Video transcription (English translation):
==Housing and photographic restoration of the Botanists portrait collection==

===Housing===

The item is removed carefully from the original envelope. First, any loose dust is blown away using a rubber bulb syringe, then both sides are cleaned with a soft bristle brush, applying no pressure whatsoever to the surface. The location is marked in pencil on the original, and the item is then placed in a preservation-quality envelope.

===Restoration of glass plate negatives====

First, the plate is observed under a horizontal beam of light, on both sides; the characteristics of the item — and any damage — are recorded on a special chart. In this instance, inspection reveals the presence of silver mirroring and traces of graphite.

The glass side is cleaned with a solution of surfactants in water to remove surface dirt (such as dust and grease).
The emulsion side is cleaned with solvent, which can help to reduce the visual impact of the silver mirroring at least in part.
The plate is dusted off with an antistatic brush, housed in a suitable four-fold enclosure, and placed in a preservation-quality box.

In this instance the plate is broken and has been patched up with adhesive tape to keep the pieces together. The adhesive has degraded, and the tape must first be peeled away dry from both sides.

The next step is to take a strip of adhesive tape with a backing material and a type of glue suitable for contact with photographic material, and prepare a number of small transparent sticking plasters that will not show up in prints; these are applied to the glass side only, and will hold the fragments together.

===Restoration of positives===

Here are some positive photographic prints that have been mounted in frames.
The problems created by poor preservation are immediately clear from the type of mounting: not only is the material unsuitable, but there is a lack of uniformity in the supports utilized.

All the photographs restored were in general dirty, with clearly visible traces of dust, insect droppings, and in some cases larvae, which were also found on the backing materials.
First, the dirt is removed from all of the materials; the prints, in particular, are cleaned using a Wishab sponge.
In this instance the item is a crayon photo, and must be dusted even more gently so as not to remove the charcoal retouches.
The photograph is remounted in the original frame with the addition of a preservation-quality passe-partout to ensure that the photograph remains detached from the glass. In this instance the photograph is mounted on two different cardboard backing pieces, which are retained, and there is a good deal of silver mirroring in evidence. Localized cleaning is carried out to remove grease and dust, and reduce the effect of the mirroring to some extent.

Here, the restorer is working on an image with original colouring applied by hand, which now presents widespread areas of dotted fading. The visual unity of the image is restored by retouching with watercolours.
In this case the original passe-partout has been retained, and a shaped clearance space created between the image and the passe-partout with barrier paper.

Restoration by Lorenza Fenzi
Video made by Lorisa Andreoli

Cutting and editing by Lorisa Andreoli and Alessandra Angarano

Script: Lorenza Fenzi
Voice: Alessandra Angarano

Music: Farid Zehar and Bruno Chauveaux