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There are many Direct Carbon processes
Hi Again, My computer is taking over............aaaaaaghhhhh ! !
To continue...From what I have read, Gum and any process which uses a
colloid containing a pigment to make the image as opposed to a metalic
chemical reaction could be regarded as Direct Carbon if a satisfactory
exposure containing the tonal range desired can be made in one shot. This
does not, of course include Carbon Transfer which is a completely different
process altho' carbon is the pigment which makes the latent image visible in
both cases.
Artigue, Fresson and Echague are reported to have used variations
on a basic system which has been kept secret and out of the public domain
since it was first discovered ACCIDENTALLY around the end of the 1870's.(Luis
Nadeau's "Gum Dichromate" pub 1987). I wish I could emulate and I admire the
tenacity which has made this possible but feel very strongly that others
should be given a chance, as I was, to do research to find their own way of
making Direct Carbon paper since it is, now, no longer produced commercially
by Fresson.
The sawdust method of development is the fascinating aspect which
I have found suits my leaning towards direct manipulation by hand of certain
photo subjects allowing changes in contrast and localised control of pigment
to be made in the print. This is simlar in a way to the controls used by
traditional bromide printers "dodging and burning in" at the exposure stage
of enlargememt but the big differences here, of course, are the facts that
with Direct Carbon you are working in room lighting and can take time to
decide on your moves....as you would in Bromoil inking. Also, there is a
huge range of paper surfaces to choose from as in many alt processes. The use
of many of these papers has its attendant problems which has been a great
issue in my own research covering many thousands of hours trial and error
since 1991.
Cheers. John Grocott-Photographist. London, England
http://hometown.aol.co.uk/grafist/myhomepage/artgallery.html