...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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Monday, 12 December 2016

deepening-Before Xmas

Direct carbon is commonly known as the Fresson process. It is based on the light sensitivity of chromium salts suspended in a pigmented colloid (usually gelatin) known as a dichromated colloid.
The carbon process became commercially popular in the 1860s. A sheet of pigmented dichromated gelatin was printed in contact with a negative. During exposure the gelatin hardened in proportion to the amount of light it received. The unexposed gelatin remained soluble and was washed away resulting in an image. The process was cumbersome requiring the gelatin tissue to be transferred before development (single transfer). The mid-tone areas were partially hardened from the top down so that the soluble gelatin was under the hardened gelatin. Transferring the tissue to another support allowed the soluble gelatin to be on top so that a full tonal range could be obtained. Sometimes the tissue was transferred again (double transfer) so that the image would be right-reading. If the tissue was not transferred before development, the image would lack mid-tones resulting in a blocky, contrasty image.
Beginning in the 1890s several attempts were made to introduce direct carbon papers that did not require transfer but still gave good mid-tones. The first moderately successful paper was Charbon-Velor by Victor Artigue in 1893. The process was initially introduced by his father, Frederic, who died before perfecting the process. It was developed using a slurry of sawdust and water in which the friction of the sawdust helped remove the soluble gelatin. While it was available in three colors, black, blue, and sanguine, it was found that only the black gave good though inconsistent results. The specifications of the process remained proprietary. Thédore-Henri Fresson introduced Charbon-Satin paper around 1900 as an improvement to the Artique process. Fresson also did not take out patents on his process, but rather maintained a high level of secrecy surrounding the manufacturing details so that the process remains proprietary even today.
Fresson direct carbon paper was commercially available in Europe from about 1900 until WWII and in American from 1927 to 1939 through the distributor M. Alenius. The paper consisted of pre-coated, unsensitized paper that came with a packet of sawdust. It was available in several different colors, textures, base tints and paper weights. After WWII the Fresson family operated as an Atelier and only printed Fresson direct carbon for individual artists and continue to do so today.
Four color Fresson, called Quadrichromie Fresson, was introduced in 1951 by Pierre Fresson, the son of Thédore-Henri. It is an assembly processes in which cyan, yellow, magenta, and black images are layered to form a full color image.
Only the Fresson family held the proprietary secret to the process until 1966 when Pierre sold the secret to the Spanish photographer José Ortiz Echagüe with the stipulation that it not be called Fresson and that Ortiz not share the secret. Ortiz called his prints Carbondir. Evidently the rest of the Fresson family was not aware of this agreement until the 1970s when Louis Nadeau began negotiations with Ortiz or acquire the process. Nadeau acquired the process in 1979 just before Ortiz’s death and continues to operate in New Brunswick, Canada.

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