> Art,
>
> You must have read my note with a bias. I certainly did not mean to suggest
> that I have the results of the test in my possession. What I have are the
> notes of the person for whom the test was done, which were given to me over
> fifteen years. They correponsd to an analysis that was done some years
> before that. I saved these notes, along with a piece of the unprocessed
> Fresson paper which was used to make the test.
>
> The person in question shared a lot of other highly acccurate information
> with me so I have reason to believe it may be accurate, certainly as
> concerns the cross-sectional analysis. He was a meticulous craftsman and
> had worked with some of the leading research scientists at Kodak in
> Rochester. I can not recall that he told me that an actual analysis was
> done to determine the type of colloid so my confidence that the coatings
> consisted of gelatin is not high.
>
> Sandy
>
>
>
>
> >Sandy,
> >
> >I just re-read the above note. I had thought that the information was
> >based upon an electron microscopic image that you actually viewed and/or
> >have in your possession . . . either your prior note inferred this or I
> >read it with a bias.
> >
> >Do you have the testing data?
> >
> >As we have written before, the whole Artigue/Fresson process knowledge
> >base is riddled with opinion and conjecture which is impossible to discern
> >from fact. Though I personally want the information you provided to be
> >true (it seems logical and fits with other aspects of my opinion about
> >Fresson) my wishes aren't any more powerful than yours.
> >
>
Sandy,
It is good of you to share this information. Lets see how it compares
with the results of the two samples I have in test.
Moving away from the analysis and testing, the information fits my
experience and experimental results. In a vacuum of information it is
easy to develop conjecture and then justification for it to be true . . .
I have personally followed quite a few bad hunches through my printing
trials. I must admit that I can tell a whole lot more about what doesn't
work versus what does which is a very painful way to learn.
To this point, my own work relies on a layering to achieve clean
highlights. The added top layer makes perfect sense as a device to
achieve the deeply saturated and eye catching shadow tones in Fresson
prints. However, I think there maybe more to the top layer than a dusting
on of pigment.
Sincerely, Art
Art Chakalis
Columbus, Ohio, USA