...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

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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

Friday, 21 October 2016

when blind faith meets Galileo

... Un pò di vento agitando il cannocchiale ha prodotto qualche sfumatura ai contorni, ma non tanto da nuocere alla precisione dell'immagine [...] la tinta dei dagherrotipi turchiniccia al centro, e bianco rosata agli orli mostra la forza chimica esser più efficace al centro che alla circonferenza del disco solare [...].Più prove con questo strumento danno l'orlo della luna impressi nettissimamente[...]. nel medesimo si fecero alcune alcune osservazioni sulle carte fotografiche preparate al cloruro d'argento. Queste erano chiuse in appositi telarini, aprendo i quali a varii intervalli di tempo si faceva che una lista del foglio preparato restasse per varia durata, e si formasse così una scala cromatica di graduata intensità . nel 1857 Padre Secchi progettò di realizzare un atlante fotografico o "selenografia" della luna. Assistito dal farmacista romano Francesco Barelli, esperto in fotografia, iniziò le osservazioni della Luna nascente applicando come avvenne per le precedenti sperimentazioni con la dagherrotipia una piccola camera oscura all'oculare del telescopio.

 L'immagine proiettata sul vetro smerigliato della camera oscura misurava circa 60 millimetri di diametro. Una volta messa a fuoco l'immagine tolsero il vetro smerigliato per inserire "col solito telarino colla lastra di cristallo preparato al collodion".In tal modo P.Secchi ottenne la fortunata serie di fotografie della Luna. La descrizione dettagliata dell'esperimento fotografico la si può leggere nel saggio del Secchi intitolato Fotografie lunari e degli altri corpi celesti pubblicato nel 1858.