Update

If I may jump in, I agree with what you say.

First an aside. I suspect everyone knows by now that Ataraxia bit the dust.
I was a very big and from the equipment and number of personnel they had, a
very expensive operation.

My take on the carbon print is first it is a print with it's own
"character." Secondly it is handmade. Third it has a historical presence.
These are intangibles and what give a carbon print its magic. Yes it is
permanent but to sell them on that basis is unwise as eventually electronic
prints will be permanent as well.

BTW my new machine is a whiz. I can make 200 sq feet a day now. Ok for a
start but when sales get up to like 5000 sq feet a day I am going to need
a room full of machines.<Grin grin!>

Having this capacity will give me several advantages: First is that since I
can stockpile a sufficient quantity of tissue I can then afford to have
more colors. If I am struggling to keep up with sales I can't have a lot of
colors. Then there is the obvious efficiency issue. Most of the work is in
gelatin prep, and it is not much more trouble to make a 20 L. batch as a 1
L. I am now at the 3.5 year mark on this venture. Many of you have
followed me on this quest. I could have made a lot more money selling
mopeds but not nearly as much fun. I am soon going to make a graphite run.
Old books say it is like a pencil drawing all very midtone gray and
silvery. Anyone done this yet?

BTW I teach at the Santa Fe Community College and the students are really
wowed by carbon. We've not been able to do them in class as the facilities
are pretty dumb. The darkrooms and such are superb but are filled with
wondrous C41 and Cibe machines and 4x5 color enlargers etc. This was
outfitted about 4 years ago at much cost. None of the students seem to want
to do C41 anymore. It's really curious why they did this<grin> So we would
have to sensitize drippy carbon on the tables in the classroom. No way!
Also didn't do a uranatype print either. I have a bunch of your anal
nitrate that is almost impossible to ship anymore but I think the school
would freak over us making uranium prints.

Last spring we had the students over to B+S to work but the school freaked
out. Can't have off campus classes -- insurance and things like that.
Juinior college -- oops! "community college" -- seems more like high school
than college as far as the rules and regs go. Sheeit, I went to a high
school that let us smoke on campus. That was '56 and I suspect they don't
anymore though. The interesting thing is I have a bunch of old farts with
40 years of photo experience behind them so it is kinda weird.

