What happens to the photograph beyond the doors of the museum?

We obtain knowledge of it, find out about it, buy it, get it, in one way or another it becomes our property.

We deliver it to the protected storage of the museum.

We unpack it, clean it physically, order, and sort it (positive, negative, slide, etc.)

We examine them one-by-one. If we are dealing with a coherent legacy, we select the positive prints and the negatives connected to them.

We place them one-by-one into acid-free bags, we conserve them, and chose the pictures, which need to be restored.

We identify them, define the time they were taken, the conditions they were taken in, and we unfold the information concerning the images.

We insert it into the topic-word structure of the museum, we identify which thematical group it may belong to.

The images, or negatives in the acid-free bags are held in the temperated storage of the museum, in metallic chests. We provide the necessary conditions for the protection of the works of art.

In the database of the museum we process each photograph separately.

At the same time we make high-resolution digital reproductions, with either a photo-friendly scanner or a digital camera. We burn the archive-copies onto DVD, the small-sized viewing images, which are going to be used, we insert into the description of the database.

As a result of this parallel work, there is both the image and the data about the image to be found on the database, which makes the system suitable for search on the internet, after matters of copyright and contracts have been dealt with.

We make it available, researchable for researchers, inquisitives, media and publishers: we reproduce; after we have concluded a contract, having observed copyright laws, we present the photographs to the public in the form of exhibitions, publications, books, papers and electronic media.