...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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I am modern day alchimist practicing photographic process of the 19th Century and the handcrafting of unique image-object

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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, 10 December 2013

un moment dans le temps!

Ferrotype? Huh? What's that? It's also known as a melainotype. Most commonly called a tintype. You can think of it as the original Polaroid camera. It was quick, cheap, and produced a positive directly without a negative, and as a result, was very popular the last half of the 19th century. 

Ferro refers to iron. There is no tin in a tin type. During the Civil War steel was a scarce, expensive commodity. Railroads ran on wrought iron rails, not steel. And for making unbreakable photographs wrought iron was rolled into very thin sheets and jappaned. Onto that was flowed collodion syrup (first cousin of gun-cotton) with salts dissolved in, sensitized, exposed and quickly developed to give a positive.

Sat, December 7th 2013

Impossible is teaming up with with The Penumbra Foundation to offer 8x10 and tintype portraits! We will be shooting in their North Light Studio using antique brass lenses that produce effects as interesting as they are beautiful. We tested many different lenses and hand-picked an Oscar Zwierzina Plasticca to use for this special event. It's unique softness is a perfect fit for portraits on Impossible film. We are very excited for this match made in analog heaven and this is an event that no photography enthusiast should miss.

Center for Alternative Photography 
36 East 30th Street 
10016 New York 

NY United States