...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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Saturday, 15 April 2017

bitumen of Judea

In 1925, L. R Clerc wrote: “the only technique used at the start of photoengraving, Syrian bitumen, called judean (asphalt), has gradually been abandoned in favour of bichromate albumin. This later technique obtains the same results but takes much less time”. Bitumen does not seem to have been used in photomechanical processes after 1930.
The screening of printing plates engraved with photographs was one of the major advances to have been made among the various improvements to the asphalt technique invented by Niépce as applied to plate-making for printing. Thick varnish was no longer necessary to reproduce varying shades of darkness. Instead, the denseness of points did the work. This meant that the varnish could be very thin and consequently exposure time was reduced. By working on selecting different qualities of bitumen, on their purification, and on their enrichment with sulphur, their light sensitivity was considerably increased, resulting in the kind of rapid treatment needed for industrial production. This was not true of Niépce’s heliograph.
All this research gave birth to photoengraving and Niépce is undoubtedly its inventor.
After the Gaïacum resin, Niépce used another resin, consisting of mineral: asphalt or bitumen of Judea. He demonstrated that under light action this resin became non-soluble with his usual solvent.
From 1822 on, he succeeded in reproducing drawings put in contact with bitumen coated bases (glass plates, calcareous stones, then copper or tin plates). Afterwards, he used the aqua fortis process to etch the images made with acid, which were then printed on paper. This process was to remain for quite a while the base of photoengraving used to print photos and graphical documents.