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Tuesday, 12 May 2015

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...I found a source for silica gel and always put a bunch into each sealed package of negs and prints, making sure that they do not touch the items...

My sympathies to anyone who has experienced this kind of silent destruction.

When I was about 30 (when Rock was young and good), I lost 99% of my till-then lifetime accumulation of prints and negatives to an apartment storage locker that I thought was dry, and that I ventured into once in a blue moon. What a mess!

I have a fireproof safe. For some reason, it's a humidity magnet. I keep a humidity gauge in it, and when I see RH going over 50%, I pull out all of the desiccant packs and bake them dry. I do the same with a small media safe.

Corny ending: There's always a fungus among us.

What a heartbreaking calamity! It brings me to ask, for the benefit of all interested...

Would investment in Silica Gel prevent this kind of thing? Back in my Los Angeles/Canon days, I bought my first Pelican case to hold my four lenses and 2 bodies (one film, one digital). I was advised by the salesperson at Samy's to get Silica gel, which came inside a vented plastic container. I was told that I should microwave these containers (I had two) every 3-6 months to refresh the silica gel and get rid of collected moisture.

I did so, and continued to do so for the remained of my time using that Pelican. I often wonder if my current bag, a Think Tank Retrospective 7, would benefit from some Silica as well.

In any case, surely someone knows best practices to keep moisture at bay, whether from negatives, prints, or camera gear. I want to know.

There are a lot of ways to get useful images from damaged prints or negatives. There are probably some light wavelengths that are less effected, if not enough to make the damage disappear outright possibly enough to make a deferential mask.

Possibly there is a way to stain the fungus and not the gelatin to enhance the difference.

If not, there is always x-Rays.

Deeply wary of coming off as a drive-by internet know it all but there is another important angle on this that could have also lead to a catastrophe.

When it comes to safes, fire proof does not necessarily mean heat proof.

So, as a general note, there is always the possibility that a safe could come through a fire in good shape. And everything inside cooked to ruin by high internal temperature.

(Disclaimer - for all I know Stan took this into account, and selected appropriately.)

As for the damage that he did suffer, I really don't have the words.

God luck with this painful situation, Stan Banos.

One thought as you embark on recovery: photographs are not your life. Living is life.

I know that high quality gun safes also note their heat resistant time and many come with de-humidifiers. However, I have not stored negatives in these safes.

Time to make sure all my negatives are scanned and stored on multiple disk drives.

This is awful.

Please note that most fire proof safes are designed to release moisture when exposed to high temperatures. This protects paper from charring, but I doubt it would protect film from damage by heat. To say nothing of a computer hard drive . . .

Ditto what Andrew Kelly said, whereas old fireproof safes just contained firebrick as insulation to guard against heat, modern ones contain some kind of moisture containing insulation material. Even if you silicon seal the inside seams of the safe, you will end up with high humidity inside it when it is kept closed (I tried and I did). That means they are bad not only for storing negatives but also camera gear.

My heart goes out to you, Stan. Best of luck in restoring your negatives.

"Irony is, I would've been fine had I just kept them in the proverbial shoebox."

Meanwhile I think the proverbial shoebox can serve as a symbol for many situations in life. Often things go wrong, exactly the moment you try hard to make it wright. For example storing money or valuable things on vacations/trips. Instead of trying to find a "safe" place just put it somewhere unsuspicious, like at home... Of course, best is to have as few valuable things as possible.

My sympathies. You ask for pointers to tutorials for using the history brush. Here is a short piece by Ctein on this website which I have adopted into my workflow and which works wonders on spotting problems. Possibly some variation on this technique which he describes could help you. Here is the link:
http://theonlinephotographer.typepad.com/the_online_photographer/2007/10/speedy-spotting.html

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