15 Behind-the-Scenes Secrets of Art Restorers

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Nothing lasts forever, and that includes expensive and beloved works of art, which can be damaged through accident or over time through natural decay. Fortunately, the efforts of a skilled art conservator or restorer can extend the lives of such pieces and keep them looking beautiful for a very long time.

Art conservation refers to the process of maintaining works of art against future damage, while restoration more often refers to repairing damage that has already occurred. Many professionals are adept at both. For those on the outside, the work these experts perform can seem either romantic and rewarding, or painstaking and nerve-wracking. We talked to several experts in the field for their insight about what goes into keeping art beautiful. 

1. CONTEMPORARY ART CAN BE HARDER TO RESTORE THAN OLD MASTERS.

One might think that centuries-old paintings, with their layers of accumulated grime, would be harder to restore than works done much more recently. But Barbara Bertieri, a painting conservator and restorer in New York City who represents Fine Arts Conservation Inc along with Abraham Joel, says that’s not the case.

“With Old Masters,” she says, “the artists were trained in certain ways, and were very good at preparing pigments and canvas.” Because the older painting techniques are so well-established, they are quite familiar to restorers, as are the means of repairing such works. Contemporary art, though, can be much more unpredictable, and include all sorts of materials. “You never know what you’re facing,” Barbara says. “There can be water-soluble paint, oils and even objects in the same painting.” That can make the work a much bigger challenge. 

2. THE ART MARKET DRIVES A LOT OF BUSINESS. 

Steve Tatti, a sculpture conservator in Manhattan, has seen his fair share of clients, from museums to private collectors to entire municipalities. Increasingly, he says, restoration is driven by private collectors looking to cash in on their investments, rather than larger institutions.

“A lot of the time, someone wants to sell something and it has not been maintained,” he says. In that case, the client will hire a restorer to make the necessary repairs so that the piece will bring the best price at auction. Other times, economic trends may open up a whole new market. Barbara and Abraham say they cater to a sector of the Indian art market that has only cropped up in the last 10 to 15 years, due to the growth of the Indian economy and a new interest in art there.

3. SO DOES NATURE. 

Often it’s the inevitable damage done by natural forces that brings work to a restorer’s door. Many of the pieces at Barbara and Abraham’s studio bear cracks, tenting, and discoloration that are the result of changes in humidity, temperature, light, and age. Steve, whose company specializes in outdoor sculpture, grapples even more directly with the effects of nature in the course of his work. Marble and stone melt away over time due to acidity and pollution in the air, while brownstone, he says, “explodes in layers.” Bronze holds up better, though oxidation does eventually take a toll.

4. SO, UNFORTUNATELY, DOES HUMAN ERROR. 

Mistakes happen, but they can be all the more dire when a piece of art worth thousands or millions of dollars is involved. High turnover in auction houses and warehouses can sometimes lead to accidents, and even works in museums can be subject to misfortune. Barbara describes a situation where a client’s piece fell from its frame to the floor and broke because it was framed incorrectly. Steve says he commonly encounters clients who take the idea of outdoor art a bit too literally and “will put a sculpture outside and think that it needs no maintenance,” leading to more serious damage later on. 

5. THEY HAVE TO VIEW THINGS IN THE RIGHT LIGHT. 

Restorations that look great in one type of lighting can be glaringly obvious in another. For this reason, Barbara and Abraham make sure to look at their work under as many different artificial and natural lighting conditions as possible (they also emphasize the need to look at a repair from as many angles as possible).

UV light is also a common tool in a restorer’s arsenal. Light within the ultraviolet range causes organic materials, and some inorganic ones, to auto-fluoresce (or glow, basically) at different levels of intensity, depending on their age and when they were applied, revealing even skillfully done touch-ups. This can help the restorer understand what kind of work has already been done on a piece. 

