From: Katharine Thayer (kthayer@pacifier.com)
Date: 03/13/03-03:57:02 AM Z
Judy Seigel wrote:
>
On top of which, saints
> preserve us, you forwarded my heresy to Scopick himself & then his reply
> to the list... (Not a pretty sight.)
>
If what's being suggested here is that Pete was out of line when he
alerted David Scopick to the fact that he was being criticised publicly
on the list and gave him a chance to answer the criticism (which to my
mind he did quite satisfactorily) I disagree very strongly. It's
unreasonable to expect that one should be able to say anything here
about an alt-photo colleague without its being brought to the
colleague's attention and an opportunity given to answer. It's only
fair.
I've already said everything I have to say about the pigment test, and
stand by everything I've said before. Anyone who is interested is
welcome to review the discussions in the archives and draw their own
conclusions on the merits of the arguments on the issues. Better yet,
folks are welcome to do their own testing and draw their own conclusions
based on their own observations. What we don't have a right to do is to
discredit each other's observations simply because they differ from our
own.
An analogy: I can't make the Zimmerman process work for me. But it would
be unreasonable and insulting, even outrageous, for me to say that
because it doesn't work for me, that means that anyone who says it
works for them must not know what they're talking about. I'm quite
willing to believe that this process really has worked well for those
who say it has, even though it doesn't work well for me in spite of my
considerable experience in printing gum. I prefer, instead, to suppose
that there must be some intervening variable, some difference in
practice, materials or equipment, that accounts for the differences in
success with the method. Since I am perfectly happy with the usual gum
method and find that I can make it do everything I've ever wanted to do
(from my earliest impressionistic one-coats, to the transparent tricolor
work I did for several years, to my more recent high-key monochrome
images with subtle tonal transitions) I'm not terribly interested in
pursuing Zimmerman further. But would love to see the prints that people
have made using this method.
Katharine Thayer
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