Magazine mengying teng

OLD PHOTOGRAPH

THE FIRST ISSUE

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EDITOR'S NOTES Hello everyone and happy new month!

W e lco m e to t h e f i rs t e d i t i o n o f t h e o l d PHOTOGRAPH. I’m so excited for you to be one of my very first viewers. This magazine will bear not only significant cognizant and technical value but also important cultural and spiritual value.

In my mind, old photos which were taken many yeas ago are more meaningful than those we take by cell phone now. Especially the photos of our parents and our grandparents. In that age, they don’t have smartphone or beauty camera or Photoshop. Their photos are more “real” than ours. I’d like to dig stories behind these photos. In addition, I also think making creative changes to old photos is a way to give them new lives, and some photographers do think so. We will see that vintage and modern technology will coexist in this magazine.

If you have any meaningful old photo which has interesting or special story, let me know.

And I hope that you can enjoy reading through these pages and let them transport you to the vintage times.

LOVE, MENGYING TENG

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contents

PHOTOGRAPHY Mengying Teng MODEL Mengrong Ge 4

Innovation 8

Merve Ozaslan

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Kamal Bagirli

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Jane Long

Collection 24

Collector "Zi Ri"

Stories 30

Old houses with stories

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Stories behind your photos

Technique 42

Preserve technique

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Post-production

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CONTACT & SOCIAL 1097031494@qq.com mengyingteng941112@gmail https://www.facebook.com/teng.mengying

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"Some photographers have found inspiring ways of bring old black and white photos to life. Vintage and modern are integrated in their works."

--Mengying Teng

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INTERVIEW: MERVE OZASLAN FROM ISTANBUL

ABOUT HER

MERVE OZASLAN, Born in Istanbul, graduated from Mimar Sinan Fine Arts University as an ceramic artist in 2010. She created “Choke Jungle” brand (co-founder) and started to design ceramic jewellery. Her ceramic works are featured by known magazines such as British Vogue, Elle and Marie Claire. She has been working on collage projects since 2012.

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PHOTOGRAPHY Merve Ozaslan

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What is ‘Natural act’?

Natural act is composed by several collages based on the questions of the relation between nature and the humanity. It is basicly a critical presentation referring to the fact that each of us is part of the nature. it seeks the answer whether greed, urbanization, mechanization and detaching from the nature is favorable or coherent for human or not. In that sense natural act appears with its all colors when our emotions are paralysed in the vital points of the clishe and dull city life.

What do you want to show to the audience?

My work totally originates from questioning. I research about the harmony between nature and human beings, and our belonging to nature. I wanted to show relation between nature and the humanity and vintage photographs better reflect the human spirit.

What do the public think of your work?

I can say that my style of creation is widely by the public. I have received very good reactions until now.

Does your inspiration of creation come from your life?

I like to observe. Sometimes I am impressed by a friend who has a great talent, other times I’m satisfied by a child’s imagination. All people, the whole world was and is my inspiration. My great source of inspiration is nature.

What kind of vintage photos will become the materials of your creation?

It’s important that the photo is vibrant and able to play with colours. The photo should not be empty nor too crowded. The most important is to have meaningful gaps that I can design.

Do you think making creative changes to old photos is a way to give them new lives?

Absolutely I agree! This way we can look back at the forgotten old photographs with interest.

So, in your opinion, the forgot ten old photos are worth looking back at, right?

Old photos are a treasure for me. Suddenly it takes you in and takes you on a journey like a time machine. You see people's most natural state and It seems as if it is alive. I wish more people can discover these beauties

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PHOTOGRAPHY Merve Ozaslan

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INTERVIEW:

PHOTOGRAPHER

PHOTOGRAPHY Kamal Bagirli

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In Baku,Azerbaijan

KAMAL BAGIRLI Kamal Bagirli, a photographer from Baku, Azerbaijan, inserted old photos into popular destination during his travels. He wants to remind people of their history through this way,.

“We must remember who we are, where we came from and where we are going. We should not allow anyone to deprive one’s history.”