6. THEY BORROW FROM OTHER INDUSTRIES.

In addition to artistic implements such as brushes and paint, and high-tech devices like UV, infrared light, and x-ray, restorers also borrow items from unrelated fields. “This industry is not big enough that they are going to make everything we need specially for us,” Barbara says, “so we end up borrowing from a lot of other places.” This includes using scalpels, droppers, and clamps from the medical industry, picks from dentistry, tweezers from jewelers, and even polyester sailcloth for backing damaged paintings.

7. SOMETIMES THE BEST TOOL IS NO TOOL. 

A conservator’s accumulated knowledge and intuition can be their most useful tool. Steve says that his training in Florence in the 1970s focused on a holistic approach that relies primarily on his senses. “I rely on my eye, my touch, my taste, my sense,” he says, explaining that he can also knock on a metal sculpture and tell what type of metal it is made of, or touch a piece of stone and determine what it is based on its temperature. He allows that this ability is not necessarily so magical—it’s just a product of experience. “Even guys who work in scrap metal can do the same thing,” he says. 

8. THEY KNOW WHEN TO LEAVE WELL ENOUGH ALONE. 

An important part of being a skilled conservator is knowing when it’s better not to interfere. “Very little should be done to paper,” Abraham says. He stresses that overzealous treating or bleaching a discoloration on the border of a work on paper risks ruining the whole thing, particularly if the central image itself looks okay. Likewise, applying a varnish with the intent of protecting a painting risks changing the color saturation or character of the work. And over-cleaning of a painting with a harsh solvent can lift away pigment that cannot be returned.

9. THEY CAN GET LONELY, AND SOMETIMES A BIT OBSESSIVE.

While the work of a dealer involves a lot of interaction with clients and schmoozing, the job of an art restorer can be a solitary one requiring long hours in close communion with artworks. “We don’t get to speak to a lot of people in a typical day,” Barbara explains. “It’s just you and your work.” And that work can be extremely exacting. Barbara explains that restorers can become “almost obsessed. If you are in a gallery and you see someone looking very closely at a painting,” she says, “that is probably a restorer.” 

10. THEIR JOB CAN BE HAZARDOUS.

While the use of such materials is on the decline, art restoration has historically involved hazardous solvents and other substances. Barbara notes it was once common practice for restorers to clean their hands in acetone, turpentine, and mineral spirits, materials known to irritate or damage the skin, lungs, and mucous membranes. 

Working environments, too, can be difficult. Steve’s company was tasked with removing two murals by the artist Carybé from a JFK Airport terminal while it was being prepped for demolition and lacking heat in the middle of winter. Plus, when deadlines are looming, or there’s some kind of emergency, art conservators will often work all night. 

11. THERE IS USUALLY NO SCRIPT TO FOLLOW.

For a restorer, jobs like the removal of the Carybé mural from the wall of JFK Airport can have no precedent. Each mural weighed one ton, was nearly 17 feet tall and over 50 feet long, and was deeply integrated into the wall structure. Steve describes being uncertain if the murals would disintegrate while being removed. “It was a once in a lifetime experience,” he says, but “beyond nerve wracking—more like an out-of-body experience. There was no way to prepare for it. No way to plan for it. Either you have to be up for these things, or ...” 

12. SOMETIMES THEY UNCOVER FAKES.

The shadowy world of art fakes and forgeries provides fodder for news stories as well as books and movies, but these stories are considerably less fun for buyers and others on the receiving end. It sometimes falls to the conservator to break the bad news to a client. Abraham describes working on a collection of paintings being represented to a Far East collector as 15th-17th century works by Raphael, Rubens, Titian, and others, only to have x-rays reveal that they were actually 19th century copies. On the flip side, sometimes a conservator has the happy experience of proving a painting’s provenance. A highlight for Barbara and Abraham’s Fine Arts Conservation was revealing the signature on Antoine Dubost’s 1804 work Sword of Damocles during cleaning. 

