The 10,000 Year Photo

[Colin Corneau]

Friends
One of my favorite fine-art photographers, Edward Burtynsky, recently did an interview on CBC Radio.
Concerning the "10,000 Year Clock" (a clock built to run on its own for 10 millennia), Burtynsky proposed a gallery of photographs built to last for the same time.

http://www.cbc.ca/spark/blog/2008/09/full_interview_ed_burtynsky_on_1.html

 

[reellis67]

"He said that making one print takes five days of work, costs $2,000, and only ten artisans in the world have the skill,"

That seems a bit off considering how many people do great work in carbon...

The Long Now Foundation - info on the clock
http://www.longnow.org/

- Randy

 

[GGardner]

I haven't heard this show, but have heard him speak on another podcast. If the goal is to produce an image that will last 10,000 years, I don't understand why you'd print on paper, in any process. