...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

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 ~ *~

Archive you missed the past months

Monday, 27 April 2015

a room all for me! prisoner of Victorian conventions.

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

Albumen prin from wet collodion negative.
11.0 X 6.8 cm
sepia photograph, mounted green card, of a young woman leaning against a door.
V&A Museum

Lady Clementina Hawarden, one of Britain's first female photographers

Albumen print from wet collodion negative
10.5 X 8.8 cm
sepia photograph,mounted on green card, of a young woman seated, hands crossed on chest.
V&A Museum

Albumen silver print from glass negative
20.1 X 14.4 cm
early 1860s
The Metropolitan Museum of Art

front cover of one of my very favourite books of my favourite photographer.
the book was published in 1974
Clementina was born 1 June 1822 at Cumberland House near Glasgow
her mother was Spanish
She turned to photography in late 1857 oe early 1858, whilst living on the estate of her husband's family in Dundrum, Co. Tipperary, Ireland.
A move to London in 1859 allowed her to set up a studio in her elegant home in South Kensington.

Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey wall, and grey towers,
Overlook a space of  flowers,
And the silent isle imbowers
The Lady of Shalott.
^ from Tennyson's Lady of Shalott ^

A since 1856, Lady Hawarden began to practice photography as simple amateur but, in a short time, he learned all the tricks and techniques. Lady Hawarden chose to immortalize themes and subjects that belonged to his world: his estate of Dundrum, Ireland, where she was photographing landscapes and especially his family.
In particular, the three elder daughters were the protagonists of "living pictures" made around 1862-1863; observing their transition from childhood to adolescence, she depicts the masked and preferably while reciting romantic scenes.
In the course of his work, Lady Hawarden tried always to enhance the female beauty in all its sensuality and expressiveness. However, rather singular fact, the artist never gave a precise title to his photographs. 
Despite the indications suggested by the costumes and gestures made by models, photographed scenes remain open to all interpretations.
 From modern photographer was like, Lady Hawarden was interested more in the treatment of light and its effects on transparency that no content properly narrative of his shots.