The Polaroid, as it became known, revolutionized the time-consuming steps of traditional analog photography, moving it from a darkroom to any location in an instant. At first Polaroids were only available in black-and-white, but over time, dye technology advanced, and color versions emerged: first, the peel-apart style in 1963 and then, the integral style in 1972.
The Polaroid SX-70, manufactured 1972–81
Photo from Wikimedia Commons, Public Domain
The integral style, made possible by the SX-70 camera, is likely the one most people are familiar with, featuring a film and resultant photograph with a wide white bottom margin. That margin holds a pod of chemistry that bursts when the film is ejected, diffusing the processing chemicals and developing the image.
With peel-apart instant color photographs, the system is the same except that the negative is not internal. A few minutes after the photograph is ejected, the negative is peeled off and discarded. In either process, every Polaroid is unique; multiple copies cannot be made.
The artist Lucas Samaras created Polaroid photographs using a variety of cameras and techniques.
Two Polaroids by Lucas Samaras
LEFT: The artist would manipulate the image of integral Polaroids with a stylus after they were ejected from the camera, while they were still malleable.
RIGHT: This artwork is a grid of nine color and black-and-white instant peel-apart photographs.
Lucas Samaras
Lucas Samaras
In 1983, Samaras created a monumental peel-apart instant color photograph—titled Ultra-Large—using Polaroid’s 40 inch x 80 inch “Museum Camera.” Originally created to make full-size reproductions of artworks in museums, the Museum Camera combined peel-apart technology with the large-scale setup of a camera obscura, which essentially converts a room into a camera with a large lens.
The front of Ultra-Large, after treatment. 80x43 inches
It was my task as a conservator to treat Ultra-Large before it could go on display in the exhibition Lucas Samaras: Sitting, Standing, Walking, Looking. Preparation began months in advance, as its sheer size posed challenges in handling, display, and storage. During my initial examination, I noted fingerprints, tears, creases, and a crushed corner as well as previous repairs that used various types of commercial tape which over time will be detrimental to the work’s long-term preservation.
Tape was also used in the mounting system. Strips of foamcore board had been attached to the top and bottom edges of the photograph with double-sided tape, and screws had been drilled through the photo and the board, directly into the wall.
Back of Ultra-Large
The detail on the right shows the foamcore and a hole where a screw had been driven through.
I began treatment on the front of the photo with the goal of stabilizing anything at risk of becoming worse, starting with the layers of the film that were separating along the tears, cracks, and perimeter. These complex layered structures incorporate plastic-like materials, making them challenging to repair. I performed tests to determine which adhesive and solvent combination would be strong enough to re-adhere the chips without damaging the photograph.
The author testing adhesives and solvents on samples in the study collection.
Photo by Felice Graciela Robles
Once the tests had been completed, I used a very fine-pointed paintbrush to wick in the adhesive and applied light pressure with a spatula to lay everything down flat.
Once the photo was safe to handle, our team flipped it over so I could treat the back. I gently removed yellowed strips of tape with a spatula and reduced the remaining adhesive residue with a cotton swab dipped in solvent. Then I unfolded the top edge, which allowed access to the foamcore and additional tape that had been used to mend tears and splits caused by the screws. Using various sized spatulas, I slowly removed the foamcore in layers and then removed more old tape.
Removing Commercial tape
The photo’s slick surface made the tape segments easy to remove.
The author removing the strips of foamcore board in layers with a spatula.
Photo by Laura Valean
An example of multiple types of tape being used to repair a tear.
After using adhesive to attach a thin but strong paper to mend tears and reinforce cracks along the creases, I turned my attention to the crushed upper-right corner, where a section was completely lost. I toned a thicker paper to match the front of the photo, cut it to the correct shape, and attached the insert with adhesive to fill the gap.
The insert attached to the crushed corner
The fill protects the fragile edge and distributes the weight of the photograph across the folds.
Once everything was mended, I replaced the strips of foamcore board with acid-free corrugated boards. Rather than adhering the boards directly to the photo as before, I attached paper hinges with adhesive to the back along the top and bottom edges, then adhered the hinges to the boards.
New Hanging Hardware
Now there is less adhesive in direct contact with the photo, and as the boards are not directly attached, there is easier access to the back in the future.
The new hanging hardware, made from corrugated blueboard.
Note how the blueboard swings out and is not directly attached to the photo.
Now that structural concerns were addressed, our team flipped the photograph onto its back so I could focus on the aesthetic needs. The creases throughout the image on the front had cracked, exposing an internal layer of white plastic. To make the cracks less noticeable I applied an adhesive to the cracks and, once it was tacky, I brushed on matching colorful powders from shaved pastel sticks.
The author inpainting exposed white plastic along the cracks.
Photo by Sylvie Pénichon
Unfortunately the aforementioned fingerprints were permanently etched into the photo’s surface. Given the uniqueness of this photo and the permanent damage already sustained, I suggested that it be framed, which would address multiple concerns: First, it would keep people from touching and handling the photo. Second, attaching the photo into the back of the frame would eliminate the need to continuously use screws during installations, reducing the potential for abrading the photo around the screw holes. Third, the ultraviolet-filtering acrylic glazing would slow the rate of fading. And lastly, the frame will provide housing for storage while off display.
The author stands beside Ultra-Large in its new frame.
Photo by Jamie Vaught-Karasek
The treatment I performed on Lucas Samaras’ Ultra-Large mitigated existing damages and prevented further ones, as the commercial tape would have continued to discolor and eventually cause permanent staining. While addressing structural repairs, aesthetic concerns, and modifications to the hanging system, I chose materials proven to age well over time. The majority of the treatment was performed on the back, resulting in minor visual changes on the front, yet this treatment and the choices I made during treatment on this instantly made Polaroid will have a long-lasting impact.
—Emily Mercer, assistant conservator, Photography, Conservation and Science
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Polaroid’s 40 x 80-inch “Museum Camera”
