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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Albumen print from wet collodion negative 1864 24 X 29.7 cm Musée d'Orsay ... admired by Lewis Carroll that he collected the work....

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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

Thursday, 17 September 2015

... a touch of light.

Golden 






Any damage to the surface of a daguerreotype is IRREMEDIABLE


Dyes and watercolours require similar preservation measures when applied to hand-coloured photographs. Like the photographs themselves, watercolours and dyes applied by hand to photographs are susceptible to light damage and must be housed in dark storage or displayed under dim, indirect light.
Common particulate pollutants can cause watercolour pigments to fade, but the paint surface can be cleaned by lightly dusting with a soft brush to remove dirt.
Oil paint was often applied to tintypes, daguerreotypes, and ambrotypes. As with all photographs, the materials respond negatively to direct light sources, which can cause pigments to fade and darken, and frequent changes in relative humidity and temperature, which can cause the oil paint to crack.
For photographs with substantial damage, the expertise of an oil paintings conservator might be required for treatment.
 Historically, crayon and pastel coloured photographs were sold in a frame under a protective layer of glass, which was often successful in reducing the amount of handling and smudging of the photograph surface.
 Any conservation work on crayon or pastel colour-photographs must retain these original frames and original glass to maintain the authenticity and value of the object. If the photograph is separated from its original enclosure, it can be stored in an archival quality folder until it is framed or cased.

... but in my specific case I apply directly the gold leaf. this technique is very complex on a daguerreotypes.
in fifteen years of experience this is my MUST :)





 Daguerreotype