viernes, 4 de abril de 2014

martes, 1 de abril de 2014

MoMA: A World of Its Own: Photographic Practices in the Studio

Man Ray. Laboratory of the Future. 1935. Gelatin silver print, 9 1/16 x 7" (23.1 x 17.8 cm). The Museum of Modern Art, New York. Gift of James Johnson Sweeney © 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

MoMA | A World of Its Own: Photographic Practices in the Studio

Seminario: Morfología e identificación de los materiales fotográficos negativos

SAM Publicaciones, Museo Nacional de Ciencias Naturales - Madrid

miércoles, 26 de marzo de 2014

Disaster Plan Research and Writing

Every museum needs to be prepared for fires, floods, chemical spills, tornadoes, hurricanes and other disasters. But surveys show 80 percent lack trained staff, emergency-preparedness plans for their collections, or both. Disaster Plan Research and Writing begins with the creation of disaster-preparedness teams, the importance of ongoing planning, employee safety, board participation and insurance. Participants will learn everything they need to draft their own disaster-preparedness plans. They also will be required to incorporate colleagues in team-building exercises.

Online Museum Classes & Training - MS205: Disaster Plan Research and Writing

Especialización en Conservación Preventiva en Museos y Exposiciones, un curso online de la Universidad de Alcalá

Si quieres formarte en esta materia ahora tienes la oportunidad de hacerlo online. Matrícula abierta.

Duración: 7 meses
Carga lectiva: 36 créditos ECTS
Precio: 900 euros (consultar fraccionamiento de pagos)
Inicio: 1 de julio de 2014
Finalización: 30 de enero de 2015
Requisitos: Licenciatura o diplomatura.

LICEUS - Centro de Posgrado Online - Especialización en Conservación Preventiva en Museos y Exposiciones

National Archives of Australia Paper research. Watermarks Database

The information will assist in making better conservation decisions regarding the long term care of paper-based collections.
The core information is the result of a survey carried out on our collection. Other information presented is based on research into the commercial history of papermaking as well as processes and materials.
Further information will be added to the site in the future, either from the Archives itself or from other sources and collections.

viernes, 14 de marzo de 2014

The Goethe Institute; Glossary on paper restoration

Over 400 specialist terms on paper conservation and restoration are listed in English, German, Chinese and Korean. The 3 main aspects of the guide are a book’s structure, material and tools and book binding and conservation. A missing word means that in one language there is no adequate translation known. Some illustrations and explanations are added for better understanding.
Readers can check words by content and category, or look up chapter and page number of words from the index.

Download SymbolGlossary (PDF, 2 MB, German, English, Chinese and Korean)

IAPH; boletín 3 RIMAR

Disponible el Boletín 3 de RIMAR
El equipo del proyecto RIMAR, Recuperación de la Memoria Visual Andalucía-Marruecos a través de la fotografía histórica, ha publicado el Boletín 3, dentro de las actividades de difusión de este proyecto financiado con Fondos FEDER y liderado por el Instituto Andaluz del Patrimonio Histórico (Consejería de Cultura y Deporte). El objetivo de este Boletín es dar a conocer las actividades que se están desarrollando por parte de los socios del proyecto, favoreciendo la comunicación y difusión de todas sus acciones.

CCI Publications; a través de

Technical Bulletins

The Canadian Conservation Institute (CCI) has published more than 30 Technical Bulletins to assist heritage professionals and institutions in the care and preservation of their objects and collections. Since these Bulletins contain useful and relevant information for conservation practices, research or reference, we are pleased to provide a majority of them on our website for free to reach a wider audience. Please note that some Technical Bulletins have been retired and are no longer available due to outdated content.
CCI continues to publish Technical Bulletins for print publication and will make new Bulletins available for purchase as print copies for the first five years after publication. Following that time, they will be added to this online resource as free content. The Technical Bulletins are considered archived material only because they are not subject to the Government of Canada.

Laser/Cleaning Ablation nella Conservazione dei Beni Culturali

Buongiorno, sperando di fare cosa gradita le segnaliamo l'inizio di un prossimo corso di specializzazione: "Laser/Cleaning Ablation nella Conservazione dei Beni Culturali", che si svolgerà presso la nostra sede al Castello Aragonese di Ischia dal 15 al 18/05 2014. Per ulteriori informazioni la invitiamo a consultare la seguente pagina del nostro sito

Integrated Pest Management Workshop, a través de

Integrated Pest Management Workshop

This workshop will give guidance on how to deal with insect pest problems likely to be encountered in museums, collections, archives and historic houses. It will focus on insects and the damage they cause, together with new information on the detection, monitoring and trapping of pests. The emphasis is on pest-prevention as the key to successful integrated pest management, but this
workshop will also evaluate the advantages and disadvantages of physical and chemical control measures. Practical sessions will include: identification of insect damage and insect pests; carrying out a survey to examine factors which encourage pests; evaluating issues relating to treatment of objects using freezing, heating and anoxia.

Instructor: Jane Thompson-Webb.

