Re: Re: Fresson Conjecture & Testing
Luis Nadeau (nadeaul@nbnet.nb.ca)
Thu, 26 Jun 1997 01:33:44 -0300
At 10:51 PM -0400 97/06/23, Art Chakalis wrote:
>> the landscape Echague/Fressons were of a quality that set them apart as
>> something really special. It was with some surprise that I thought that
>> I saw one in the audience in the auditorium at Bath. It turned out to be a
>> direct carbon print made by William Foster who had worked with Echargue
>> himself. Art told me, I think, that he and William are now collaborating
>> on the further development of Art's process.
>
>The print you saw was one of three that Bill had with him. All three were
>spectacular, I just picked the first one in Bill's case to use in my
>presentation. I said this before but the highlights have a sheen or glow
>(he and I both think due to the gum content) and the shadows really look
>like you will get a smudge of black on your finger when touched. That
>combination seems to create a sense of depth to the print which I really
>don't understand but my eyes and brain saw . . . call it an 1890's 3D
>effect.
Thank you.
>As to Bill Foster and Ortiz Echague, he had a unique relationship where
>they traded Fresson print paper and information for medicine. On a couple
During the War years he told me he used to trade prints for boxes of sheet
films with American photographers.
>of occasions they traveled and photographed Spain together. A little bit
>of fact for the historians, Ortiz purchased his paper from the Fresson
>family lab until 1969. It was in 1969 that he acquired a Fresson machine
This is all from my books.
Luis Nadeau
NADEAUL@NBNET.NB.CA
Fredericton, New Brunswick, Canada