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Thread: damaged photographs

  1. #1
    Robert Taylor
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    May 2008
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    damaged photographs

    A few days ago I met a person who was a model for Imogen Cunningham back in the 60's. She has 15 or so dry mounted prints that Imogen gave her in that era, that were subsequently stored under poor conditions. I would add that an additional factor may simply be that Imogen was not all that dedicated to archival processing. At this point the prints have areas of discoloration and stains, according to the owner. I am assuming not much could be done for them at this stage, other than idealizing storage as much as possible. If they had been mounted with today's heat removable mounting tissue instead of permanent bonding tissues of the era maybe a professional conservator could remove the prints and refix and archivally tone and wash them to arrest further deterioration. But I would like to give her an answer more creditable than my assumptions, so I turn to those of you who likely know a whole lot more than I do about an issue like this. Of course, we are not asking for a digital copy solution--which she may also undertake and many websites offer/address. She is really interested in restoration of her original Cunningham prints. Thanks in advance for any information or advice you may be able to provide!

  2. #2
    Jon Shiu's Avatar
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    Re: damaged photographs

    Not something I would recommend with irreplaceable prints, but I have heard that soaking in solvent like lacquer thinner would release the prints. Then again might create a big mess.

    Jon
    my black and white photos of the Mendocino Coast: jonshiu.zenfolio.com

  3. #3
    Richard M. Coda
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    Mar 2001
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    Scottsdale, AZ
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    Re: damaged photographs

    You may want to contact the Center for Creative Photography in Tucson. They may be able to point you in the right direction.
    Photographs by Richard M. Coda
    my blog
    Primordial: 2010 - Photographs of the Arizona Monsoon
    "Speak softly and carry an 8x10"
    "I shoot a HYBRID - Arca/Canham 11x14"

  4. #4

    Join Date
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    650

    Re: damaged photographs

    There is (or, probably, was) a product offered by Seal that was called "Unseal" or something like that. It is/was a solvent for the removal of the Seal mounting tissues, presumably but not necessarily including things like MT-5. I have a can of it that I have never used, so if I can find it I'll see what the label instructions say. I think that it was made after the advent of Material Safety Data Sheets, so it may be possible to find out what the ingredients were even if it is no longer available.

    That having been said, consulting almost any professional conservator would seem to be the logical first step.

  5. #5

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    Tonopah, Nevada, USA
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    Re: damaged photographs

    If they are signed, she should protect her investment by paying for professional evaluation and restoration. If unsigned she should do some homework on what her original ownership provenance can do to solidify them as originals but unsigned with provenance, and then decide on a course of action.

  6. #6

    Join Date
    Mar 2004
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    650

    Re: damaged photographs

    A bit of poking around with Google shows that Seal Unseal has been replaced by Bienfang Unstik. I couldn't find anything relevant to the older style dry mounting tissues, but presumably conservators would know about it.

    According to the MSDS, Unstik is pure heptane, which is volatile and flammable (about the same as gasoline). Soaking a mounted print in a bath of it would would definitely not be a casual undertaking, even if the print in question were not an Imogen Cunningham original.

    It seems to sell for something like a dollar per fluid ounce, so it must have something to recommend it

  7. #7
    Drew Wiley
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    Re: damaged photographs

    Working with a strong solvent is simply nuts. The cure might be worse than the
    disease, and these kind of solvents are very unhealthy to breathe or touch. This is
    a job for a professional conservator, and even in that case you need to do your
    homework first, because I've known a few of them to ruin prints too. You'd want the
    prints appraised and insured in advance, because there's not only risk involved, but the services of a competent restorer won't come cheap. And make those digital
    copies in advance of the whole nine yards.

  8. #8

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    Re: damaged photographs

    My guess is that the model owns gifted prints from Imogen, perhaps from a barter arrangement for posing. This was not an unusual way of working for Imogen, an artist of meager means.

    The flawed condition of the prints is most likely the result of less than archival practices. Imogen was never considerd a geat darkroom technician. Her son, and assistant, Rondal wrote "her darkroom was in the basement, a miserable confined hell-hole. Her enlargers were a 5x7 Elwood and a 2x3 Eastman Kodak Professional that tended to cook the film."

    The prints, most likely, will never be in better than their present state. They are what they are, and possibly not unique in their condition to other works produced over a long career. It might be worth a query to the Imogen Cunningham Trust.

  9. #9

    Join Date
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    Re: damaged photographs

    Watch out, like many trusts, the ICT may try to take them from you claiming theft, debunk them as forgeries, or expect some co-ownership of them. For years a lady (who had been assistant to Norman Parkinson, given a load of stuff when he left the UK) had to fight to get recognition from his trust that her prints were originals, valuable, and worth her ownership.

  10. #10

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    Re: damaged photographs

    Quote Originally Posted by Ash View Post
    Watch out, like many trusts, the ICT may try to take them from you claiming theft, debunk them as forgeries, or expect some co-ownership of them. For years a lady (who had been assistant to Norman Parkinson, given a load of stuff when he left the UK) had to fight to get recognition from his trust that her prints were originals, valuable, and worth her ownership.
    I would not have suggested the Trust if I did not know the individuals involved. However, your warning might apply in some cases.

    I suggested the Trust because it includes Imogen's assistant who would be familiar with the materials used in the production of the prints; type of tissue, paper and other information helpful to the conservation process.

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