Digital BW, The Print

>Brandt's images should be especially >exciting, rather than
>merely "precious," when seen in grand >scale and with the extra
>control that's so readily available with >inkjet printing...

I know nothing about this particular exhibit but based only on the quotes 
you've provided here it doesn't look like these are ink jet prints, it looks 
like they're traditional carbon prints made by coating a tissue with 
ammonium or potassium dichromate, exposing the tissue, then contact printing 
the tissue onto a gelatin coated transfer paper. If you enjoy a good fight 
just tell someone who uses this process that you're making carbon prints on 
your ink jet printer. : - )

----- Original Message ----- 
From: "Djon" <westsidemaurice@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Monday, July 18, 2005 9:30 PM
Subject: [Digital BW] Bill Brandt "carbon prints" Los Angeles


www.billbrandt.com/News/Current%20Exhibitions/Press%
20release/pressreleasefkg.html

I'm driving down to Los Angeles from Monterey to see this important
Bill Brandt exhibit...the press release I've cited here is overblown,
but Brandt's work certainly is well known to anybody who's taken a
serious interest in B&W photography outside the confines of scenics.

 Brandt's images should be especially exciting, rather than
merely "precious," when seen in grand scale and with the extra
control that's so readily available with inkjet printing..."carbon"
printing as the gallery labels it in the Los Angeles Times.

"He excelled in all fields - social, Surrealism, night photography,
documentary, landscape, portraiture and the nude."

"Brandt's nudes are also considered as his most innovative work. "In
photography only Edward Weston has made nudes of equal power," said
John Szarkowski, Director Emeritus of MoMA's Department of
Photography. Dramatic use of the contrasting values of black and
white, and exploration of optical deformations, cause the nudes to
read as daring studies in abstractions, somewhat reminiscent of Henry
Moore's sculptures.

"Carbon was one of the earliest substances used to produce
photographic prints. The first known image-forming use of carbon
pigment was in the Paleolithic Chauvet-Pont-d'Arc cave in France some
30,000 years ago. More recently, the first photographic Carbon Print
process was developed by Adolphe Poitevin in France in 1856."

"An important aspect of the process is that it is an ink on paper
medium, not a light-sensitive emulsion, and therefore is more akin to
gravure than to silver or platinum prints. Carbon printing is still
practised today in various forms by those who revere a more permanent
image."





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