...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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Tuesday, 10 February 2015

I gift my CdV to you, you CdV your gifts to me

The phenomenon of "Cardomania" that raged in the late nineteenth and early twentieth  decreed the success of the format Carte de Visite as a means of identification and social recognition of the bourgeoisie and the affluent middle class in Victorian times. 

Del mechanism exchange that allowed to collect in the album collection of portraits of relatives, friends and acquaintances, I wrote in the previous article on the carte de visite 

Photographs format carte de visite

( carte-de-visite abbreviated as CdV or CDV )
 are a kind of calling card photo that enjoyed enormous popularity in the late nineteenth and early twentieth century...

carte-de-visite or carte de ville

The success of this portrait genre founded on the novelty and convenience of a product photo again, able to perform the function of a means of identification and social recognition. 

The rising middle class, he found an effective solution to the desire for self-celebration and affirmation of the attributes of the class and the individual personality. 
The normal size of a carte de visite is about 54.0 mm (2.125 in) × 89 mm (3.5 in) for the 'photographic image printed on paper compact and thin. This primary support was mounted, usually hot, on a card rather consisting of 64 mm (2.5 in) × 100 mm (4 in). The positive is usually printed on albumen paper.
The oldest examples may have been made ​​on salted paper.
The CdV later are made ​​with collodion processes, aristotipia or other processes, sometimes technically refined and rare.
Not infrequently the CdV was hand-dyed. The Parisian photographer André-Adolphe-Eugène Disdéri (Paris, March 28, 1819 - OCTOBER 4 1889) patented in 1854 the method to get eight different negatives on a single plate. This determined size which characterizes the Cdv and that made ​​possible the successful thanks to the reduction of production costs. The negative could be printed by contact and the production of copies was therefore particularly convenient. The format was soon to establish itself in the first few years, until the day when the Emperor Napoleon III made ​​him stop the troops leaving for the Italian campaign (II Italian War of Independence) 8 of the Boulevard des Italiens to be portrayed by Disdéri. 
The episode is riposrtato in memories of the photographer Nadar, pseudonym under which he is known Gaspard-Félix Tournachon (Paris, April 6, 1820 - March 21 1910). The intention was probably to promote and celebrate the image of the emperor, spreading the knowledge of the physical appearance of the whole people, the troops and the Allies. 
Disdéri was selling copies of the most famous people of his time and he gladly welcomed in his studio. 
His picture taken by this photographer meant the consecration of its financial success, artistic or political. 
So all those who could afford it wanted to be photographed in Cdv, then giving it to friends, acquaintances and admirers, a copy of his portrait. The success of the format carte de visite swept triggering the mechanism of chain reaction that was at its base: I gift my CdV to you, you CdV your gifts to me
In this way we were with a decent speed large collections of carte de visite that implicated the statement of special photo albums in windows. In these containers were gathered portraits of family, friends and acquaintances, thus becoming a sort of " family atlas "which allowed the recognition of mutual ties, roles, expectations and social identifications.