Re: Mareks Use of Javel Water with Gum
Marek, it's fascinating that that rather cool assessment of the
technique is what got you interested. My reaction so far is similar
to the author's , but thanks to your persistence and your and Loris's
examples, I can see that it offers something that I haven't yet been
able to demonstrate. But I'm glad to know from the excerpt that I'm
not the first one to get that same kind of result; thanks for posting.
kt
On Dec 5, 2007, at 11:17 AM, Marek Matusz wrote:
This was posted on the list a few years back and got me started
From:
Handbook of Photography
Keith Henney and Beverley Dudley
1939, New York and London,
Whittelsey House division of The McGraw-Hill Book Co.
Fresson Printing
Javelle Water
It is sometimes recommended that the Fresson paper be greatly
overprinted and given
a preliminary soaking in Javelle water before development. The
writer has found this
technique to be altogether unsatisfactory; the great desirability
of Fresson lies in
the extreamely delicate manner in which it renders the gradations
of the negative,
together with the beauty of the surface of the finished print, but
the treatment
with Javelle water increases the contrast, loses the finer
gradations, and gives a
coarse and grainy texture to the surface. The result is quite
foreign to the best
expression possible with the medium.
Date: Wed, 5 Dec 2007 18:30:25 +0000
From: john.grocott403@ntlworld.com
Subject: Mareks Use of Javel Water with Gum
To: alt-photo-process-l@usask.ca
Marek and All,
You said you could not remember when or where you came
across Javel Water.
Perhaps it was some years ago you may have read this? Its always
enlightening to back track on the development of methods being
used, today.
But I dont see how the Arvel process could have produced better
results than Loris and yourself are getting, now, using Javel Water.
Best Wishes
John - Photographist - London - UK
..........................................................
To clarify a little further and to quote the next para in Nadeau's,
''Gum
>> Dichromate.'' 1987. Page 76 Chapter V1:-
>>
>> ''Mouret, mentioning the work of Charles W . Miller writes :
>>
>> ''Early in the morning, he places a piece of sensitized Fresson
paper in
>> contact with a paper negative outside of the window, and leaves
it there
>> all day long without the least inspection. In the evening, he
transfers
>> the paper into the cold water bath for 4 minutes and then into
another
>> tray containing a mixture of 1 ounce of Javelle water and 3 6
ounces of
>> ordinary tap water. Now the paper must be watched very
carefully, and as
>> soon as the edges begin to lighten it must be instantly removed
and placed
>> either on a glass or tin plate, or in an empty tray. It may now be
>> sprayed carefully under the tap, or better with the aid of a
rubber hose
>> carrying a glass or hard rubber tip, to enable the operator to
direct a
>> fine jet of water just at the point where it is momentarily
required. The
>> entire surface must be treated in this fashion, until the
desired degree
>> of density has been reached, whereupon the picture may be hung
up for
>> drying.''
>>
>> Charles M. Mouret. ''The Fresson Direct Carbon Printing
Process'', The
>> American Annual of Photography. (1929 ) pp 179 -182 ''
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