...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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~ *~ 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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Sunday, 1 December 2013

... in frame.

collection of my property. Elderly Victorian woman

Loose surface dust can be removed with a soft brush or with pressurized air, preferably with air blown from a compressed air can. No other cleaning method can be recommended safely. The unprotected surface of a daguerreotype is sensitive to the slightest touch; such a plate should therefore be handled with utmost care. All other cleaning operations are restricted to the non-image components of the package, i.e. case, window mat, cover glass, and gilt frame. Clean the glass and frame with a cotton swab and a mild soap solution, then rinse and dry them with a warm-air dryer  (a hair dryer). Cardboard window mats should not be cleaned in a soap solution, but, rather, with a brush.
Damage or deterioration in ambrotypes is often in the form of partial or complete loss of the black backing. If the image layer facing the viewer is still intact, which is to be expected in most cases, the black backing can be replaced. To do this, separate the image-bearing glass plate from the case assembly by gently bending open the gilt frame and removing the cover glass and then the window mat. Carefully avoiding scratching or otherwise damaging the image layer while it is being separated from the case assembly, place a piece of black felt cut to the exact size tightly against the back of the ambrotype plate. Replace the cover glass if the old one is broken. Reassemble the package in the order. 

The term "case photograph" describes three types of 19th-century photographs that were generally kept in cases which were both decorative and protective. They are the daguerreotype, named after its inventor L.J.M. Daguerre; the ambrotype; and the tintype or ferrotype. Daguerreotypes were introduced in 1839 in Paris, France, constituting for some photo-historians the beginning of photography. Ambrotypes and tintypes, made by the wet collodion process, originated in the 1850s. Daguerreotypes continued to be made into the 1860s. Ambrotypes were made for a little while longer. Tintypes survived into the 20th century in modified form as a type of instant portrait photograph.
The mention in one breath of these three types of case photographs does not suggest that they have similar properties. Whereas a daguerreotype is made by a unique photographic process that differs from any other silver halide process, ambrotypes and tintypes are made by the wet collodion process, which was the principal negative process in the second half of
The support material of daguerreotypes is a silverplated copper sheet. The image consists of microscopic particles of silver amalgam (an alloy of mercury and silver) located on the silver surface. Owing to the presence of a metallic silver layer in a daguerreotype, it has been called a "mirror with a memory" with a "jewel-like appearance." This property helps to identify it. A daguerreotype is, photographically speaking, a negative. This can be observed if the careful viewer turns the daguerreotype in the horizontal plane to change the angle of light striking its surface.
Ambrotypes and tintypes, on the other hand, have definite layer structures: a collodion layer on a sheet of either glass (ambrotype) or iron (tintype). These two types of photographs are often referred to as collodion positives. Wet collodion is a solution of cellulose nitrate
Ambrotypes are negative images. They are always on a glass support that has a black backing of either paint or, more rarely, dark cloth or felt. This makes the image appear to the viewer as a positive. A black backing of paint can be found either under the collodion layer or on the non-image side of the glass plate. When, in the absence of a black backing, the glass itself is dark-coloured, the resulting picture is called an amphitype. The tintype support, which is coated with a black lacquer, is made of iron and, therefore, will be attracted by a magnet. This can be used to identify the support. Ambrotypes and tintypes are low-contrast pictures. With a little practice, they can be easily distinguished from daguerreotypes. Daguerreotypes and collodion positives are sometimes hand-coloured, especially to create flesh tones and to emphasize.

old trip ... scotland ;)