RE: Stability of Carbon Prints

Loris,

First, I am just relived to know that my carbon prints did not
suddenly change color in the highlights. That thought was driving me
nuts since I use all pigment inks.

Second, the prints are clearly marked mock-ups. But since the writing
was beneath the matte I did not see it. But it really was no
inconvenience. In fact, having the mock-up prints gave me the exact
dimensions to trim the replacement prints so I did not have to use
new corners.

Best,

Sandy

At 9:00 AM +0300 5/29/07, Loris Medici wrote:
>Oops!
>
>Sorry for the inconvenience Sandy. We had to do it that way (I mean to
>replace the prints you've gifted us with mock-ups) because of customs
>regulations; the actual count of prints was stated in the customs
>declaration and if they check and see if some prints were missing, they
>would prevent the shipment + inform the tax office (thinking of the
>possibility of undeclared selling of prints). So we choose to put *color
>xeroxes* (not inkjet prints) of missing/exchanged prints. I thought that
>it was very clear that they weren't original prints -> at least to my
>eyes... (I also included the commend "mock-up" in the prints; outside of
>image area under the mat...)
>
>Thousands and thousands of apologies!
>
>Regards,
>Loris.
>
>-----Original Message-----
>From: Sandy King [mailto:sanking@clemson.edu]
>Sent: Tuesday, May 29, 2007 12:18 AM
>To: carbon@spitbite.org
>Subject: [carbon] Stability of Carbon Prints
>
>
>I have a story that some of you may find interesting, even though it
>makes me look rather slow.
>
>The story has its genesis in a workshop/exhibition I did last October
>at the IFSAK Bienal of Photography. For the exhibition I sent over
>some 20-25 prints, mostly carbons but a few carbons. Before returning
>home I traded prints with a couple of photographers, including Loris
>Medici who posts her from time to time, and a fellow named Bulent,
>who does beautiful silver B&W work.
>
>OK, the prints were shipped back to me and arrived in time for me to
>use some of them in an exhibition in Toronto in December. When I
>started going through the mounted prints I noticed that a few of them
>had a very strange and unusual yellow-orange cast in the highlights,
>where there should have been a neutral tone. This really concerned
>me, because as we all know, carbon prints are absolutely stable. So I
>begin to conjecture on what kind of noxious toxins must be in the
>atmosphere of Istanbul to cause this kind of degradation.
>
>Today I was putting together a collection of prints for a local
>exhibition and pulled out some of the prints that had been in
>Istanbul, and again noticed the yellow-orange cast, which was much
>worse than in December. Now I am really pulling my hair out on this
>because I put a lot of emphasis in my work on archival processing,
>and hell, with carbon that should be a snap anyway.
>
>Then I took a closer look, and what I found was that the prints I
>thought were carbons were actually mock-up prints, color inkjets no
>doubt, that were placed in the original mattes when the prints I
>traded were removed. Why this was done I have no clue but the fact
>that I did not know about it sure caused a fair amount of
>consternation at this end.
>
>Sandy King
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Received on Tue May 29 07:49:53 2007