Wheat-stone invented the stereoscope in 1838. He had to use laboriously hand drawn, simple geometric figures to test and prove his theories. The task would have been simplified by photography, which is an ideal way of producing two images almost exactly alike, except for the slight difference in view point between the right eye and the left eye. As if foreordained, photography was announced to the world one year later!
In Wheatstone's stereoscope separate pictures were placed opposite mirrors set at 90 degrees in a "V" which reflected each one independently to each eye. Its chief defect was bulk.
Sir David Brewster developed a simplified viewer in 1849, which was hand held. The pair of pictures were mounted side by side, instead of at opposite sides of the machine as in the Wheatstone. They were viewed through paired prismatic lenses. It is from this type that Oliver Wendell Holmes later developed his skeletonized version.
Brewster, unable to get his box-like stereoscope manufactured
in England took it to France to the firm of Dubosq and Soleil. This apparatus and daguerreotype pictures made for it were introduced at the 1851 World's Fair in London. With the invention of the collodion process the use of the daguerreotype for three dimensional photography was quickly abandoned in Europe. In America, however, where the daguerreotype was more popular than anywhere in the world, special attention was given to stereo daguerreotypes. Southworth and Hawes, the Boston firm noted for its early daguerreotype portraits of famous people devised the most elaborate cabinet known. They introduced a magazine Wheatstone viewer for 6V2 by 8l/2 daguerreotype plates. The pairs were viewed, one with each eye, by the Wheatstone principle. By turning a crank, another set of daguerreotypes was presented to the spectator. The bulky "Grand Parlor and Gallery Stereoscope" was the size of a small piano. Although Southworth and Hawes planned them for sale, they never did so. The unique instrument is now in the George Eastman House collection. Season tickets were sold to view the changing shows exhibited at the firm's studio. The shows were well attended.
The Scientific American for 1853 published a picture of a new kind of daguerreotype case. In the accompanying article the editors proudly claimed the inventor, John H. Mascher, as their protege. "To show the benefit of having a good paper devoted to improvements in the arts, we would state that this excellent invention, but for the Scientific American, would perhaps never have been made. On pages 266, Vol. 7, we described the principle of binocular vision, and the operation of the stereoscope. This set the inventive mind ofMr. Mascher on the right track, and on page 322, same volume, we published his letter stating that from the description he had read in our columns he had produced the first solid daguerreotype pictures in Philadelphia (and we believe in the United States). Shortly after he converted the common
daguerreotype case into a stereoscope as now presented in the accompanying engraving."
The editors then added as enthusiastic a bit of free advertising as ever appeared in a journal of science. "We believe it was Prof. Wheatstone of London, who first made the discovery of the stereoscope, which was afterward greatly improved by Sir David Brewster, and by him first applied to produce binocular vision with daguerreotype pictures. But the stereoscope of Brewster is a separate instrument from the daguerreotype case, and is much larger and costs five or six dollars, while Mr. Mascher has applied that beautiful and wonderful principle of optics to the daguerreotype case itself, and here it is introduced to the readers as one of the most delightful and pleasing improvements connected with the fine arts. "In a short period, no person, we believe, will have a likeness taken by a daguerreotypist, but stereoscopically. As these cases are no larger than the old kind, who would have a flat picture to look at when the solid likeness can be thus produced. No one can have the least idea of the beauty of this invention, until he sees such pictures with his own eyes. By this improvement husbands will, when thousands of miles separate, be enabled to see their wives standing before them in breathing beauty, wives their husbands, and lovers their sweethearts."


VICTOR PREVOST

Early New York Photographer

CURIOUSLY ENOUGH, and in spite of the great popularity of the daguerreotype in America, there seem to be no daguerreotypes of New York City. The earliest photographs of the city were made by a method that was a modification of the talbotype called the Le Gray process. This differs mainly in that the paper is waxed before sensitizing. Otherwise it is a paper negative and paper positive process.
Victor Prevost, who introduced the Le Gray method to America, was born in France in 1820, learned photography from Gustave Le Gray, painting and science from other sources. He first came to America in 1848 and his earliest paper negatives are dated 1851.
The collection of his negatives is now in the possession of the New-York Historical Society and they include pictures of buildings, churches, business houses and views about the city. There is some evidence that he intended to publish these pictures of New York but the book never materialized.
The little we know of the man and his work comes from a talk given by Mr. W. I. Scandlin in 1901. The talk was reported in the October issue of Photo Era. Why Prevost did not continue in photography is not known, certainly he was given high praise, but after 1857 he taught physics, drawing and painting in various schools, was a principal of one, and was known as a brilliant and well loved teacher.



JANUARY, 1954