13. SOMETIMES THEY CREATE FAKES.

Occasionally the best way to protect a valuable piece of public art from the elements is simply to bring it indoors. Many institutions and municipalities, particularly in Europe, have made the decision to place original works in more protective surroundings and to create a copy in hardier materials for outdoor display. Steve calls this practice “the greatest solution for outdoor conservation.” His team was responsible both for restoring the figure of Lady Baltimore on the 1814 Baltimore Battle Monument and for creating the replica figure that currently stands on the monument (the original was brought to Maryland’s Historical Society). They are carrying out similar work on the wooden figure of St. Paul that graced the top of St. Paul’s Chapel in Lower Manhattan, which will be fully restored, moved indoors, and replaced by a resin replica.

14. NO PUBLICITY IS OFTEN THE SAME AS GOOD PUBLICITY.

The work of a skilled restorer is often invisible, taking place deep behind the scenes, and is aimed at erasing damage done to art rather than drawing any attention to it. Abraham points out that silence is often a sign of a job well done. “If you do your work well, nobody knows about it,” he says. 

15. THE BEST CLIENTS ARE THE ONES WHO LOVE ART. 

While many in the business say art collecting is becoming increasingly commodity-driven, there are still collectors who are motivated by a love of art itself. Collectors with a strong passion are Barbara’s favorite: She explains that those who view art as an investment can be more frustrated by damage to their property than glad to find a professional who knows how to fix it. They can also focus too much on the fact that the value will not be the same as before. Art lovers, on the other hand, “think of [restorers] as someone who rescues their treasure. They thank us so much, it’s good for us.”

All photos courtesy iStock.

17 Behind-the-Scenes Secrets of Bookstores

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For book lovers, there’s no more magical place than the local bookstore. Endless shelves of stories and characters, all at your eager fingertips. And while most of us have probably spent a significant amount of time wandering the aisles, few of us know what goes on behind the scenes. Here are some insights into the life of a bookstore, gleaned from the people who keep the shelves stocked.

1. EMPLOYEES WANT YOU TO ASK THEM FOR RECOMMENDATIONS.

“A person will say, ‘I have a really strange question, I’m sorry, but can you recommend a book?’” says Phyllis Cohen, owner of Berkeley Books in Paris. “That is the most normal question. It is my favorite question in the world! Give me some clues. I’ll ask them some pointed questions and then I make a pile for them. When they discover it they’re over the moon—it’s like they have a personal shopper in the bookshop.”

2. BUT BOOKSELLERS ARE NOT MIND-READERS.

They want to help you find your book, but they can’t if you don’t know the book’s name, author, or what it was about. This happens all the time, and it drives them crazy. “Customers will say ‘I don’t remember the name or what it was about but it has a blue cover. I think it had this word in the title,’” explains Katie Orphan, manager at The Last Bookstore in Los Angeles. Sometimes the questions are so vague that no amount of Googling will help, and then the customer leaves unhappy.

Even a botched title is better than no hints at all. “One funny thing that happens with customers is they get the titles totally wrong,” says Marissa Rodriguez, who has worked in a bookstore for two years. “High school kids will say ‘I’m looking for ‘How To Kill a Mockingbird’ or ‘Angry Grapes.’”

3. THEY CAN SPOT THE BOOKWORMS FROM A MILE AWAY.

A woman browsing near a sign for half-price paperbacks at a bookstore
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Just browsing? Bookstore workers can tell. “Cookbooks is one of the sections where that happens the most,” Orphan says. “Art books and cookbooks. The people who are going to buy books, I can tell by the way they look at them, touch them, start carrying them around in a stack. I can always tell when people come up who is going to buy a book and who isn’t.”

