Re: Linda Connor's process

From: Susan Huber ^lt;[email protected]>
Date: 07/12/04-06:28:42 AM Z
Message-id: <001f01c4680b$c5903db0$f491c8cf@ownereb7xeo44n>

Hello Jack,
Thank you for the information- I have tried many formulas to tone the POP- could you clarify as to the amount of ammonium thiocyanate Linda uses. I assume she uses a gram of gold chloride for part two of the solution to gold tone.
Thanks, Susan.
  ----- Original Message -----
  From: Jack Fulton
  Sent: Saturday, July 10, 2004 10:32 AM
  Subject: Re: Linda Connor's process

  Linda's work is photographed with an 8x10 camera. Her negatives are "bullet-proof" as she states herself.
  All work is printed on Chicago Albumen Works POP in her backyard in printing frames. Therefore virtually all of her work but for a few that have been copied, enlarged and made into Pl/Pd prints are contact size images.
  After the work is printed, which she inspects as they develop up over a period of minutes or even an hour depending upon the weather (but in her backyard of San Anselmo, CA, the weather is more often than not gorgeous with open light). They are then fixed, washed and toned in Kodak T-53 Gold Toner (Part A = Ammonium Thiocyanate & Part B = Gold Chloride). This toning removes the 'orange' look.color of the POP and transforms it to the purplish-brown familiar tasty color of the POP.

  Jack Fulton

  On Jul 10, 2004, at 10:35 AM, Robin Dreyer wrote:

  I just spent some time with Linda Connor's amazing book "Luminence" which I recommend to anyone both for the richness of the images and the beauty of the reproduction.

  In her introduction to the book, Rebecca Solnit refers to the Connor using "printing-out paper" exposed in the sun. Does anyone know specifically how these beautiful prints were made? Is this waxed or oiled salted paper? Chicago Albumen Works? hand coated albumen? something else?

  Anyone know?


  Robin Dreyer
Received on Mon Jul 12 06:29:57 2004

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