Kamal Bagirli prepared for them beforehand. He tried to find places where historical photographs were taken and then he chose the real scene based on the old photos. He studied the streets on maps and asked his friends who live in these cities.

“These photos are combined during shooting. At first I find a place, then I stretch out my hand and start to embed the photo, making dozens of photos. Then I look through and choose the best one.”

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PHOTOGRAPHY Kamal Bagirli

WRITTEN

Mengying Teng

C

hange has been an eternal motif in the physical world. However, people in the city and the young in particular, always fail to grasp the rapid and great changes surrounded, faced with the highly developed productive forces, the accelerated scientific and technological progress and the urbanization and modernization at an ever increasing pace.

In this way, what life vicissitudes brings to the souls of the majority is sensationally limited in the absence of art forms, artistic influence and aesthetic thinking. Whether the city is changing constantly, or the large office buildings fill take the place of cottages, it barely attracts the eyes of the majority.

At the moment when life vicissitudes come up in a form of art, however, people would feel intense and reach such distinct aesthetic experience, somehow as into the series of creative photos by this photographer.

The two photos the about a fraction of At different times, building and somehow vary from about the visual overlapped, readers with the feeling wonderfully made of the obviously between the dark one and the bright

BARCELONA

readers can see are the city Barcelona. though, that the scener y in both each other tells shock. As creatively wo u l d co m e u p that the two are into one, despite s tron g co nt ra s t black and white in colors in the other.

Out of the colored background, the readers are able to enjoy a sunny, vigorous, leisure and comfortable Barcelona. One may be lingering on the bright colors, though, it is to offer more. The black and white photo embedded in the color photo is the most compelling, that one can not help working on the scenes in it and figuring out how the scenes combined with those in the color photo so seamlessly that they were present. Perhaps this is the intention of the photographer who tells us that our life continues inextricably linked with people over decades or even hundreds of years. We are looking at the same scenery along the same way. Although we have never been to the past, we should have the past and the history in mind. With the strong contrast between the black and white and the colors in this series, one shall sigh at the passage of time, relate the old days with exquisite feelings and awake imagination endlessly.

Although the aesthetic and the details are not absolutely relevant, aesthetics may be bogged down or less eloquent without details. As far as this series of photos is concerned, there is the ingenious relationships and unique artistic charm in the commonness and discrepancy of details and the differences between the past and the presence. The image based on the several towers is visually entire and geographically consistent.

However, as constrained by the contradictories between black and white, ancient and modern, new and old, true and magic, virtual and real, one upon the great visual tension and aesthetic tension will come up with a strong sense of time and space and can not help sighing towards the life vicissitudes and heartless years, while awaking fancy consciously or unconsciously that what changes have taken place there over the long course of time, and what happened emotionally overpowering? Such feeling correctly relates to the floating threads of thoughts and imagination brought by the artistic creation.

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PHOTOGRAPHY Kamal Bagirli

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In Amalfi

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MEET JANE LONG

Jane Long: 'Dancing With Costica' ong, an Australia photographer and digital artist. She used her retouching skills to merge vintage photographs with special scenarios creating amazing surreal images that make up ‘DANCING WITH COSTICA’ series. The main characters in these images were created with images the Costica Acsinte (18971984) who was a Romanian war photographer archive on Flickr commons. Jane Long currently represented

by Retrosopect Galleries ( the leading contemporary Art Gallery in the vibrant, artist hub of Byron, on the Eastern coast of Australia) and they tour her work at some of the Affordable Art Fairs in Europe, the UK, Asia and the US. Why did you ini t ially h ave t he ide a of cre at ing DANCING WITH COSTICA? It was a total accident really! I was looking for public domain images I could use to practice restoring and recolouring when I came across the archive on Flickr. Two images in particular caught my eye – the young couple from “Fresh” and the little girl from “Innocence”.

