RE: Jose Ortiz-Echague and Fresson
-----Original Message----- From: Dave Soemarko [mailto:fotodave@dsoemarko.us] Sent: Tuesday, May 22, 2007 11:01 AM To: alt-photo-process-l@usask.ca Subject: RE: Jose Ortiz-Echague and Fresson I have never gone to a museum and view such prints (I assume they are special collection). So how does one request a viewing? Can a lowly, no-name person like myself just call up the museum beforehand and make a request and they will arrange a viewing for me? Or do I need some "credentials" (which I suppose I can find some too if needed)? Dave > -----Original Message----- > From: joachim oppenheimer [mailto:joachim2@optonline.net] > Sent: Tuesday, May 22, 2007 10:30 AM > To: alt-photo-process-l@usask.ca > Subject: RE: Jose Ortiz-Echague and Fresson > > There is a large collection of Echague's work at the print room (by > appointment) of the Metropolitan Museum of Art in New York). > My negative feelings about this man, as well as the entire > secretiveness of the Fresson process, does not deny that > those prints are of historic interest. Joachim > > -----Original Message----- > From: Sandy King [mailto:sanking@clemson.edu] > Sent: Tuesday, May 22, 2007 12:36 AM > To: alt-photo-process-l@usask.ca > Subject: Re: Jose Ortiz-Echague and Fresson > > > That could very well be the case. Ortiz-Echagüe certainly had > the means to buy the process. > > My understanding is that the Fresson family did not sell him > a machine, but provided him with the technical information to > prepare and coat the emulsion and to build a machine. I am > fairly certain that Ortiz-Echagüe wrote this in the > introduction to one of his last books. In any event, the key > to the process is not the machine, but the emulsion formula > and how it is coated. I could think of several ways to coat > carbon tissue, but the performance will ultimately be based > more on the tissue formula than on the coating procedure. > > Sandy > > > > > At 11:22 PM -0500 5/21/07, achakali@wideopenwest.com wrote: > >Based upon accounts from Bill Foster, who actually knew and > >photographed > with > >Echague, the machine and formula was purchased from the > Fresson family. > >Additionally, the "carbondir" was apparently a part of the > agreement to > >not use the Fresson name for the paper Echague produced. > > > >Art > > > > > >On Tue, 22 May 2007 00:09:57 -0400, Sandy King wrote > >> There is also he possibility that money exchanged hands. I don't > >> know that for a fact, but Ortiz-Echague was definitely a person of > means. > >> > >> Sandy King > >> > >> At 11:57 PM -0400 5/21/07, Sandy King wrote: > >> >Chris. > >> > > >> >Several reasons I can suggest. > >> > > >> >There may also be personal connections of which I am not > aware. But > >> >here are some of the things that may have moved them. > >> > > >> >At the time Ortiz-Echague was one of the most famous > photographers > >> >in Europe, and had been using the Fresson paper for > almost 50 years. > >> >Perhaps they felt that they owed him the favor. > >> > > >> >And, he was one of the most powerful men in Spain and a > person of > >> >great accomplishments outside of photography. He was one of the > >> >first pilots in the Spanish, rose to the rank of General in the > >> >Army, and served as President of both SEAT (a company > that produced > >> >cars) and of another company that produced airplanes. > >> > > >> >Basically, I figure they came to the conclusion that > their secrets > >> >were safe with him, given his age at the time and his status in > >> >Spanish society. > >> > > >> >Sandy > >> > > >> > > >> > > >> > At 9:41 PM -0600 5/21/07, Christina Z. Anderson wrote: > >> >>When the Fresson family > >> >>ceased commercial distribution of the paper they > >>provided him > >> with the technical knowledge to coat >>his own paper, and he > >> constructed a coating >>machine and thereafter called his > process > >> >>"carbondir" (carbon directo) so as not to offend >>the Fressons. > >> >> > >> >>Sandy, > >> >>Why would, do you think, the Fresson family share their > secrets > >> >>with him and yet not with anyone else since then? > >> >> > >> >>I notice they still do Sheila Metzner's work as well as > Deborah > >> >>Turbeville's... > >> >>Chris > > > > > >-- > >WOW! Homepage (http://www.wowway.com) > > > > >
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