Some of the prints look very very grainy, for example: "Jossie, Body Parts,
1991," "Stella, Moulle Shape 1986." Some look very very smooth though,
e.g.:"Grey Modern Vase, Magritte Rock 1977," "The White Place, 1988." Most of
the images are somewhere in between.
I am wondering what caused the grain. Is it just the degree of enlargement?
Before, I thought it was the sawdust that introduced the grain, but from Luis'
previous explanation it sounded like it was actually just the magnification.
Also, the color images look like they were separated w/o color correction
masks. I am wondering why the Fresson family decided not to do color
correction masks because color correction masks are not that complicated
especially after one has set it up and tested it properly for once.
Considering the other manual steps, the silver masking should be relatively
easy.
I would appreciate it if Luis could comment on my questions if they are not
touching the "secret" parts of the process.
Actually I have questions about what is or are the secret parts of the
process. When we say something like "ancient Chinese receipe," that is because
at one point they truly kept it as a secret and don't want to talk anything
about it, but Luis doesn't seem to be that secretive. He doesn't mind saying
that it is a gum bichromate process with sawdust development. So is the
"secret" the coating process and/or the actual working procedure?
I am not asking about how it is actually done. I am just asking in a general
sense what are the things that are considered secret in this process as I am
interested in the process in the historical/technical aspects. I am not trying
to duplicate the process though .... I hope I won't create any
misunderstanding.