4. THEY KNOW WHEN YOU’RE “SHOWROOMING.”

In recent years, many brick-and-mortar stores have fallen victim to online outlets like Amazon, which often offer the same books for a lower price. Some customers will browse for books they like, only to buy them later online, and they’re not very sly about it. “They’ll come in and use their phone to take a picture of the cover and barcode and just use the bookstore as the Amazon showroom,” says Keith Edmunds, a former bookstore owner. “It was awful. Seeing people do that was the height of ignorance.”

5. AND WHEN YOU’RE PLAYING THE SYSTEM.

“Some regulars would buy books one or two at a time and then within the two-week return window bring them back and be like, ‘I bought the wrong book,’” said Kat Chin, who worked at The World's Biggest Bookstore in Toronto for five years. “You’d know they read them because you could see the book was a little bit worn or the spine was cracked.”

6. THE GOAL IS TO GET BOOKS IN YOUR HANDS.

A red sign advertising bestsellers at a bookstore
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One trick to get customers to commit to a book is to physically put the book in their hands and have them flip through it. “You can direct them to a part of the store, but that’s only half of selling a book,” Rodriguez says. “It's important to get merchandise in people's hands so they feel there’s already some ownership happening. They say ‘I like the way it looks and feels in my hands and I like the way it smells.’”

7. YOU HAVE TO HUNT FOR THE COFFEE SHOP.

Many bookstores, particularly the bigger ones like Barnes & Noble, have incorporated cafes into their layout. Alex Lifschutz, a London-based architect, told The Economist that putting the coffee shop at the back of the store or, if there are multiple stories, on the top floor, “draws shoppers upwards floor-by-floor, which is bound to encourage people to linger longer and spend more.”

8. THE KIDS SECTION IS STRATEGICALLY LOCATED.

According to Edmunds, the kids books are almost always located at the back of a store. “If the parents want to get a book for the kid they have to go through the whole store,” he says. “They’re hoping the parent will see something they want.”

9. SOMEONE PAID FOR THAT PRIME SHELF REAL ESTATE.

A red sign advertising bestsellers at a bookstore
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In many big-box stores, publishers pay for good placement on “front tables, end caps and window space, in the same way General Mills and Procter and Gamble buy space for their breakfast cereals and dish detergents in the supermarkets,” Andy Ross, a literary agent, told The Book Deal.

10. AUTHORS, BEWARE THE “SOCIOLOGY” SECTION.

No author wants their book tucked away in the “sociology” section, claims veteran publishing insider Alan Rinzler. It’s “a catchall section for ambiguous titles, and the kiss of death for book sales,” he says.

11. BOOK THIEVES LOVE THE BIBLE.

At The World's Biggest Bookstore in Toronto, “the Bible was the number one stolen book of all time,” Chin says.

Other frequently stolen books? Japanese comics (a.k.a. manga), expensive medical books, and Kurt Vonnegut’s work. Chin also says Haruki Murakami books were so frequently stolen that her bookstore had to take them off the shelves, only bringing them out when they were specifically requested.

12. EMPLOYEES HATE WHEN YOU LEAVE BOOKS WHERE THEY DON’T BELONG ...

Long rows of books at a bookstore
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“Neatening up a bookstore is a daunting process,” says Demi Marshall, a bookseller in Austin, Texas. The next time you pluck a book from its designated shelf slot, put it back when you’re done. Otherwise, “it’s like if you go to a clothing store and unfold all the clothes and then put them back on the shelf but don’t fold them,” Chin says.

13. ... AND WHEN YOU TREAT THE STORE LIKE YOUR LIBRARY.

“It’s nice to be able to go in and read maybe a chapter to see if you’re gonna like the book,” Chin says. “But then when you sit and read the whole book and put it back on the shelf, it gets grubby.” You’ll know a bookstore is trying to nudge you out the door if multiple employees drop by to ask if you need any help. “We would quietly pester people,” says Caleb Saenz, who used to work at Barnes & Noble. “I was at my peak passive aggressive phase when I was working at a bookstore.”