November 3-6, 2014

Registration fees: £415.

miércoles, 5 de marzo de 2014

Photograph Conservation for Book and Paper Conservators

October 14-17, 2014
Duke University Libraries
Durham, NC

Instructors: Gawain Weaver and Jennifer Olsen

jueves, 27 de febrero de 2014

martes, 21 de enero de 2014

Master Classes in Photograph Preservation

Director of Fotorestauratie Atelier, Amsterdam
The Fotorestauratie Atelier VOF would like to inform you of our English Master Classes this Spring.

- Identification of Modern Photograph Processes
- Digital Photograph Documentation for Conservators
- Preservation of Modern Photograph Collections
- Framing and Storage: Theory, Techniques and Materials.

Please look at the following link for a description of each Master Class. 

martes, 7 de enero de 2014

CdF Centro de Fotografía de Montevideo

The Birth of Photography

The Birth of Photography

2014 is the 175th anniversary of the announcement of the birth of photography. Throughout the year we will post articles and images relating to this event.

The Birth of Photography

El CDIS conmemorará el próximo año el 175 aniversario de la presentación pública de la fotografía

Habrá exposiciones, conferencias y cursos para concienciar a la población de la "recuperación, custodia y difusión" del patrimonio fotográfico

El CDIS conmemorará el próximo año el 175 aniversario de la presentación pública de la fotografía.

La fotografía celebra su 175 aniversario

6 de enero de 1839: El mundo siente curiosidad ante el anuncio increíble desde París

La fotografía celebra su 175 aniversario | Periodistas en Español

Primer anuncio de Arago sobre la daguerrotipia 7 de enero de 1839 / Arago briefly announced Daguerre's discovery to the Académie on January 7, 1839,

Comptes Rendus
Des Séances
de L'Académie des Sciences

Comptes rendus hebdomadaires des séances de l'Académie des sciences - Google Libros

lunes, 6 de enero de 2014

6 de enero de 1839 - 6 de enero de 2014; 175 años de Fotografía

page 1 of 3
Gaucheraud, “Fine Arts—The Daguerotype,” 6 January 1839
(keywords: Louis Jacques Mandé Daguerre, Nicephore Niépce, Hippolyte Gaucheraud,
history of the daguerreotype, history of photography)
The research archive of Gary W. Ewer regarding the history of the daguerreotype

Published in:
The Literary Gazette; and Journal of the Belles Lettres, Arts, Sciences, &c. (London) No.
1147 (Saturday, 12 January 1839): 28.

Paris, 6th January, 1839.
WE have much pleasure in announcing an important discovery made by M. Daguerre, the celebrated painter of the Diorama. This discovery seems like a prodigy. It disconcerts all the theories of science in light and optics, and, if borne out, promises to make a revolution in the arts of design.
M. Daguerre has discovered a method to fix the images which are represented at the back of a camera obscura; so that these images are not the temporary reflection of the object, but their fixed and durable impress, which may be removed from the presence of those objects like a picture or an engraving.
Let our readers fancy the fidelity of the image of nature figured by the camera obscura, and add to it an action of the solar rays which fixes this image, with all its gradations of lights, shadows, and middle tints, and they will have an idea of the beautiful designs, with a sight of which M. Daguerre has gratified our curiosity. M. Daguerre cannot act on paper; he requires a plate of polished metal. It was on copper that we saw several points of the Boulevards, Pont Marie, and the environs, and many other spots, given with a truth which Nature alone can give to her works. M. Daguerre shews you the
plain plate of copper: he places it, in your presence, in his apparatus, and, in three minutes, if there is a bright summer sun, and a few more, if autumn or winter weaken the power of its beams, he takes out the metal and shews it to you, covered with a charming design representing the object towards which the apparatus was turned. Nothing remains but a short mechanical operation—of washing, I believe—and the design, which has been obtained in so few moments, remains unalterably fixed, so that the hottest sun cannot destroy it.
Messrs. Arago, Biot, and Von Humboldt, have ascertained the reality of this discovery, which excited their admiration; and M. Arago will, in a few days, make it known to the Academy of Sciences.
I add some further particulars. Nature in motion cannot be represented, or at least not without great difficulty, by the process in question. In one of the views of the Boulevards, of which I have spoken, all that was walking or moving does not appear in the design; of two horses in a hackney coach on the stand, one unluckily moved its head during the short operation; the animal is without a head in the design. Trees are very well represented; but their colour, as it seems, hinders the solar rays from producing their page 2 of 3 image as quickly as that of houses, and other objects of a different colour. This causes a difficulty for landscape, because there is a certain fixed point of perfection for trees, and
another for all objects the colours of which are not green. The consequence is, that when the houses are finished, the trees are not, and when the trees are finished, the houses are too much so.
Inanimate nature, architecture, are the triumph of the apparatus which M. Daguerre means to call after his own name—Daguerotype. A dead spider, seen in the solar microscope, is finished with such detail in the design, that you may study its anatomy, with or without a magnifying glass, as if it were nature itself; not a fibre, not a nerve, but you may trace and examine. For a few hundred francs travellers may, perhaps, be soon able to procure M. Daguerre’s apparatus, and bring back views of the finest monuments, and of the most delightful scenery of the whole world. They will see how far their pencils and brushes are from the truth of the Daguerotype. Let not the draughtsman and the
painter, however, despair—the results obtained by M. Daguerre are very different from their works, and, in many cases, cannot be a substitute for them. The effects of this new process have some resemblance to line engraving and mezzotinto, but are much nearer to the latter: as for truth, they surpass everything.
I have spoken of the discovery only as it regards art. If what I have heard is correct, M. Daguerre’s discovery tends to nothing less than a new theory on an important branch of science. M. D. generously owns that the first idea of his process was given him, fifteen years ago, by M. Nieps [Niépce—Ed.], of Chalons-sur-Saone; but in so imperfect a state,
that it has cost him long and persevering labour to attain the object.
[From the “Gazette de France,” of January 6, 1839.]
Previously to receiving the above, we had written the following paragraph.—Ed. L. G. Nature Painted by Herself.—A French journal contains a remarkable account of experiments with the Camera Lucida, the result of which is the exact and actual preservation of the impressions reflected by natural images upon copper plates. What the process is we are not told, but, as far as we understand it, by exposing the copper to these reflections, and immediately rubbing it over with a certain material, the likeness of whatever is so impressed is retained with perfect accuracy. Some difficulties occur where there is motion in the objects, whether animals, or leaves of trees stirred by the wind, &c.; but, if really true, this is a very extraordinary discovery for the fine arts. Some of our readers may be aware that, some fourteen or fifteen years ago, Sir H. Davy and other scientific men amongst us, strenuously endeavoured to attain this desideratum; and by means of nitrate of silver, upon which light and shade produced certain effects, seemed to have all but accomplished their end. It was not however complete; for the changes in colour were too evanescent to admit of permanent fixture. We shall be glad to find the French experimenters more successful.