The young couple appeared to be a multiracial couple and because it was the practice to be very somber in photographs back then, I thought they looked kind of sad. I started thinking about how hard it still is to cross racial divides today and wondered just how much harder it would have been in Romania in the 1930’s. They’re a young couple in love, they should be happy! The little girl from “Innocence” appealed to me immediately as I wasn’t sure if she was happy or sad, good or bad. It just took a little longer to develop the concept for her.

What do you want to convey to the audience through this series?

Mainly I want people to see that we are not so different to people from the past. They loved, they laughed, they cried. By colouring the images and putting them in a different context I hoped people would relate to them better, as if the photo was only taken

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recently.

Do you think your style of creation is widely accepted by the public?

Yes and no. I’ve had a lot of really positive support for this series but I was unprepared for the criticism. At first I was shocked and hurt – it was never my intention to be disrespectful, quite the opposite! There was a short period where it all got quite nasty but then someone posted the comment “God’s Pus!” and I thought “what does that even mean?!”. After that I figured people are going to think what they think and it doesn’t really matter to me.

Wh a t i s y o u r i n s p i r a t i o n o f cre ation at ordinar y time s? Are they from your life?

Often I’m inspired by something in the original image, other times it’s something from my own life that I want to express. I like to create images that are somewhat ambiguous, where you’re not sure whether it’s a happy image or a dark image. Images that make you think “Oh that’s nice….oh, no it’s not really!” Or something that looks impossible.

Why did you choose this se r ie s of vintage photographs taken by

Costica Acsinte as your material sources?

I can only use images from the public domain or with the permission of the original photographer. Copyright is a big part of the decision to use images from this archive.

That and the ongoing support of the archive curator, Cesar Popescu. I do work with other images and archives though, including private commissions. After that I look for images that have an appeal on their own but don’t have a strong story. For example I’ve been working with images from the Amadeo Leon collection, but many of the images of children in costumes are too strong in their characterisation. I could put them into a different background but I don’t feel like I’d be adding anything to the image.

Do yo u t hi n k m a k i ng cre at i ve changes to old photos is a way to give them new lives?

I do. In my case I often create completely new stories for them but that doesn’t have to be the case. There is very little information about the people in the Ascinte images so it gives me a lot of room to create my own interpretation. When I’m doing commissions it’s the complete opposite and I try to include elements that are relevant to the subject such as their favourite hobbies or places.

PHOTOGRAPHY Jane Long 21

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hat is your most satisfying piece of work in these images?

“Innocence” and “Underneath” are probably my favourites. The ideas for both images just came out of the blue. I wish that happened with all of my images but I usually have to work much harder to come up with a concept I’m happy with.

Will you create images with vintage photographs again?

Yes. I do still work with vintage images. In fact, I’m just about to release a new one. However, I still like working with my own images and developing my own conceptual work so I tend to split my time between the two.

In your opinion, what is the value of v intage photographs?

I think they give us a great insight into how people lived at the time. You have to look past the conventions of the time – when people thought it inappropriate to smile in photos and where the posing was very staged due to the long exposures required.

There are very few candid shots from the period so they tend to stand out as unusual but they do illustrate that these were people very much like us today.

In this digital era, people can take pictures at any t ime and any where . The pict ure doe s no t seem to be as meaningful as it used to be. What do you think?

I think that as photography becomes more accessible people devalue it a little. There’s more to a good photograph than holding up a phone to take a selfie. Older photos tend to capture significant events such as weddings or someone leaving to go to war or something else, whereas now we take photos of every meal! There’s a big difference between snapping an image and crafting an excellent photo.

Do y o u t h i n k v i n t a g e a n d m o de r n c a n b e integrated in terms of photography?

Given the sort of images I make, I certainly do! But I’ve always liked old things and even on my contemporary work there is always an old element even if it’s just a daguerreotype texture!

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"The light and shadow, flickering over hundreds of years, ' witness the shifting scenes of history."