14. THE INTERNET HAS ACTUALLY BEEN A GOOD THING.

A brick-and-mortar Amazon bookstore in Seattle
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Before the internet became ubiquitous, the process of looking up a book for a customer was daunting. “We had to look it up in 'Books In Print,’ which is a multi-volume, 4-inch thick, hardcover book,” says Liz Prouty, who owns Second Looks Books in Maryland with her husband, Richard Due. “It was a slow and cumbersome process and if anything was indexed wrong or a customer had the first word of a title wrong, you were out of luck.”

15. IT’S ALSO MADE US LOVE BOOKS MORE.

Some thought the e-book would surely spell the death of the bookstore. But many independent sellers say digitization has actually made people crave physical books more. “I’ve noticed in the last couple of years, so many people come in waxing rhapsodic about the smell of books, the feel of books,” Prouty says. “And they say it more now because the alternatives exist. People are deeply attached to the old-fashioned books.”

16. SOME BOOKSELLERS CAN IDENTIFY BOOKS BY THEIR SMELL.

Especially used booksellers. “These Penguins have their own particular odor,” Cohen says. That odor? Vanilla. Others might smell like almond or coffee.

17. BOOKSELLERS AREN’T IN IT FOR THE MONEY.

A blue sign with white letters spelling out the word "books" and a hand pointing
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In fact, most of them have second jobs or need monetary support from family members. “It is definitely a work of passion for everyone that I know,” Marshall says. “We don’t do it for the money, we don’t do it because we have any power or prestige. It’s genuinely just that we love books and we love getting them into people's hands.”

A version of this story first ran in 2016.

13 Secrets of Crime Scene Cleaners

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iStock

It’s a profession that few people realize exists—until tragedy strikes, and suddenly they have to deal with the unimaginable. That’s when they call a select group of iron-stomached, steel-nerved workers known as trauma scene restoration specialists, biohazard remediation technicians, or simply crime scene cleaners.

Until a few decades ago, the task of cleaning up after a loved one died fell to family and friends, potentially adding trauma on top of an already terrible event. In the 1990s, a small group of companies and entrepreneurs sprang up to tackle the problem, specializing in the removal of blood, fluids, human tissue, and hazardous substances. By 2012 (the last year for which reliable data is available), crime scene cleanup was a $350-million industry in the United States, and included more than 500 companies. Here’s what these hazmat-suited heroes want the world to know about their work.

1. THEY AREN'T LIMITED TO CRIME SCENES.

The phrase crime scene cleanup brings to mind police tape and furrow-browed detectives. In reality, only a fraction of the calls these companies receive—which can come from family members, property managers, hotel owners, or anyone with a dead body on their property—are the result of a major crime. Unattended natural death (i.e., a person who dies alone and isn’t discovered quickly) and suicide are the most common scenarios. Glenn Cox, general manager at Southern Bio-Recovery, which has four locations in the Southeast, says that only about 30 percent of the 60 to 100 death scenes his company handles every year are homicides.

To pay the bills, it's common for companies to supplement with other kinds of biohazard removal, whether that's removing tear gas from a property after it's been used by law enforcement or getting rid of meth labs. Cox says that Southern Bio-Recovery also cleans up hoarding situations and decontaminates homes after viral or bacterial incidents—think MRSA or hepatitis outbreaks.

2. MANY OF THEM ARE EX-MILITARY OR LAW ENFORCEMENT.

Former Marine John Krusenstjerna founded Des Moines-based Iowa CTS Cleaners after serving two tours in Iraq. “Just experiencing things out there left me kind of wondering what happened in these situations back in the United States, who takes care of it,” he tells Mental Floss. Peruse executive bios of many trauma restoration company websites and you’ll find similar military, law enforcement, or paramedic backgrounds. Exposure to death—and the chaos it wreaks on family members—also provides valuable experience in the emotional and physical challenges inherent in cleanup. "Being able to compartmentalize in your mind, to stay focused on the task, to have integrity … all of those are attributes I believe I learned from being a soldier," Cox explains.

