This is the problem with these lists where one "walks in and out"
periodically and where one handles a lot of off-list mail as well. It's
pretty hard to keep track of who said what to whom, etc. This is also why I
prefer including as much of the thread as appropriate when I answer
anything.
>> P.S. The gum process is much more forgiving than the carbon transfer (& the
>> gravure resist). Look up the words "spontaneous hardening" in the index of
>> any book on carbon printing.
>
>Yes, gum is not just forgiving but sensitive (the perfect lover).
>So the question is, why do carbon? (I've never done it, though I've read
>many books on carbon -- including Luis's.) I'm throwing you a soft ball,
>here Luis --- why is it worth it? Is it?
I'll keep the metaphor going;-) The difference between carbon and gum is
like the difference between a couple of friends and a couple of lovers:
day and night:-)
Carbon transfer can provide very rich blacks, perfectly clean highlights,
and rasor sharp images (on smooth coated papers), *with one coat* only, if
this is what you want. It can also provide such images on ceramic for
vitrification, and it can be used to make the best looking color prints you
have ever seen. It can produce dead matte surfaces or the ferrotyped look,
or anything in between. Finally, its permanence is almost unquestionable.
This is why I find carbon transfer superior to anything else, generally
speaking, including platinum.
You might say you don't need very rich blacks or extreme sharpness in your
prints, so you'll be happy to hear that carbon transfer can do that as
well. The reverse ain't true, i.e., the gum process will never give you
prints that look like top quality carbons, even with six coatings, etc.
So, you'll ask: How come we see so few carbon prints out there? How come we
see so many platinum and gum prints out there?
Which brings us to the BAD NEWS:
Carbon is 10 times more difficult than Pt or gum.
You may not be able to get *any print at all* (let alone good images) if
the room temperature is above say, 21 or 22C (70F?)
You don't know what the word frustration means until you have lived through
the experience of watching a beautiful print almost competely developed and
then, at the very last moment, the image reticulates and frills right off
the support in less than five seconds:-(
If you're the type who loses patience because nothing works the first
twenty times you try it, don't touch carbon. If you do, you'll quickly run
out of hair to pull out. (If you could see the 43-year old head sitting on
my shoulders, you'd have a living proof of that:-)
Don't even think of teaching this process to beginners. They'll quit
photography all together and go get a video camera.
This being said, don't get me wrong: the process is not the exclusivity of
masochists. It is for those who have already achieved the mastery of silver
printing and possibly platinum, and who want to go beyond. You'll need lots
of patience and preferably some hands-on training.
There has got to be some place in NYC where you can see excellent carbons
up close. With the next version of my carbon book I may be offering an
optional small print as I did with the Pt book, but this is not for
tomorrow and it would only be one small print. You have to see several,
from different sources and periods.
All of this, of course, is valid for anyone else on this list. The best way
to approach a major museum is to make an appointment, in writing, to see
certain specific items. You may need some references and in all cases you
have to indicate you are serious about your research. In some places in
Europe you also have to go through an interview process which takes a whole
day, and then, if they accept you, you have to come back 18 months later
before a seat is available! This is when you want to have friends
"inside":-). In North America it is usually easier to access museum's
collections. Once you're in, of course, you are on your own. Not all
curators and assistants know what carbon, gum, etc., are. (Judging from the
questions they are asking me;-))
Possibly next summer, I may start my long rumored Summer School and
Research Center, which will offer workshops on carbon printing (and perhaps
other processes), and which will make a good part of my collection (300+
processes) and library, accessible. There has never been such an ideal set
up for anyone to study fine prints. More details available off-list to
those interested.
Luis Nadeau
NADEAUL@NBNET.NB.CA
Fredericton, New Brunswick, Canada