S. Carl King (sanking@hubcap.clemson.edu)
Tue, 05 Jan 1999 10:44:48 -0400
Hi Harald,
I wonder if you have any information about Sudek's working procedures for
making pigment prints. I recently obtained a copy of the book Pigment
Prints from the gallery in New York that represents his work and learned
from the introduction that Sudek's pigment prints were in fact carbros, but
there was no other technical information. Is it known what carbon tissue he
used, which bromide paper was used to make the carbros, etc.?
BTW, the asking price for Sudek's pigment prints is in the $25-65K range! I
was interested in buying one, but . . .
Sandy King
Sandy King
>Nachricht geschrieben von INTERNET:isabella32@earthlink.net
>>Hello,
>
> Got the "new" Sudek book for Xmas. It's the $125 monster edited by
>Anna Farova. Text is horrible, images are amazing. I am quite familiar
>with the pigment process that Sudek used, but am curious about some of
>the other processes. Namely, what would his working darkroom process
>have been? How would he have developed his film (pyro, D-76)? What sort
>of paper developers? There is mention made of "tinted" enlarging papers
>that he used to make some of his images. What would his choices have
>been? DId he tone his images? I have checked all the books in my local
>library for this type of info, but without much success. If anyone out
>there knows, or knows where I could look, I would be grateful. Happy New
>Years to everyone on the list.
>
>regards,
>
>WIlliam Linne<
>
>William,
>
>on March (last year) my platinum work was part of a show at Gallery
>Faber-Vienna where also works of Josef Sudek could be seen.
>So I had the chance to view and handle about thirty of his photographs -
>all contact prints on his prefered papers:
>
>Neobrom Neovera, Neobrom Chamois and Neobrom Neotona
>
>Neobrom was a manufacturer of very fine Photographic papers since 1914 but
>closed his production in 1998.
>
>NEOVERA was the last real "gaslight" contact paper with very low light
>sensitivity and flat contrast - ideal for printing high contrasty platinum
>negs.(grade 1-2)
>It īs coated with a rich silver Chloride/iodide emulsion and if developed
>in Metol/Hydrochinon it came out with a really olive green colour - most of
>the Sudek īs work are printed on it - probably untoned.
>Another characteristic of this paper is the silk-screen surface - like the
>portrait-papers.
>Itīs a real contact paper because itīs sensitivity is only 10% of a
>enlarging paper.
>
>NEOTONA formerly called Neogaz paper is an enlarging paper but often used
>as contact paper only - so by Sudek.
>It has a high glossy surface and a contrast grade about 3 .
>It has a Silver chloride/bromide emulsion and comes out with a warm black,
>slightly greenish.
>through the glossy surface all details come out very sharp - some
>landscapes of Sudek I īve seen on it.
>
>
>< There is mention made of "tinted" enlarging papers
><that he used to make some of his images. What would his choices have
><been?
>This paper could be the CHAMOIS paper - it has a natural white(yellowish)
>paper base and I think a similar emulsion like NEOTONA but with silk-screen
>surface.
>
>
>A friend of mine distributed Neobrom papers here in austria and so I had
>the chance to work with it, too but as I said the production has closed and
>Neobrom was killed by "Investment-sharks"
>
>Some Czech artists namely Vaclav Jirasec are still working on this papers
>and safed the rest of the last productions.
>Other well known artists like Drtikol, Saudek, Berka .. have printed on
>these papers,too.
>
>As film developer I think Sudek used the Czech standard - the
>Hydrochinon/Metol developer or Glycin developers.
>
>I hope this informations will help you
>
>Harald
>
>
>
>Harald Leban
>hlebanphot@compuserve.com
>platinum work : Aperture Gallery
>http:\\www.aperture-photo.com
>(view the platinum room)
>
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