From: Jonathan Bailey (quryhous@midcoast.com)
Date: 10/05/01-06:35:35 AM Z
Greetings-
> The "mordancage" in the old literature & as practiced (just to add
> confusion) by a man named Mariage is somewhat different from what is being
> CALLED mordancage by a bunch of upstarts like Jon Bailey & Chris Anderson
> & Elizabeth(?) Opalnik & for all I know Jean Paul Sudre.
I believe I detect some dry humor....
I for one have been and continue to be willing (andd grateful) to
acknowledge the information Judy recently posted.
But, in the interest of clarity - and at the risk of my being repetitiously
redundant: the info about this process I've posted has its origins with the
forenamed JP Sudre - as disseminated through one or more of his students
(i.e. Craig Stevens. E. Opalenick and/or Pierre Louis Martin). It is
referred to by each of them as "Mordancage - as perfected by JP Sudre." The
name suggests, to me at least, that this is a particular process practiced
by an individual....
I mean, Steichen didn't "invent" gum over platinum printing - in spite of
the fact that one may (or may not) readily associate this technique with his
name.... He did interesting things with the process.
> Well,the REAL mordancage uses a bleach formula on a print that is
> DEVELOPED but NOT FIXED. Therefore there is metallic silver (the black
> image) as well as remaining silver halide (unexposed original emulsion not
> yet washed away).
With all due respect - REAL SHCMEAL!! (wink)
Are we obliged to only work with processes that are historically "real?"
(wink, once again...)
Am I to insist that "real" split-toning is just one "such and such" a
process and that others are somehow, by implication, fraudulent (or at
least, not historic)???
The mordancage Sudre practiced and taught, as I've said before, is in all
likelihood based upon the historically "real" etch/bleach-slash-mordancage
process(es) - and without a doubt holds interest as a process with which to
experiment - or perhaps (for us anarchists), as a variation on Sudre's
technique....
The process Sudre taught is *convenient* - especially in a workshop
setting - precisely because one works with "finished," i.e. fixed prints.
And since I continue to see interesting results using Sudre's technique (or
something very much like it), I continue to "teach" it thus..... (if it
ain't broken, don't fix it!! - No PUN intended - Oh, that's pretty good -
ain't I a rattle?!?!)
Cheerily!
Jon
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