--Mengying Teng

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PHOTOGRAPH Egret River in Xiamen in China

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Introduction The young man with a nickname “Zi Ri” was born in 1987. He is a semi-professional collection lovers in China. He loves to collect the old photos of Xiamen. Xiamen is a beautiful island in China, which is praised as "Oriental Hawaii" by former president of the United States Nixon. Because of it’s geographical and cultural factors, the collectors of old photos of Xiamen are not a few, but so obsessed and young collector like “Zi Ri” is not much.

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"Initially, I did not start a habit to collect old photos, but I liked to share some of other’s old photos through the microblog (Chinese Facebook). And I liked to write some texts to these photo, but some people might not be happy about that. Moreover, I am very interested in history, and sometimes want to study the history of the old photos, but it is very inconvenient to scan and magnify the photos to see the details. Therefore, I started to collect old photos.” “Zi Ri” is a photography enthusiast, so he knows the image can tell the story, he believes that the old photo is the best breakthrough in the study of history. He wanted to know the each change of the city he has been living in, so he started his collection trip. During the four years, "Zi Ri" has collected more than 3,000 old photos of Xiamen, among which there are many old photos with high value, such as a group of old photos of Xiamen in 1880s, which is worth nearly a million. Now, he has become a veritable "No.1 collector of Xiamen old photo".

There are many ways to collect for “Zi Ri”. "I often buy photos from

foreign websites and the auction house. Britain, Germany, France, Japan, the United States as well as Southeast Asia, the old photos of Xiamen in these places are the most. Sometimes I will go to Xiamen or other parts of the country's antique market to sort out and buy photos too. " The prices of these photos are from several dozen RMB to a few million per piece. "Zi Ri" has now invested four or five million yuan in collec ting. "My economic conditions do not allow me to collect, so I feel stressed about this habit. If I earn 1000 yuan, I will spend 990 yuan on the collection, but I think I am still young and I will stick to this road.”

"Collecting old me go bankru not give it up."

Many people cannot understand his almost crazy obsession with collecting old photos , "The present society is a materialistic society, a lot of people collect photos with the purpose of investment. If I collect and then sell quickly, I will not go bankrupt but I cannot let it go.” He also said that if there were 100 people who had a lot of savings, 99 persons among them will buy a house, but he will buy the old photos of Xiamen. “The value of the vintage photos is very high, but many people think that it is not worthwhile and the electronic version through scanning can go very well, so the old photos is not popular collection item in all antique collections, but I can not leave it. For "Zi Ri", collecting old photos of Xiamen is a feeling you pursue, also a

d photos makes upt, but I can "

nostalgia. Anyway, he will continue to collect the old photos, "Live to collect the old photos. Maintain the feeling of nostalgia. Collect old photos and share with more people.”

Do you think the old photos of ordinary people have certain collecting value? Faced with this problem, "Zi Ri’s" answer is yes. He believes that now a lot of old photos are not retained, and the old photos become less and less. He gave an example, in Xiamen, when the old man died, the old photos would be burned, which was a custom.

In "Zi Ri’s" view, it is a pity. He felt that it is the era of universal photography. There is flood of the images. The old photos have been less and less, more and more precious.

PHOTOGRAPH Consulate of Hollan in Xiamen in 1930s

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Time washes people’s memory. But a yellowing picture has the memory of time. They help people remember people’s stories.

--Mengying Teng

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OLD HOUSES WITH SOTRIES OF TIME 15 年前的傍晚，快门按下，有了这张略有沧桑感的照片。那是一个安然的傍晚，福建的上空片云朵朵， 在照片中显示不出的远方，夕阳洒进最后的余晖，映射在云朵上显现出令人沉醉的明黄。老街正 在呼吸，路两旁的屋子有了些年头，上头的飞檐还是明清时期的模样，严肃却又活泼。虽说不是 什么名贵的老屋，却也有着精致的雕饰。正大门斜影在排排的屋子之中，跨过几层台阶，入目的 门槛经过多年的风吹日晒，已然斑驳。在中国古代，门槛的高低是这家人社会身份地位高低的象征， 越是德高望重或者身居高位的，门槛越高，相应的庭院也就越大，厢房也就越多。图中的这片老 屋还是未修缮前的样子，门前方块的石板路，走在上面年代感油然而生，使人漫步其中，不禁思 索起古往今来，而今的柏油路自然不能让人呼吸到遥远的时光的气息。被强制剥夺了选择权的路 浇上了柏油，更加宽阔，更加安全，隆隆的汽车声取代了马蹄声，也取代了那些藏在思绪里的情怀。 照片是留住时光，留住古老故事的载体，也是这个时代所需要的历史的见证者。