3. THEIR TRAINING MIGHT INVOLVE PIG BLOOD.

A bucket of blood
iStock

The certification requirements for crime scene cleaners range from nonexistent to uneven, so most training happens in-house. James Michel, CEO at Bio Recovery—which has 22 branches around the country—says all of his company's employees are taken to a special training facility at their headquarters in New York state. "We stage crime scenes there using organic and non-organic types of fake blood: stage blood, pig blood, all different types. We recreate crime scenes with sheet rock, toilets, tile, and [trainees are] able to break it down. We have decontamination stations that are permanently set up so they can walk in and out of and really grasp how to do this on a day-to-day basis." All in all, Michel says, four weeks of such training are required before their techs are even let out on a crime site.

4. THE DEATH SCENE CAN SPREAD BEYOND THE BODY.

“All of our scenes are chaotic, and there's multiple things to do,” says Nate Berg, founder and president of Scene Clean, based in Osseo, Minnesota. “For example, in a decomposition [when a body has been left undiscovered for a long period], you've got strong odors and you've got all their personal property, which now have absorbed the strong odors.” The work becomes a matter of peeling the layers of contamination—bedding and linens, furniture, carpeting, floorboards, subfloor or sheetrock. And what’s visible to the eye (say, a small bloodstain on a carpet) may actually indicate a large pool underneath.

“A bad day is when we get called to a really bad decomposition or unattended death,” Krusenstjerna says, “and find out they’ve not only decomposed in a kitchen or bathroom but it’s dripping into the basement. We had an apartment building where it went from the third floor to the first floor.”

5. THEIR CLEANING SUPPLIES ARE NEXT-LEVEL.

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As you might expect, cleaning up the blood, fluids, and tissue left in the wake of a violent death or long-undiscovered decomposition takes more than bleach and elbow grease. The first step is detection of every spot, splatter, or shard. “We use an indicator similar to hydrogen peroxide, but it’s a much, much stronger version,” Cox says. “When it [comes into] contact with bodily fluids, it foams up and turns a very bright white color. It’s also a very strong disinfectant.”

When dealing with brain matter—which tends to harden to a cement-like consistency—Berg prefers to use an enzyme cleaner that, when absorbed by the tissue, softens it just enough to allow it to be removed with a scraper. For stubborn brain tissue, or fluid that’s seeped into the cracks between floorboards, it might be time to break out the demolition tools: crowbars, weighted hammers, circular saws. It’s also not uncommon for techs to have to dismantle furniture, remove sheetrock, or rip up flooring to get at the contaminants that have seeped in or gotten stuck.

6. THEY CAN MITIGATE THE SMELL ... SORT OF.

A person dressed in personal protective equipment
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There’s nothing like the smell of death. And while some techs get used to the odor, “when a body’s been there for 60 days, in moist air, you walk in and breathe that smell, and you just go, ‘This is going to be a long day,’” Michel says. Every technician wears personal protective equipment (a.k.a. PPE; think lined suits, booties, layers of gloves and respirators) to guard against blood- and air-borne pathogens, but it can be hard to avoid a quick waft now and then. “I don’t care how good you are,” Michel says, “when you twist your head in a certain way and break that [respirator] seal, that smell is coming in the mask.” To cope, and to deodorize the home, techs employ HEPA filters, air scrubbers, ozone machines, and hydroxyl generators—which use concentrated UV light to target and destroy pollutants.

7. THEY HATE SEEING CATS ON-SITE.

A longhaired cat caught mid-yawn or snarl
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That's because cats could mean cat pee. “Cat pee is my fricking nemesis,” Berg says. “Most of the time we have to pull up floors or walls and make physical contact with the cat urine because it crystallizes.” Michel agrees: “When you leave a dog by himself and they [defecate] or urinate, you can clean that for the most part. Cat spray is the hardest odor to remove.”

