getting it all down

YES!

I am very interested. This is exactly the kind of thing I want to do with
the Center for Photographic History and Technology, hereinafter known as
the Center.

I am still in the agony of paper work for the 501(c)3 BTW.

I think the best way to proceed is to write an occasional paper. This is
less formal than a peer reviewed journal article but more formal than just
writing it down.

This way we can at least get a handle on all of this. An occasional paper
could be a half page or twenty pages. Best to keep it to some focused topic
too.

Comments.

--Dick

  At 11:04 PM 9/14/2004, you wrote:
>A follow-up question would be to the use of carbon in other countries
>(besides western europe). Use in Russia, India, Asia? Does anyone know
>the extent of its progression outside of europe and the US? For example, I
>have a carbon print by an amateur dated 1930 from China in my collection
>but not signed.
>
>Here is a thought, as a carbon group, lets gather together what ever
>historical information we may have in our personal libraries and notes
>(which is not already well documented in the current literature) to see if
>some of the pieces produce additional information to the history of the
>carbon process. In addition, those who have known vintage carbon prints
>(or associated carbon processes) can scan them in to be compiled for a
>visual addition to this knowledge base. Who might have room on their web
>site to catalog this information? Richard? I have a handful of articles
>gleamed from the late 1800s that I have found.
>
>Although my time is very limited, I'm willing to be the initial central
>recipient to catalog and burn to a CD(s) for future distribution.
>
>Any thoughts or interest?
>
>Paul A. Lehman
>
>
>Tod Gangler wrote:
>>Eric wrote:
>>
>>>I'd like to ask a couple of follow-on questions to this discussion.
>>>
>>>* what would be considered the heyday of carbon printing?
>>>* what was carbon's niche? It seems to me that it would not have been
>>>used for large "editions" in the way that photo-, later roto-, gravure
>>>was used, or the way collotype was used, either?
>>
>>Hi Eric,
>>I think there were a couple of carbon printing heydays. First, there is
>>the remarkable production of Adolphe Braun's studio in France during the
>>full decade of the 1860's, plus a little into the 1870's. Someone on the
>>list recently mentioned the very fine publication "Image and Enterprise,"
>>by Maureen O'Brien and Mary Bergstein. This is a great book on the life
>>and work of Adolphe Braun, who was also great. Braun's studio produced
>>large editions of black and white carbon prints, printing in many sizes.
>>They made some very large masterpieces that were around 22x30 inches.
>>The second heyday could be the first flowering of color printing and
>>photography that occured in large part due to the carbro process. Nickolas
>>Muray and Paul Outerbridge were but two of the great masters working in
>>tricolor carbro during the 1920's, 30's and up to World War II. There were
>>many individual masters of this difficult printing process, and there was
>>also the Vivex Laboratory in England. Vivex was a lab that offered carbro
>>printing services, and they produced Mme. Yevonde's original prints. I
>>don't know of any real editioning done by these printers. Often, the
>>photographers produced only one master carbro print which was then supplied
>>as a proof, accompanying the original glass plate separation negatives.
>>These camera-original negatives were used to make the color printing plates
>>that were inked to print America's first color magazine covers.
>>best wishes,
>>Tod Gangler
>>Art & Soul
>>Seattle, WA.
>>
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>
>
>
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Received on Wed Sep 15 10:53:05 2004