[End of text. Variant spelling of “daguerotype” (daguerreotype) is per original text.
Bracketed text, “From the ‘Gazette de France,’ of January 6, 1839” is as per original
text presentation.—ed.]
The writer of the main portion of this text is the author and “correspondent de l’Institut [de France],” Hippolyte Gaucheraud. (See Mémoires et Dissertations sur les Antiquités Nationales, Paris: Dumoulin, 1846, p. xxx. See also WorldCat for several titles by page 3 of 3 Gaucheraud.) Gaucheraud implies that he saw Daguerre’s images first-hand; this author has yet to locate confirming information.
To this editor’s knowledge, this text is the earliest English-language announcement concerning the daguerreotype. The final paragraph is curious in that it seems to imply the existence of another article published prior to the 6 January 1839 Gazette de France text.
This editor is unaware of the implied article and would welcome any information regarding the matter. This text is mentioned in a subsequent issue (No. 1154 [2 March 1839]: 137– 39) wherein Francis Bauer disputes (in favor of Nicephore Niépce) the priority of invention being given to Daguerre.
This text (less the final paragraph) is cited in: Aaron Scharf, Pioneers of Photography: an Album of Pictures and Words (New York: Harry N. Abrams, 1976): 41. Scharf notes that this announcement pre-empted the official announcement made by Francois Arago at a meeting of the Academie des Sciences on 7 January 1839. Further citation information for the original Gazette de France text is provided as "La GAZETTE DE FRANCE. Edition des Provinces et de l'Extérieur. – Dimanche, 6 Janvier 1839. – 2°. [4] S."1

1. See:

Document author: Gary W. Ewer
Creation date: 2008-07-21 / Last revision: 2009-06-02
Citation information: Literary Gazette (London) No. 1147 (Saturday, 12 January 1839): 28.
Prepared from: imaged original text provided by the online resource, British Periodicals (ProQuest.)
(Subscription required; available at many higher learning institutions.)
Original spelling/punctuation/grammar generally maintained without correction. Any in-text corrections are bracketed.
The source text is Public Domain and may be freely quoted. As noted below, this document is
copyright. If citing directly from this document, please reference the Ewer Archive number and provide the following citation credit:
Gary W. Ewer, ed., The Daguerreotype: an Archive of Source Texts, Graphics, and Ephemera,

The document creator has made every effort to insure the accuracy of the transcription. However, the
information provided in this document is provided without warranty, either express or implied. The document creator will not be liable for any damages caused or alleged to be caused directly, indirectly, incidentally, or consequentially by the information provided by this text.
The document creator assumes no responsibility for accuracy of fact; the text is prepared “as
found.” Factual inaccuracies of the original text are generally not noted by the document creator. If
this text is used in academic papers, accuracy should be confirmed by consulting original sources.
The document creator also assumes no responsibility regarding the correctness, suitability, or
safety of any chemical or photographic processes that may be described by this text. Many of the
chemicals used in early photographic processes are extremely toxic and should not be handled
without a thorough knowledge of safe use.
The opinions expressed in this text are solely those of the original author and are not necessarily
those of the Archive editor. Some texts may contain derogatory words. Any such word is certainly one that would not be used today. The words remain in the transcription, however, to maintain
truthfulness to the original text.

© 2008, Gary W. Ewer.