...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
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
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.
~ *~ 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 ~ *~
Selling Christmas trees at Stortorvet 1905 Anders Beer Wilse
A photograph of Christmas shopping in Victorian London. The
Victorian period saw the re-invention of the celebration of Christmas and the
establishment of an unprecedented consumer culture which combined during the
festive season to create a frenzied level of shopping. The Victorians centred
their idea of Christmas around engaging in acts of generosity, charity and
indulging their families, especially their children. Shop owners took advantage
of this by offering a huge array of products and exuberantly decorating their
premises to attract as many customers as possible.
The Lady’s Pictorial magazine of December 1881 described the transformation
of shops in the build up to Christmas with “Christmas cards in almost every
window, in the companionship of the attractions of the toy-seller, the wares of
the draper, the irresistible temptations of the milliner, and of their more
legitimate comrades in the show-cases of the stationer – from everywhere have
these pretty little tokens of goodwill and kindly thoughts been peering out and
seeking the attention of the passer-by.”
Christmas shoppers walking along a commercial street in front of a Volunteer
of America Santa Claus in Chicago, Illinois ca. 1903 Dec.
Vendor of Christmas toys, 6th Ave., New York
A soldier carrying a christmas tree December 1915
August Strindberg since 1910
A woman returns home from the market with a Christmas tree 1895
quotes, technical expertise,...recognition of ancient photographic techniques, F tab release.
.. don't come close, you come from outside and you bring the cold!!
ncabaretofspirits@aol.co.uk
my TAX OFFICE +44 0 1225 675963
Nicoletta Campochiaro UK
getty
Caring your Treasures
A photograph can be one of many processes in which light-sensitive media are employed to create a visible image. The prevalence of photographs allows us to forget that they are potentially fragile objects that can be easily damaged by careless handling, improper storage, and exposure to environmental influences such as light, humidity, and temperature.
In caring for a photographic collection, it is important to know that various components comprise the structure of a photograph. The interaction of these components, with each other and with their environment, has a lasting effect on the longevity of the image. Most photographs consist of a final image material, a binder layer, and a primary support. The final image material—commonly silver, platinum, organic dyes, or pigments—creates the image we see. The binder layer is a transparent substance such as albumen, collodion, or gelatin in which the final image layer is suspended. The binder and final image material are applied to a primary support, usually paper, glass, metal, or plastic. Although many photographs have this three-part structure, individual images may have additional components. For instance, color, coatings, original frames, and cases need to be considered as part of the photographic object.
If your photograph requires special attention or you are unsure about how to protect it, you should contact a conservator
cleaning, stabilization, restoration, preparation for exhibition, consulting.
Any of these may include: Examination, assesment of condition, damage and evaluation of costs for treatment. Conservation treatments on any type of photographic and photomecanical process (Daguerreotypes, ambrotypes, photographs on paper and prints, photographs on glass, digital ) Most commonly including cleaning (wet and dry), repair of tears and losses, stabilization of support (lining), removal reduction of stains, retouching, flattening and archival matting. Recommendations for preventive conservation for private and museum collections. This includes the study of environemental conditions, storage, handling and transport, technical collections surveys (processes identification...) and written reports (including photographic documentation). Training offered in the identification of the photographic processes and in preventive conservation and restoration of photographic materials. Digital restoration and archival printing. Archival matting. [ ... ]
A condition report, treatment proposal and cost estimate are done after examination of the work.
The work will only begin after a signed copy of the proposal is returned.