...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.



"most viewed this week on the years"

in studio

in studio
please send scanned in ;


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

last year


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

Monday, 13 April 2015

Fluid. all starts from the fluid

The tintype is a 19th Century photographic process, in which a photograph is produced on a piece of lacquered iron. The process, also known as a melainotyope and ferrotype, was popularized in the mid 19th Century as a sort-of first version of the instant photograph. In recent years, as photographic technology continues to develop in alignment with the digital age, the tintype and other 19th Century processes have gone through a resurgence. Since starting The Tintype Studio this past summer, I’ve come to realize, through its history and social context, that the tintype process is as relevant today as it ever was, not only as a portrait medium, but also as an artistic one.

There are inherent characteristics of the tintype process, which make it a unique and coveted medium. First is that a tintype is one of a kind. There is no negative produced that can be used to create endless reproductions of the original. Each plate is used to produce a single image that gains value beyond the representation of the subject itself and gravitates toward the actual handheld object. It is also an experience that is alien to individuals of time, where control, ease, flexibility and economics are paramount to producing photographs. Where the digital age has allowed for total manipulation of the photographic medium and ignorance of how it works, the tintype process allows the sitter to take a step into the physical process itself, and get a feel for what it was like to have a portrait taken in the 19th Century.

... The tintype process was first conceived by Adolphe- Alexandre Martin in 1853, shortly after Fredrick Scott Archer invented the wet-plate collodion process, and was later patented in the United States and Great Britain in 1856. Almost identical to the ambrotype, which uses glass instead of metal, the tintype quickly caught on in America as the photograph for the masses. It was fast, cheap, mobile and much more durable than other processes available at the time. A tintype can be coated, sensitized, exposed, developed, fixed, washed, dried and varnished in less than 10 minutes. This nearly instant form of photography became accessible at outdoor fairs and carnivals to those who couldn’t afford to get a photograph taken in a private studio. The tintype was the most common photographic process until the creation of the gelatin based processes introduced by Kodak in the late 1880’s.

 Process in a nutshell is this: you pour a fluid over a small sheet of metal, usually aluminum 
(the tin of “tintype” is a misnomer). That fluid acts as a substrate to the light-sensitive silver concoction that’s applied next. In essence, you’re making your own film, though it’s on metal instead of acetate. That sensitized piece of metal is then placed in the camera, exposed, and developed in a process very familiar to anyone with experience in a darkroom