--Dick

At 07:24 PM 12/10/2004, you wrote:
>Dear Halvor
>
>I send you the bibliography related to pigment processes I give to my
>students every year. You could find a lot of english quotes among the full
>text and of course, many french papers. Probably some of them may be
>avaliable in your school library.
>My list of quotes includes some chapters devoted to history of color
>photography, a field which is closely connected with evolution of pigment
>processes.
>
>It's my first post to the new formula of carbon list so I renew my
>presentation. I teach BW silver based photography, alternative processes
>and photographic conservation in Louis Lumiere French National School of
>Photography, located 15 miles east Paris. Two "water based " lab are still
>runing in our school and I hope at least one of them will survive to
>digital switching trend.... Dry labs are the future of photography but I
>am convinced that wet darkroom will remain the most pertinent tool to
>teach the basics of visual education and more for people interested in
>historical and alternatives approaches.
>
>Have a good trip in carbon
>
>Jean-Paul GANDOLFO
>ENS Louis Lumiere
>Marne-la-Vallée
>France
>
>
>
>
>
>History of pigment processes : a bibliography
>
>
>1 - General
>
>1.1 Bibliography
>
>BARGER S., Bibliography of photographic processes in use before 1880,
>Rochester, Rochester Arts Research center, 1980.
>BONI A., Photographic literature, New-York, Morgan & Morgan, 1962.
>BONI A., Photographic literature 1960-1970, New-York, Morgan & Morgan, 1972.
>EPSTEAN E., A catalogue of the Epstean collection, Columbia University
>Press, 1937.
>ROOSENS L. , SALU L., History of photography, a bibliography of books,
>London & New York, Mansell, 1989.
>
>1.2 Dictionaries, encyclopaedias
>
>BALDWIN G., Looking at photographs, Malibu, The J. Paul Getty Museum &
>British Museum Press, 1991.
>BEGUIN A., Dictionnaire technique de l’estampe, Bruxelles, André Géguin
>(chez l’auteur), 1976.
>BOVIS M., LEFEBVRE B., BARRETTE M., Synopsis, 1980.
>BRUNEL G., La photographie, Paris, Société française d’édition d’art, 1898.
>COE B., HAWORTH-BOOTH M., A guide to early photographic processes,
>Londres, Victoria & Albert museum, 1983.
>CRAEYBECKX, Elsevier dictionary of photography in three languages :
>english, french & german, Amsterdam, Elsevier, 1965.
>KRASZNA-KRAUSZ A., The focal encyclopedia of photography (2 volumes),
>Londres, Paris, New York, Focal Press, 1965.
>LA BLANCHERE H. (de), Répertoire encyclopédique de photographie, 1862.
>MORA G., Petit lexique de la photographie, New York, Paris, Londres,
>Abbeville Press, 1998.
>NADEAU, Luis. Encyclopédia of printing and photomecanical processes,
>Fredericton (chez l’auteur), , 1989.
>NIEWENGLOWSKI G-H., Dictionnaire photographique, Paris, Charles Mendel, 1894.
>PAPUT C., Vocabulaire des Arts Graphiques, de la Communication, de la PAO
>etc ..., Paris, TVSO, 1997.
>SEGUY François, Le sens et l’origine du vocabulaire photographique,
>Presses universitaires du Septentrion, Villeneuve d’Ascq, 1999.
>WALL E.J., The dictionary of photography (dix-huitième édition), Londres,
>Illife & sons, 1957.
>WOODBURRY W., The encyclopaedic dictionary of photography, New York, The
>Scovill & Adams company of New York, 1898.
>
>1.3 Formulary
>EDER J. M., Formules, recettes et tables pour la photographie et les
>procédés de reproduction, Paris, Gauthier-Villars, 1900.
>SASSI Luis Dr, Recetario fotografico, Coleccionde 537 formulas y
>procedimientos (segunda edicion), Barcelona, Gustavo gili, 1922.
>WALL E., J., Photographic facts and Formulas, Boston, American
>Photographic Publishing, 1924.
>
>1.4 History of photography
>
>AUER, Michel et Michèle. Encyclopédie internationale des photographes de
>1839 à nos jours, Genève (Suisse), Camera Obscura, 1985.
>FRIZOT, Michel. Nouvelle histoire de la photographie, Paris, Bordas, 1994.
>FRIZOT , M. et DELPIRE, R. Histoire de voir, (collection photo poche),
>Paris, Centre National de la Photographie, 1989.
>LECUYER, R. Histoire de la photographie, Paris, Baschet, 1945.
