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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a room all for me! prisoner of Victorian conventions.

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

Saturday, 13 February 2016

at 5 o'clock

Continue my logbook.
between work and bird watching, 
among the Irish countryside and Agreste Romano.

Sometimes the glass was first coated with a thin layer of
diluite albumen prior to coating, which helped the collodion
adhere to the glass.

The plate was then dipped into a bath of silver nitrate for
several minutes.
Wet collodion was also used to make positive trasparencies,
commonnly known as lantern slides, as they were typically
viewed by transmitted light using a magic lantern.



But Matte Collodion printing out prints POPs
are based on the light sensitivity of silver chloride, which
is suspended in a thin collodion binder on a paper support with
a very thin baryta layer.
A solution contaning silver nitrate was added to the collodion
chloride mixture, rendering the substance light sensitive.
Glycerin or castor oil :(  was somentimes added as plasticizer
to make the binder more flexible and permeable.
... the coated papers were contact printed under ultra-violet SUN
light.




Matte Collodion papers were coated In the same way as collodion
glass plate negative: by pouring the emulsion into the centre
of the paper and rocking it is each direction to get an even coating.
Paper were produced on a larger scale beginning in 1889 with the
introduction o coating machine.