PHOTOGRAPH Xiaomu Huang WRITTEN

Mengying Teng

IN FUJIAN

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dusk in 15 years ago, shutter was pressed. I got this photo full of the feeling of vicissitude. That was a quite dusk. Some clouds were on the Fujian province’s sky. The sun sparkled its last sheen in the sky where the photo did not show.

The sheen reflected on the clouds, showing a kind of beautiful color for us. Old streets were breathing, the houses which stood on the both sides of the street had a long history. Their overhanging eaves were still in ancient times’ model, strict but lively. They were not some valuable ancient houses, but they still had some elegant decoration. The shadow of gate lay in rows of houses. Traversing some steps, the doorstep which suffered rainy and blowing was mottled. In ancient China, the height of the doorstep represented the social status of this family. More famous person or powerful dignitary, their doorsteps were higher. At the same time, their yard was bigger and room was larger. The house in this picture shows its appearance before it was repaired. When we walked on the stone road which was in front of the gate, the feeling of history came to our hearts. We thought about ancient and modern.

Today’s asphalt road can not give us a chance to breath the smell of the time and history. The road had no choice and was poured by asphalt, also replace the feeling which hidden in the emotions. Old photo is a carrier to save time and old story. It is also the witness of the history which our world needs.

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PHOTOGRAPH Xiaomu Huang WRITTEN

Mengying Teng

Tulou is one of the landmark buildings in Fujian province, China, who originated in Northern Song Dynasty for over one thousand years of history. Having witnessed above one thousand years of change, Tulou still stands here quietly and tells the story of time.

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s one of the unique large-scape residential forms in the world, and one of the global cultural heritages, Tulou has been a treasure of Chinese traditional residences.

One thousand years ago, famine and war started. A large group of people migrated from north to avoid the disasters. In order to apply to community life and defend the fire and bandits, they relied on the local terrain to build house in the mind of owing nature and protecting themselves. They used some common material in life, such as red soil, brown sugar, sticky rice, bamboo and water, to complete the Tulou one storey by storey without any steel. This architecture deeply reflects the idea of valuing family and community in Chinese traditional Confucian culture. A Tulou represents a large family. As the building materials of red soil, brown sugar, sticky rice, bamboo and water bending together tightly, the family members live happily, harmoniously and closely with the determination of fighting with each other and sharing life and death

with each other.

This photo was taken in 15 years ago, while the child living in here had grown up. She packed her bag and pushed the door of Tulou and went to the outside world in the stare of her family. But the shape and sprit of Tulou would exist forever in the photo to tell her full nostalgia. 土楼是中国福建地区的标志性 建筑之一，最先出现在一千多 年 以 前 的 北 宋 时 期。 经 过 了 一千年的风吹日晒、斗转星移， 至今依然静静地矗立在那里， 诉说着光阴的故事。 土楼作为世界独一无二的大型 民居形式，世界文化遗产之一， 一直都是中国传统民居的瑰宝。 一千多年以前，饥荒、战乱开 始了，一大群人们从北方逃难 而来，淳朴的村民为了在当地 生存，为了适应聚族而居的生 活和防御防御大火盗匪的需要，