>LEMAGNY, JC. et ROUILLE, A. (sous la direction de). Histoire de la
>photographie, Paris, Bordas, 1986.
>NAEF Weston J., The Collection of Alfred Stieglitz, Fifty Pionners of
>Modern Photography, New York, Metropolitan Museum of Art/Viking Press, 1978.
>NEWHALL, B. The history of photography from 1839 to the present day, New
>York (USA), The Museum of Modern Art, (éditions multiples).
>ROSENBLUM, N. Histoire mondiale de la photographie, Abbeville Press, 1992.
>
>1.5 Alternative processes
>
>CRAWFORD, William. Keepers of light, New-York, Morgan, 1979.
>JAMES C., The Book of Alternative Processes, Delmar Thomson Learning,
>Albany, 2001.
>REXER Lyle, Photography’s Antiquarian avant-garde, The New Wave in Old
>Processes, New York, Harry N. Abrams, 2002.
>WADE K.E., Alternative photographic processes, New York, Morgan & Morgan,
>1978.
>
>1.6 Technical
>
>CLERC LP., La technique photographique, Paris, Paul Montel, (6 éditions
>from 1926 to 1957).
>COUSTET E., traité général de photographie en noir et en couleurs, Paris,
>librairie Delagrave, 1933.
>DAVANNE A., La photographie (vol. 1 & 2), Paris, Gauthier-Villars, 1886.
>EDER J.M., Formules, recettes et tables pour la photographie et les
>procédés de reproduction (translating. G. Braun), Paris,
>Gauthier-Villars, 1900.
>FABRE C., Traité encyclopédique de photographie (7 volumes), Paris,
>Gauthier- Villars, 1890.
>LIEBERT A., La photographie en Amérique (deuxième édition), Paris, Liébert
>A., 1874.
>MONCKOVEN Van, Traité général de photographie suivi d’un chapitre spécial
>sur le gélatino-bromure d’argent, (7 th édition), Paris, Masson, 1880.
>NEBLETTE C.B., Imaging processes and materials (huitième édition), Van
>Nostrand Reinhold, 1989.
>
>1.7 Chemistry
>
>BARRESWILL, DAVANNE, Chimie photographique (4 th édition), Paris,
>Gauthier-Villars, 1864.
>FOURTIER M., H., Dictionnaire pratique de chimie photographique, Paris,
>Gauthier-Villars et fils, 1892.
>GLAFKIDES, P. Chimie et physique photographique (5 th édition), Paris,
>L’Usine Nouvelle, 1987.
>MASON L., F., A., Photographic processing chemistry (3th édition),
>Londres, New York, Focal Press, 1979.
>MATHET L., Traité de chimie photographique (2 volumes), Paris, Charles
>Mendel, 1912.
>MELDOLA R.,The chemistry of photography, New York, Macmillan & Co, 1891.
>MONTEL P. et GLAFKIDES P., Cours de chimie photographique, Paris, Le temps
>apprivoisé, 1992.
>NAMIAS R., Chimie photographique, manuel théorique et pratique, Paris, G.
>Naud, 1902.
>
>
>
>2 . PIGMENT PROCESSES
>
>2.1 Alphonse Poitevin processes
>
>AUBENAS Sylvie, Alphonse Poitevin (1819-1882) photographe et inventeur, La
>naissance des procédés de reproduction photomécanique et de la
>photographie inaltérable (Alphonse Poitevin, Photograph and inventor,
>bearth of photomecanical processes and permanent photography), thesis,, 1987.
>COLSON René, mémoires originaux des créateurs de la photographie, N
>Niépce, Daguerre, Bayard, Talbot, Niépce de Saint-Victor, Poitevin, Paris,
>G . Carré & C. Naud, 1898.
>POITEVIN Alphonse, Traité des impressions photographiques (second
>édition), Paris, Gauthier-Villars, 1883 (reprinted in 1983, Lafitte,
>Marseille)
>
>
>
>2.2 Ducos du Hauron processses
>
>BERGER Jean-Louis, Louis Ducos du Hauron (1837-1920) et les débuts de la
>photographie couleur de 1869 à 1879, Maîtrise de Sciences et Techniques,
>image photographique, sous la direction d’André Rouillé, université Paris
>VIII, année 1991-92.
>BERGER Jean-Louis, Correspondance Alcide Ducos du Hauron - Georges Tholin,
>La photographie des couleurs et l’imprimerie de 1881 à 1891, Diplôme
>d’études approfondies, sous la direction d’André Rouillé, université
>Paris VIII, année 1992-93.
>Bulletin de la Société Française de Photographie, 1869, p 122-125, p 144,
>p 152-157 et p 177-182.
>DUCOS DU HAURON A., La triplice photographique des couleurs et
>l’imprimerie, système de photochromographie de Louis Ducos du
>Hauron, Paris, Gauthier-Villars, 1897.
>DUCOS DU HAURON L., Les Couleurs en Photographie, solution du problème,
>Paris, A. Marion, 1869.
