...
>> And what they saw did not even include full tricolor prints nor
>>photoceramics.
>>
>
>Luis, all this may be true, no doubt is true, but I don't see the
>relevance. I don't deny the varieties of carbon printing. I speak of the
>general effect of gelatine coating on so-called "luminance" in printing.
My point is that if you take 500 people who have used one of my carbon
books to make carbon prints, you end up with about 300 people who will give
up the process before they have achieved a single good print.
Of the rest, maybe 100 will have achieved some excellent prints and they
will all look very different. The few who will have mastered the process
will be able to do anything they want on any surface. Remember that they
all started with the same instuctions at the beginning. Therefore nobody
can conclude that "in theory" this or that will or will not work. Some
people can get gorgeous effects out of some process while others can't even
get a decent print. For some of my better prints some people have accused
me of using some secret formulas while in fact I didn't. If you keep
hammering at it eventually you find situations where everything is just
right and you get winning results. Sometimes you can't duplicate them and
it's very annoying. Same paper, same pigment, same everything except for
the alignment of planets, and the outstanding results are not there. It
there is a "secret" it's simply that I throw away 90% of what I do. A lot
of people seem to forget to do that.
>However, I'm glad you mention ceramics. Photo or not, glazed ceramics
>have a glorious "luminosity" that makes anything on paper, tricolor, or
>sculptured jello mold, seem dead next to it. I would hesitate to show any
>kind of print next to ceramics...
Indeed they seem to be images permanently kept under 3 mm of water. This
luminosity which we seem to have when a bromide print comes out of the
wash, is lost after dry down. Some claim that they make photoceramics
*inside* blocks of glass but I haven't even seen a slide of one yet (hint
hint, you know who you are...) let alone the real McCoy.
Fuji sent me the same full color photoceramic that has been reproduced in
Wilhelm's _The Permanence and Care of Color Photographs_, (p. 44) It's dead
matte, but beautiful. It will be in my photoceramic book whenever it comes
out (no publishing date yet).
Luis Nadeau
NADEAUL@NBNET.NB.CA
Fredericton, New Brunswick, Canada
http://www3.nbnet.nb.ca/nadeaul/