From: Jonathan Bailey (quryhous@midcoast.com)
Date: 03/22/01-01:13:55 PM Z
Greetings,
Please do not misunderstand me. I am not setting myself up to be an expert
in mordancage. I use the technique and include it my workshops. I have
seen a handful of Sudre's images, many of Pierre-Louis Martin's, a sampling
of Elizabeth Opalenik's, and Craig Stevens' as well. I have had a certain
amount of discussion with the latter three artists over the past several
years. They all knew (and revered) Sudre and learned mordancage directly
from him. Sudre was never what anyone would call "forthcoming" with details
of his process - and this process still labors with this legacy.
As I've explained, I was aware of the interest in this process, as well as
the dearth of information available and class time given to it. As it is
related to the unusual split-toning processes I employ in my own work and
was already teaching, and as I became proficient enough with the process to
feel I could do it justice, I have included it in my workshops.
Peter Marshall wrote:
> silver ferrocyanide is not involved in etch bleaching, but dye toning,
> where it is acts as the mordant.
There has been a certain amount of confusion about the *mordant* toners
(like bleach/redevelop sepia etc) and mordancage.... Obviously, the words
share a common root.
But, "Mordancage, as perfected by Jean-Pierre Sudre" - is certainly not a
mordant dye toner - at least in anything like the common usage of the term!
(In spite of the extravagant print coloration that is possible with the
process.) It is certainly related - perhaps even closely related - to the
historic etch/bleach processes which are variously mentioned in older
encyclopedias of photography. Mordancage - the name given this process by
Sudre, if my information is correct - is about emulsion lifting - and much
more.
I am respectfully suggesting that Sudre experimented and became proficient
with a particular variation of an historic process and named it mordancage.
Sadly Sudre's work is not widely known or seen - and without knowing his
work - or the work of people such as Pierre-Louis Martin, Craig Stevens, or
Elizabeth Opalenik - this discussion is may be destined to chasing its own
tail.
Last week I spoke with Craig Steven's wife (sadly, now ex-wife). She is
doing a master's thesis on Sudre and mordancage. She is, perhaps as we
speak, with Sudre's wife in Provence, trying to clarify a few points. I
might be able to clarify some of *our* points with her when she returns next
week.
Best - Jon
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