CABARET of SPIRITS Atelier ... BLOG VERSION

CABARET of SPIRITS Atelier ... BLOG VERSION
...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
daguerreotypes
ambrotypes
ferrotypes
electro-cleansing of tarnished daguerreotypes
rehousing options
four-flap enclosures
clamshell boxes
polyester sleeves
encapsulation
conservation framing

PRESERVING & PROTECTING PHOTOGRAPHS

PRESERVING & PROTECTING PHOTOGRAPHS
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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Wednesday, 5 August 2015

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American - English type.  1, Copper frame. 2. Glass plate (thick). 3. Copper passepartout. 4. Paper strips for sticking around. 
5. Daguerreotype plate. 6. Velvet covered cardboard frame. 7. Case.
This type is a case or box simi1ar to the Eastern-European one, the only difference being that the hinge is on the longer side and its top is made of ornate velvet. The picture part cannot be folded out of it but the bottom of the box surrounds it as a fratne. It can be removed from this very easily. At the very back, on the part taken out, the back plate of the sheet can be seen and sometimes there is also another metal plate behind it. On its edges the edge of the frame pressed of copper plate can be seen and this is folded on. 
The plate is followed by the copper mount with pressed decoration. 
The opening is oval or rectangular with sides of "}" form. The glass and the above embossed copper frame can then be seen together with the adhesive tape underneath. This type of frame is shown in the diagrams of every technical book on "How to treat daguerreotypes". The disintegration of the adhesive tape used and the decomposition of the glass are most common problems, as well as the loss of the protective case. 
Typically the shape of an oxidized frame appears on the surface of the dag plate where the copper mount touches the plate. Further deterioration can be prevented by lining the copper mount with paper. 
Thus the side opposite the plate is covered with paper. It is very important to remove the adhesive tape stuck cound it. If there is enough room it is advisable to place an additional glass plate behind the daguerreotype plate (for more isolation) or at least a cardboard.
 A thicker than usual (3-4.5 mm) front glass plate was used since adhesive paper stuck round would show under the thin copper fcame; it is therefore only present on the edge of glass.
 The copper parts of the mount are also subject to corrosion and their treatment is the task of the metal conservator. There is also the question of what damage the remains of cleaning agents might cause to the picture over a longer period since these might get into the microclimate.

Early (German) type. 1. Gold coloured decoration strips (optional). 2. Paper strips for sticking around. 3. Glass plate.
4. Passepartout. 5. Daguerrotype plate. 1. Back cardboard. 7. Back covering paper.

This type was probably dominanl throughout Europe in the first half of the 1840s and remained in use in Germany, mostly in the east, longest of all. Typically it had a board at the back, then the sheet which was frequently suitable for the round Petzval Voigtländer camera, then the mount made of white paper usually with an octagonal window. The frame was usually outlined for decoration and the German versions were frequently more elaborate. The signature of the photographer and the exposure time are often visible on the lower part of two (askew) sides. The plate is held by the black cover and the mount is stuck to it. Very often a separate raised edge was prepared for the internal fixture. Then came the glass plate. The back cover and the sealing tape around it is made of glazed black paper and in the case of Hungarian versions is finished with a little cardboard strip stuck to the mount and the glass which improves the seal. If it remains intact it provides good security. The weak points are tbe back covering which is too thin, and tbe adhesives used on it which oxidise the copper. Undamaged examples are rare and it is usually the glass ar the adhesive tape which are damaged.

The (Central) Eastern European type. 1. Velvet cover for passepartout. 2. Cardboard holder for
passepartout. 3. Cardboard strips for holding the glass plate. 4. Glass plate. 5. Daguerrotype plate. 6.
Silk hanger. 7. Combined back  covering paper and cardboard for propping the picture up. 8. Case.


This is the most complicated type. The majority of Hungarian daguerreotypes and those found in Hungarian collections which were made in the second part of the 1840s are in
this type of installation.

I'll talk about another time ;)


In the practice many plates were cut to different sizes than the "standards". 1-2 mm difference is usually not significant.
There are some differents between the sizes of continental Europe and English countries. The European sizes origined from the 6x8 Parisian inch (=2.701 cm) size whole plate, while the English plates used English inches (=2.54 cm).



Well done.new camera