Paula
Durbin
My
first creative approach to photography was the incorporation
of the Polaroid transfer technique. I still work in
this technique today, focusing on the subjects that
are close to my heart: animals and nature. This technique
suits me well; it expresses the selected image seen,
and it allows me to further express its beauty with
the softness of the technique. The use of watercolor
paper brings yet another dimension to the image. All
these elements combine to allow the "feeling" in the
art to emerge
My search for true expression, in my photography,
led me to explore the techniques of the Fresson, family
of photographers. The Fresson technique culminates
in the very special care given during the development
process, and specific paper used. This presented me
with the opportunity to express the richness of my
photography. My work can now move beyond that "moment",
presenting certain depth and richness perhaps not
otherwise felt.
I am honored to be part of the Fresson Family. There
are a limited number of such artists, with whom I
share this honor and passion. Having gone through
a selection process to participate with these artists,
I can now only hope that my passion, and concept of
depth, is enjoyed by all who view it.
Le
Procede Fresson
Theodore-Henri Fresson invented the Fresson process
at the turn of the century in France. This unique
method of color printing procedure an image that is
characteristically diffused and subtle, reminiscent
of the pointillism of Impressionist painting.
The Atelier Fresson is located in a small town about
an hour's drive outside of Paris. The inventor's grandson,
Michel and his three artisans presently run it. Michel
carefully selects the photographers for whom he'll
print. "When they come to us," he says, "we see if
we get along and if the process works with their workÉ
and then we decide." The Fresson family has no plans
to expand or franchise their process.
Each Fresson print requires about six hours of time.
The process is so pain staking that the studio limits
its production to fewer than two thousands prints
per year. The exact procedure is a closely held family
secret; this is a general description:
The original artwork is reproduced on four separate
transparencies, in cyan, magenta, yellow and black.
To create the print, a separate exposure is a made
for each color separation transparency, onto a fiber
based using an extremely bright carbon arc lamp. The
paper is coated, exposed, developed and dried four
times, once for each color. Like some other color
prints, the emulsion contains color pigments not dyes.
These pigments are similar to those used in oil paints.
During the exposure, the emulsion is hardened in proportion
to the amount of light received. The print is then
developed in a solution of water and sawdust along
with several secret ingredients. The water softens
the areas of the emulsion not affected by light, and
the sawdust acts as a mild abrasive which pulls off
surplus gelatin. What remains after the development
is the final color image.
This image is extremely stable, consisting of only
gelatin and oil pigments on pure rag paper. The Fresson
print is considered to be the most archival of any
color procedure in use today.
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