他们抱着敬畏自然和防卫的心 理，依山就势，就地取材，用 最常见的红土，加上糯米、红 糖、竹片、水等一些寻常的生 活材料，甚至没有一根钢筋铁 管，一层层地把房子夯造起来， 形成了土楼。土楼深刻地体现 了中国民族传统儒家文化中以 家为局、世代相伴的理念，一 幢土楼往往就是一个家族。就 像铸成土楼的材料糯米、红糖、 竹片、水紧紧相融在一起一样， 人们成了彼此相濡以沫的伙伴， 以同生共死的决心，以深情相 依的的姿态，紧紧地凝聚在了 一起。 这张照片摄于 15 年前，住在土 楼里的小孩已逐渐长大。他收 拾好了行囊，在家人的注视下， 推开了土楼的大门，走向外面 的世界。但是土楼的样子和精 神将会永远定格在这张照片里， 诉说着他浓浓的乡愁。

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PHOTOGRAPH Xiaomu Huang

WRITTEN

Mengying Teng

Nowadays, the modern agricultural model has been popularized with the farming methods gradually mechanized. This is the progress of the times. However, this old photo arouses one’s memory about the figure of a farmer who is working at the loess with his hands transplanting rice seedlings. Wheat is what the Chinese land rooted on. As the most common crops on this land, wheat represents the quality of life of farmers for a whole year. The more brilliant the yellow color is, and the lusher the wheat looks, the harvest this year will be better with pleasing tastes. The farmers make their own house by the sides of the wheat fields, and begin a day when the sun rises and end when it sets. Getting up early and opening the door, somehow like at the children he looks at the wheat, which he takes good care of, a sense of satisfaction emerges that he finds it no need to comment with others.

如今现代化的农业模式已经普及，农民耕作方式逐渐形成机器化， 这是时代的进步。而这张老照片却不由地让人想起以往农民双手 插秧，面朝黄土背朝天耕耘的身影。麦穗是中华大地的根。作为 这方土地上最常见的农作物，麦穗代表了农民这一年生活质量的 高低。越是灿烂的黄，越是茂盛的长相，这一年的收成就越好， 这一年的食物就越香。农民们在麦田的边缘造起自己的房子，日 出而作，日落而息。早起打开门，用着看孩子的目光一般看着面 前辛苦栽培、悉心呵护的麦穗，心中的满足不必与外人评说了。

“a tale never loses in the telling."

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Stories behind

Nour Abida

"It’s a picture of my mom and her dog, Bouboule in her hometown. She lived in a small village in Belgium. The picture was taken between 1976 and 1979, but she has never been able to remember quite well. She was married at that time, to another man than my father. A few years later her husband died. She met my father in the 1990’s and…here I am! I have always loved this picture of her, I think she is really pretty on it. I have carried it with me during my travels (I’ve lived in England 36

and in Italy). Today it’s sometimes strange to look at it, because she was my age. I can’t believe she was married and working, while I still feel like I’m only becoming a woman. She’s really natural and happy on the picture, and I wish I could see her like that more often. Now she hates to have her picture taken. She doesn’t really accept herself like she is now. It’s sad because she is the most beautiful woman I’ve ever known, she glows with kindness."

your photos Monta Anastasija Dambrova

"This is a picture of my mum in Yalta with her friends in 1991. She’s on the left in the pink jumper. They would drink a lot of wine in different places and then it would be tough for them to find a toilet because they are in a city they haven’t been to before. My mum’s bladder is small so when she has to go to the toilet, she really has to go. At the end of the holiday and even now her friends know all public toilets in Yalta."

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Jing Huang

"This photo was taken at my aunt's house. At that time I was a student of Grade One at the age of eight.

Lying on the bed, I held a white toll that was bought by my aunt for her daughter (my younger female cousin). At that time, my cousin was six years old. My mother told me that when I got into the house, I was attracted by the toll and refused to give it to my cousin. In fact, I did not remember it. (It’s a luck that I have forgotten it, or I will feel embarrassed.) Most of the stories that my mother have told me are 38

about robbing other kids’ toys. So robbing my cousin’s toll was my way of act. In the photo, I smiled happily, while my cousin cried sadly nearby as my mother said. But she did not appear in the picture. Knowing the fact, now when looking at it, I find the smile may have the pride of the successful robbing. Though I robbed her tolls when I was a child, yet we have a good relationship all the time. Maybe it is the fight in jest or for fun that deepens the relationship between us."

