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
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 paper.
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 Echague.
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 in it.
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 viable.
John - Photographist - London -