From: Judy Seigel (jseigel@panix.com)
Date: 03/25/03-01:20:28 AM Z
Dear List,
I'm so grateful, touched, happy -- also relieved -- at so many kind words,
on and off list -- that my better nature says I should leave it at that,
and just waft into the sunset waving a lavendar-scented hanky. But oh
hell, am I supposed to let Sandy King cast aspersions on cyanotype and
gum and keep my mouth shut?
OK, maybe Sandy was trying to get a rise out of me, and I actually agree
with him about what's salient in the issue, so thanks Sandy for the
opening/plug. I've meant to do a rundown on the contents, but am still
tied up (so to speak) at the printer. Stuff went wrong, which wasn't
entirely printer's fault, and though I had enough good issues to mail, he
has to go back to press for the backup... another reason why web
publishing will take the field (though not for me).
As for the contents: Carmen Lizardo does a simple version of the ferric
citrate contrast control for VDB & calls it "like having variable contrast
filters in a bottle." Sandy King does a calibrated version with added
steps to dissolve the ferric citrate. Either or both should change VDB
permanently. Carmen also describes falling in love with kallitype,
including its "best" developer and two toners. Sandy's other topic is how
he just happened to build a 20x24-inch camera.
Dan Levin's rundown on his albumen prints for John Dugdale is titled
"Albumen Liberation" because, Dan says, "I can't be Keeper of the Solution
and spend my days titrating fluids with a calculator." He refused to
sensitise by floating the paper on a silver bath, and has found good ways
to avoid. [To digress, speaking of John's albumens, he has one in the
current show of nude photographs at Robert Mann gallery.. and whoever
knows my attitude toward "nude photography" may be amazed that I say it's
a wonderful show -- with John's print more fetching if possible than in
his own show by virtue of being so different.]
I'm hoping a lot of folks will try Liam's "Non-salt Salt Printing,"
because, being new, it needs a lot of people to get the full measure. I've
had a couple of offlist queries about where to start (he gives 9
variations)... Not having had a chance to try any myself, I can't say --
though I'd probably pick the easy to get lactic acid. The thing or things
about this method is that you can do it with your regular platinum negs,
and, not having any iron, it takes no clearing. Also... a lot of color
changes. Not to embarrass Liam, but the theory as well as the process is
history-making.
I did my part with digital negatives and "Advice from a Beginner," while
hoping that by stressing what I myself found baffling/necessary, I've shed
some light for other beginners. Plus, I'll reveal right here that in the
matter of wax/oil for paper negatives, I have nixed paraffin in favor of
beeswax, and, with my little densitometer, discovered -- oh woe -- that
oiled paper starts to dry out by day two -- and the curve changes as it
dries !
For folks who crave the thrill of ether and cyanide, Arthur Gottschalk
reports the Coffer Wetplate Workshop, including his own very first glass
plate and tintype... It may not fully come through in repro, but when you
see them, drips, rough edges and all -- you do get that flash of "magic."
The thrill is actually in the look. After which John Coffer describes the
world's First Wet-Plate collodion Jamboree: "Wet heads en masse" do
stereo, panorama, and 11x14.
Jack Brubaker's memoir of study with Henry Holmes Smith fills in a missing
chapter of modern photo history. That's the HH Smith previously quoted
about photography and complacency, teacher of Betty Hahn, Jerry Uelsmann,
et al. Brubaker describes his own approach to life and art "hammering hot
metal into useful and aesthetic objects," and adds a bunch of handy hints
on gum printing, which Sandy may have given him a pass on in deference to
his obviously pioneering spirit. My own 1979 interview with Betty Hahn is
added.
Jill Enfield, whose new book on alternative processes sold 2000 copies
before it got to the stores (and nears 2nd edition stage), is interviewed
by Robert Schaefer. She explains her own philosophy that photography
should be FUN, her approach to digital camera picture taking, and to
teaching "alternative," among other wide-ranging reflections. Among her
subjects, "I particularly love old houses that look as if they are about
to fall apart. Capturing them on film is my way of preserving them."
Witho Worms was persuaded to reveal secrets of his "Wild and Wonderful
Colours of Zia." They are not reproduced, but editor testifies that they
probably are wild.... but truly beautiful. Roland Wirtz is so far
undisputed maker of largest calotypes in the world, another triumph of
ingenuity. Laszlo Layton photographs a bat-eared fox. Some Books are
reviewed, including Shutter Babe (whom we can't help loving), and actually
a bunch, maybe too much more fills up 52 pages.
Thanks for listening, and thanks again for kind words...
Judy
> >>>Subject: Post Factory Photography
> >>>
> >>>
> >>>With this short note I would like to express my appreciation to Judy
> >>>Seigel for her efforts in putting together the latest issue of
> >>>Post-Factory Photography. I have found all of the past issues of this
> >>>publication to be informative, useful and well written, and this
> >>>number is no exception. In fact, it may well be the best of them all,
> >>>with some highly useful information about vdb, kallitype, albumen,
> >>>and a non-salt salt process that I am sure to try at some point in
> >>>the future. And to top it all off, virtually nothing about cyanotype
> >>>and gum!!!!.
> >>>
> >>>Sandy King
> >>>
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