Some people have complained that it is less reasonable when you have to
have things done 2 or 3 times before they are satisfactory. There are
discussions about this in this list's archives and in my books. The
process, in color, is not repeatable,etc.
>I also formed the notion that they pick
>thier players accroding to thier mood. Also if you don't communicate in
>French don't bother trying. I would be inspired to be told different on
>this. I print my own work in four color carbon or monochrome carbon from
>hand coated materials and feel secure in my photographic future. Some of
>the Fressons I have seen of late do not compare to the carbon transfer
>process. (remember Fresson is direct carbon and not a transfer process. I
>look foreward to hearing other peoples comments on this subject.
The problem is not that it is a direct carbon process. The problem is that
the development is not automatic. With almost all other photographic
processes, a certain amount of light energy gives a specific amount of
image density. With Fresson the image density is determined by the length
of the "development" or wash-off when you decide to stop pouring the
abrasive mixture of sawdust and water. This can be anywhere from 2 minutes
to perhaps 30 minutes. This amount of control is fantastic for monochrome
work, but it is a major problem when doing 4-color work.
George's 4-color carbon process (I have seen many of his prints) is a
simplification of the old double transfer tricolor process. He makes his
own color seps off a scanner (he's been doing this professionally for
years) and he makes his carbon tissues from scratch using liquid
dispersions, thus avoiding the mess from grinding, etc. He may want to
elaborate on the technique here but considering his 200+ pages of notes,
let's say it's not for those of you who find cyanotype "challenging";-)
I find his results are much superior to the 4-color Fressons, although one
has to be careful with the word "superior" here. From a scientific point of
view, the EverColor and UltraStable carbon processes would be the best
processes one could use. Excellent control and permanent colors on a
permanent polyester base with a full scale of tones. What more could one
want? Well, many people don't like the look and feel of the polyester base.
Here UltraStable has an advantage as you can, with some extra work, use a
variety of real papers. If you want on paper what's on your chrome, these
are the processes to use.
The "problem", if we can call it that, is that we don't look at artistic
prints with a densitometer. Time and time again I have seen people reject
Cibas and the glossy version of EverColors because the prints were
reminiscent of place mats in roadside restaurants.
The Fresson look comes from characteristics that are usually considered
flaws: grain from enlarged seps, poor saturation because of lack of color
masking, inadequate sharpness because of manual registration, etc. With
some images the results, which have little to do with the original chrome,
are very appealing. The problem is that if you think one print has 10% too
much this or that color you are outa luck if you want it corrected next
time around. If you have a print that is just perfect, you are also outa
luck again next time around as no two prints can be identical.
George's 4-color process produces prints that are one step closer to what's
on his slides. I'd put it, in terms of looks, between Fresson and
UltraStable. The paper is always textured, the screen is invisible, etc.,
but overall I'd say that the unique effect is the type of "pastel" color
that he gets, I presume, from his choice of pigments and color masking
techniques. Add to this that the process is repeatable and you have a
winner. If you were to put 5 excellent Fressons (or as excellent as they
come), next to 5 of George's prints and 5 excellent Ultrastables, I'd say
most people would pick George's as the winners in terms of overall artistic
effect.
Those who want to see on paper what is on their chrome, no more, no less,
would pick UltraStable, which also happens to be the only process discussed
here that is commercially available. It is a question of taste, subject
matter, etc. and de gustibus et colori non es disputandem...
Luis Nadeau
NADEAUL@NBNET.NB.CA
Fredericton, New Brunswick, Canada
http://www.primenet.com/~dbarto/lnadeau.html