The final results are what count. All chemical and mechanical processes (not
just photographic) can be accomplished in alternative ways. Though I believe
what the Fresson family has accomplished should be admired for it's
beauty, I also think that their secrecy has been counter productive. In
short, I believe we will see the creative capability expanded beyond our
current vision as the process is made available for general use.
> . . . With the original formulas and the original
> equipment, it took me about a year @ 25 hours a week to make it work. I
> came awfully close to throwing in the towel many times. It was like trying
> to become a juggler starting with 24 balls at a time. Another way of
No offense, but if you still drove a car made in France in the early part of
this Century you might have a few problems keeping up with the rest of us on
the road. I think modern mechanical and control technology just might be
a bit helpful.
> the results, in *monochrome*, can be absolutely stunning as seen in some,
> though certainly not all, of Ortiz Echague's work. I wonder if any of those
> were shown at the recent Bath meeting?
RPS shared some of Echague's work during the introduction on Friday. I've
also seen some of his work in private collections. In my opinion, Bill Foster
had two prints with him that I thought better than the Echague prints shown.
> I began researching the process when I first heard about it in Zoom
> magazine, ca. 1970. It was 1976 before I saw some really exceptional
> original prints made from it (as with any process there's lots of comme ci
> comme ca stuff out there). That's when I decided I had to have it, no
> matter what the cost was going to be. And the cost, directly and
> indirectly, was going to be very high. Loooong story (to a point documented
> in my books -the rest in my memoirs...) but by 1979 I had the process in my
> lab and a year later I could achieve excellent results. About ten years of
> efforts, total.
Are any of your prints in public collections(Eastman House, RPS, etc.)?
> carbon processes that rely on abrasion would need a device that can provide
> the same amount of abrasion over a large surface, automatically. Since it
In your books you indicate that you've seen the Fresson facilities, how have
they managed to print color for over 50 years?
Sincerely, Art
Art Chakalis
Columbus, Ohio, USA