>DUCOS DU HAURON L., Les Couleurs en Photographie et en particulier
>l’Héliochromie au charbon, Paris, A. Marion, 1870.
>POTONIEE G., Biographie de Louis Ducos du Hauron, Bulletin de la Société
>française de photographie, 1914, p 149-163.
>
>2.3 Fresson process
>
>ALENIUS Edward K., The Fresson Process, American Photography, dec. 1934, p
>7232-738.
>BADRINATHAN C., RAJAGOPAL C., The Direct Carbon or Fresson Process, The
>Photographic Journal, may/june 1978, p 130-134.
>NADEAU L., History and practice of carbon printing, Atelier Luis Nadeau,
>New-Brunswick, Canada, 1982.
>GAESSLER D. Les grands maîtres du tirage, Paris, Contrejour, 1987.
>
>2.4 Gum process
>
>EMERY H., Le procédé à la gomme bichromatée, Paris, Charles Mendel, sd.
>NADEAU L., Gum dichromate & other direct carbon processes from Artigue to
>Zimmerman, Fredericton, Atelier Luis Nadeau, 1987.
>MASKELL - DEMACHY - PUYO - EMERY - CROIZIER. Le procédé à la gomme
>bichromatée, Paris, Jean Michel Place, 1986 (réédition).
>PUYO C., Le procédé à la gomme bichromatée, Paris, Photo-Club de Paris,1904.
>ROUYER L., La gomme bichromatée, la pose dans les papiers à dépouillement,
>Paris, Charles Mendel, sd.
>SCOPICK D., The gum bichromate book, New York, Light Impressions, 1978.
>
>2.5 Carbon process (historical)
>
>AUBERT C. N., traité élémentaire et pratique de la photographie au
>charbon, Gand Librairie générale de AD. Hoste, 1878.
>FLEMING WM., D., Home Manufacture of Materials for Carbon Printing,
>American Photography, august 1938, p 570-576.
>LIEBERT A., La photographie en Amérique, traité complet de photographie
>pratique, Paris, Liebert, 1878.
>LIESEGANG Paul, A manual of the Carbon Process of Permanent Photography,
>New York, The Scovill Manufacturing Co, 1878 (translated from the sixth
>german edition by R. B. Martson).
>MARTON A. M., A new Treatise on The Modern Methods of Carbon Printing,
>Bloomington, Illinois, 1905 (2 th edition)
>MASKELL - DEMACHY - PUYO - EMERY - CROIZIER. Le procédé à la gomme
>bichromatée, Paris, Jean Michel Place, 1986 (réédition).
>MONCKOVEN - LIEBERT - COLSON - TRANCHANT - SCHNEENBERGER. Les procédés au
>charbon, Paris, Jean Michel Place, 1986 (réédition).
>SCHNEEBERGER Henri, Les procédés au charbon, Paris, Gauthier-Villars, 1937.
>SCHULLER A. (Dr), La sensitométrie du procédé au charbon, Le Procédé,
>1913, p 90-94.
>The ABC guide of Autotype Carbon Printing, London, Autotype Company, 1909.
>VIDAL Léon, Traité pratique de photographie au charbon, Paris,
>Gauthier-Villars, 1887.
>WHARTON SIMPSON G., On the Production of Photographs in Pigments
>containing Historical Notes on Carbon Printing and Practical details of
>Swan’s Patent Carbon Process, London, Thomas Piper, 1867.
>WILSON E. L., The American Carbon Manual, Scovill Manufacturing & Co, New
>York, 1868.
>
>2.6 Carbon Printing Industry
>
>GEBHARDT Heinz, Franz Hanfstaengl, Von Der lithographie zur Photographie,
>Münchner, Verlag C. H. Beck, 1984.
>KEEPLER Victor, A Life of Color Photography, The Eight Art, London,
>Chapman & Hall, 1939.
>KEMPF Christian, Adolphe Braun (1812-1877) et la photographie,
>Lucigraphie, 1994.
>O’ BRIEN Maureen C., BERGSTEIN Mary, Image and Enterprise, The Photographs
>of Adolphe Braun, London, Thames & Hudson, 2000.
>ROSENBLUM Naomi, Adolphe Braun, A 19 th Century Career in Photography,
>History of Photography, 3, 4, oct. 1979, p 357-372.
>
>2.7 Carbon process (contemporary)
>
>GREEN Robert (Dr), Tricolor Carbro, the Rolls Royce of Color Printing
>Process, Photographic, May 1977, p 79-87.
>KING Sandy, The book of Carbon and Carbro, Contemporary Procedures for
>Monochrome Pigment Printmaking, Greenville, Permanent Light Systems, sd.
>NADEAU, Luis. History and practice of carbon processes, Fredericton,
>Atelier Luis
>Nadeau, 1982.
>
>2.8 Carbro
>DIERS Tracy, The Renaissance of Carbro, American Photography, July 1939, p
>500-503.
>HANWORTH Viscount, Amateur carbro Colour Prints, london, Focal Press, 1950.
>NIBBELINK Don D., A Method of Monochrome Carbro, Photo Technique, sept.
>1940, p 16-18.