8. THE TURNOVER RATE IS PRETTY HIGH.

Even the toughest clean-up doesn’t compare to the emotional stress of working with grieving families or glimpsing the violence people inflict upon each other. "We only go to the worst of the worst," Michel explains. He's seen professionals in his office and around the industry turn over at a rapid rate. “We’ve had hundreds of employees come in and out of these doors throughout the years and the psychological toll is extremely difficult. Some of the tough cases, where there’s children involved, there’s a somberness in the office for days.” He says that most employees, and even owners, only last about five or 10 years, max.

9. TECHS OFTEN FUNCTION AS COUNSELORS ...

A woman with glasses with her hand on the shoulder of a younger man
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Because everyone deals with grief differently, a crime scene cleanup tech has to be prepared for every kind of human interaction. Usually, it’s the owner or senior tech who deals with loved ones, and that might mean listening to detailed accounts of the deceased or protecting customers from seeing the worst. “Customers tend to want to tell us the whole story, starting two months back,” Cox says. “They need to vent. I have to talk with them, and sometimes I have to give them a hug and let them know that we’re here to help. We understand their situation and let them know that time heals. This is part of the healing process as well.”

10. ... BUT THEY SOMETIMES NEED HELP THEMSELVES.

Experienced techs and owners talk about the importance of separating their work and home lives. Still, not everyone is gifted with the ability to disengage (and even those who can may find the toll adds up over time). Several of the people we spoke to said their companies provide paid counseling for techs on a confidential, request-by-request basis. "All they have to do is submit a request. We take care of everything," Michel notes.

11. THEY MIGHT BLAST THE RADIO—OR WORK AS QUIETLY AS POSSIBLE.

A "quiet please" radio sign
iStock

Techs have to find a way to work amid all that emotion. While on site, that might mean keeping things light among themselves. “We have radios in our truck,” Krusenstjerna says. “We bring the radio in the house, to help break up the time. We’ll talk amongst each other, joking about what we saw on TV the night before or what’s funny on Facebook. But the last thing we want, and where we draw the line, is if the family is in the house. Not to sound like we’re gross or gruesome but we’re not going to say, ‘Grab the tooth off the window ledge,’ because we don’t know if they’re sitting there with their ear to the bedroom door. So we’ll be quiet, and use body language and signs and stuff like that.”

12. A CLEAN-UP CAN COST $10,000.

Based on region, type of cleanup, and number of techs, the cost to customers varies wildly, from around $1000 to over $10,000. Generally, the more dispersed the fluids and tissue in the home, or the longer the decomp, the more manpower it will take and the longer the job will be—leading to higher costs. (While insurance and victim compensation will cover some of the cost, at least part of the bill still falls to the customers.) Depending on the number and type of jobs undertaken, owners of crime scene cleanup companies can clear hundreds of thousands of dollars, if not more, in profit every year. Techs themselves can make anywhere from $25 per hour to over $100 per hour. According to the Bureau of Labor Statistics, the median annual compensation for a hazardous materials removal worker hovers around $41,500, but the top 10 percent earn more than $75,000.

13. THE FACT THAT THEY'RE HELPING PEOPLE MAKES IT WORTHWHILE.

A person in a pink sweater, sitting on a couch, holding the hands of an older person
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If there was a common thread in all the conversations we conducted with crime scene cleaners, it was the immense satisfaction they take from their jobs. Despite the smells, the gore, and the grief, these individuals find great reward in the help they’re able to provide to others in their hour of darkness. “When I have a family member who’s just lost a loved one give me that hug—because they could not have done this for themselves—there is no greater satisfaction in my life,” Michel says. “If I were to die tomorrow, that would be one of the greatest things I've ever been a part of. You can't describe in words. The only way I can say is, it's the beat of another human being's heart against yours, thanking you for helping them on the worst day of their lives."

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