"This is my favorite picture in which I am still a seven or eight-month-old baby. It was taken in front of the famous 329 stairs when my parents and I went for a spring outing in Dr. Sun Yat-sen’s Mausoleum. Actually, I have no impression of it. According to my mother, I still loved sleeping when I taken the trip for the first time. This photo was taken when I just woke up. In the picture, I was looking at the camera lens with a frown and empty eyes, and I had no idea of what I was doing. Immersing in the “sadness” of lacking sleep, I firmly grasped my father’s cloth, thinking of my own ‘Philosophy

of Life’. The length of the socks on my feet is twice as long as that of my feet, which made me look much more tired.

The reason why I like this photo is that it makes me feel warm. At the time, my mother was so young and pretty, and my father was quite handsome and gentle.

However, as the time goes, I have grown up to the age of my mother at that time, and my parents are getting older. When I am looking at the picture, there is always a very wonderful feeling in my heart.

Although I can not remember anything about it, yet I have a strong sense of belonging. Maybe it is home."

Mengying Teng 39

"How to use post-production to make a photographic work with old photo texture?

How to beteer preserve old photos at home?

This part will tell you."

--Mengying Teng

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How to better preserve old photos at home

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aving photos in a certain medium can prevent them from being affected by dust and stray light, and will bring a lot of convenience to the actual use. It is recommended to use a plastic made of stabilizing chemical elements (for example, plastic made of uncoated polyester, polypropylene or polyethylene) or paper, since these media do not produce sulfur, Unfavorable material. The film is best placed in a dedicated negative film storage box, and remember to keep it away from other photos. Because the film will produce a harmful gas during the storage time, which could endanger other photos. As for the preservation of precious photos, such as silver photos or glass negatives Qunxiang Lin with old photos, you should try to keep Amateur photographer the original appearance, thus you can use custom frames of the actual size, Facebook: https://www.facebook.com/qun.lim.5 design special protective covers, storage separately and other measures to prevent these fragile from being worn, broken or affected by dust, moisture and other factors. In general, the photo should be kept in a relatively cool, dry and ventilated environment. High temperature and humid environment will aggravate and contribute to the growth and reproduction of fungi on the surface of the photo, which will eventually lead to damage to the photo surface. Therefore, you should avoid putting the pictures in the attic, the basement, or simply stack them in the corner. In fact, for most of the photo preservation, the ideal preservation conditions are as follows: the temperature of about 20 ℃ , relative humidity of 30% to 40%; film is best stored at a temperature between -1 ~ 5 ℃ and relative humidity of 30% to 40%. It can be concluded as the following five points simply:

1

Photos and the film are not suitable for conditions that are humid or have strong light and bookworms.It is necessary to save old photos in place where it is air permeable, and the photos must not be exposed to the air. The cabinets are a good choice for families to save old photos. We can also put the old photos on the shelves and bookshelf after packaging them into paper bags or envelopes. It is essential to guarantee that the environment is dry and photos are not squeezed.

2

Avoid direct sunlight since old paper photos are vulnerable to strong light.

3

Do not fold the photos to prevent its fracture since they are easy to be destroyed.

4

Do not be stained with dirt to prevent its color fading since old paper photos are sensitive to any pollution.

5

The best way to save old photos is to take digital scanning. Using a digital camera or a scanner to scan or remake the old photos, and then make it into a digital album, so you can easily save, modify, process, copy, zoom and browse the photos at any time.

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photographic work with old photo texture

How to use post-production to make a

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Open a photo in Photoshop, and then select "image - image size" in the menu bar; set the appropriate photo size.

Copy the image and convert it to ‘black and white’ pattern.

Create a new layer; select "filter variegated - add variegated" and set mixed mode of the layer as soft light.

Create another new layer and fill it with yellow; set set mixed mode of the layer as soft light with transparency of 50%.

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Add cracks material

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Tell me the story of your old photo !