>SYMMES Ernest M., Tricolor Carbro, Process simplified, American
>Photography, mars 1947, p 28-29.
>SYMMES Ernest M, The Carbro Process, American Photography, mai 1947, p 38-39.
>WALL E. J., The Carbro Process, American Photography, feb. 1929, p 82-88.
>
>2.9 Tanning systems (theory)
>
>ALEXEWICZ Werner G., Photographic Pigment Printing Processes, PSA Journal
>(section B), nov. 1950, p 99-104.
>BARNES Norman F., Color Caracteristics of Artists’Pigments, JOSA, 29, may
>1939, p 208-214.
>EDER J., M., Réactions de l’acide chromique et des chromates sur les
>substances organiques au point de vue de leur utilisation photographique,
>revue des Sciences Photographiques, 1905-1906, p 20-25, p 46-52 et p 138-155.
>KOSAR Jaromir, Light Sensitive Systems, Chemistry and Application of Non
>Silver Halide Photographic processes, New York, John Wiley & Sons, 1965.
>LUMIERE A. et L. , SEYEWETZ A., Sur la composition de la gélatine
>imprégnée de bichromate de potassium insolubilisée par la lumière et sur
>la théorie de cette insolubilisation, Revue des Sciences Photographiques,
>1905-1906, p 364-370.
>Sjölinder Sven, Dichromated Gelatin and Light Sensitivity, Journal of
>Imaging Science, 30, 4, july/august 1986, p 151-154.
>Sjölinder Sven, Swelling of Dichromated Gelatin Film, Journal of Imaging
>Science, 28, 5, sept/oct 1986, p 180-184.
>Sjölinder Sven, Dichromated Gelatin and the Mecanism of Hologam Formation,
>Journal of Imaging Science, 25, 3, may/june 1981, p 112-118.
>
>
>2.10 Ultrastable (Charles Berger tricolor carbon process)
>
>Ultrastable, (technical paper from the manufacturer)
>WILHELM H., Color Prints Forever, Popular Photography, Juin 1990, p 46-48.
>WILHELM H. & BROWER C., The Permanence and Care of Color Photographs,
>Preservation Publishing Company, Grinnel, Iowa, USA, 1993.
>
>2.11 Vivex
>
>COPPIN F.W., SPENCER D.A., Basic features of the Vivex process,
>Photographic Journal (section B), 88 B, 4, 1948, p 78-83.
>GIBSON R., ROBERTS P., Madame Yevonde - Colour, Fantasy and Myth,
>National Portrait Gallery Publications, London, 1990.
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>halvor a *crit :
>>Hi
>>
>>I signed up here this summer and started happily reading through the
>>archives, reached june 2001 when the whole thing disapeared, as that was
>>time for my vacation too I thought Iĺl wait and see..
>>
>>I would very much (please) like to read the rest of the archive since
>>what I did read was very helpful, if it is possible to get access (or a
>>copy).
>>
>>Just brief self intro, as it is first mail to this list, I am a
>>Norwegian student at an image & information tech. course at a University
>>in Japan, Chiba University. The last student here to use water instead
>>of electricity as my prof said it.
>>
>>Are currently working somewhere inbetween carbon and woodburytype, are
>>right now trying to see how thick I can print dichromated gelatin, while
>>I have a lot of questions new ones tend to pop up before I have time to
>>formulate them..
>>
>>Are looking for references bibliographies etc, reading material on
>>theory of dichro gel etc, carbon & woodburytype, There is a big lovely
>>library here with every single photo tech journal back to the beginning
>>of photography, but I do not currently have time to flip through every
>>one of them and could need some starting points. (I believe there is
>>some references in the archive.... :)
>>
>>Thanks
>>Halvor Bjørngård
>>_______________________________________________
>>Post to the list as PLAIN TEXT only - no HTML
>>carbon mailing list
>>carbon@spitbite.org
>>FAQ at
>><http://spitbite.org/carbon/list.html>http://spitbite.org/carbon/list.html
There is so much that it would be hard to put it in an e-mail message. You
can send an address so I can mail you a catalog or check out our web site
at www.bostick-sullivan.com where you can browse our catalog and order on line.

_______________________________________________
Post to the list as PLAIN TEXT only - no HTML
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Received on Sat Dec 11 10:03:57 2004