It is almost impossible to discuss the Fresson process/
Direct Carbon without reference to Jose Ortiz Echague ( and myself, of course ).
The same with Carbon Transfer and Sandy King and Dick Sullivan of B&S who
only makes and sells the Carbon Transfer tissue, at present.
I believe that the Echague ''look'' is what is generally
regarded as ''Fresson'', and vice versa.......the ''look'' that Sandy and Carbon
Transfer enthusiasts shy away from so adamantly in their processing
because of the Direct Carbon low tonal range, low D. Max and not as
much possibility of reproducing detail from the negative.
Without the '' high - per- bowl'' , I am finding it
almost a platitude to say that Carbon Transfer can give to the photo artist what
Direct Carbon cannot.
If we think that is all collectors and future
investors want then lets all pack up and go home.
Does GUM printing stand a chance ?
How many Direct Carbon prints will change hands at the
big Photo Fair coming shortly, in New York ? How many people are currently
actually making Direct Carbon prints ?
The majority of Echague's prints were made with this
elusive Fresson process. From repros, many prints look as if he, or the
Fressons, used Michallet paper with its prominent striated ( tram lines )
texture. This Michallet paper could also been seen in many of the drawings of
SEURAT ( NOT SURY ) at the MOMA , New York ) which afforded a mention from Judy,
recently, and went with hardly any comment from the List.
There may still be a w/s by NY Times on the recent
SEURAT exhibition, there.
Very INTERESTING, to coin a phrase.
One may find that it is this paper texture which gives
the ''magic'' to the Fresson Direct Carbon print. On the other hand Carbon
Transfer workers may find Michallet paper a hindrance to their goals. If
CarbonTransfer can tackle this paper then I suppose that is even more reason to
be despondent about the financial viability of manufacturing a Direct Carbon
Michallet paper is now available as MBM Arches Ingres
with which many pastel artists like to work as it holds the pigment well and is
very responsive to the artist's touch. A possible reason why so popular with
I feel sure that if Dick Sullivan had the know how and
technical expertise to make and market a Direct Carbon paper which would respond
exactly as described in many published accounts of the development procedure,
including that which is in Philippe's expensive book, Dick would risk investing
But that is Dick's business, and as my Grandfather
always said, ''Mind your own business and you will have a
business to mind.''
The correspondence on this List, by now, must be
reaching many thousands, if not millions, of readers including educators,
students, entrepreneurs, gallery owners, museum curators, art photo investors,
hobbyists, photo journalists and technical authors and publishers, not to
mention w/s organizers of photo alternatives, so the potential money making
aspect of such a highly secret process seems to be quite
John - Photographist - London -