U of S | Mailing List Archive | alt-photo-process-l | Re: Réf. : Direct Carbon Potential

Re: Réf. : Direct Carbon Potential

                 I wrote: -
From repros, many prints look as if he, or the Fressons, used Michallet paper with its prominent striated ( tram lines ) texture
Des repros, beaucoup de copies regardent comme si lui, ou le Fressons, a employé le papier de Michallet avec sa texture striée en avant (de lignes de tram).
But you may well be right and Fressons and Echague could have used used a variety of different papers.  You are obviously more knowledgable on this specific subject than I am.
Mais vous pouvez jaillir ayez raison et Fressons et Echague pourraient avoir employé une variété de différents papiers.  Vous êtes évidemment plus bien informé sur ce sujet spécifique que je suis.
Have a Bon Week -end
John - Photographist - London - UK

----- Original Message -----
Sent: Saturday, January 12, 2008 4:31 PM
Subject: Réf. : Direct Carbon Potential

Very interesting you text.
I am also this book on the Photography on  "La Fotografia de José Ortiz-Echague" de Asuncion Domeno Martinez de Morentin (535 pages) but in spanish.
Michallet paper is now available as MBM Arches Ingres, it is the paper of the Carbon Direct Frsson ?, i think the Carbon Direct Fresson is the Velin d'Arches paper ?
-------Message original-------
Date : 01/12/08 16:28:40
Sujet : Direct Carbon Potential

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 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.

Think on.


John - Photographist - London - UK

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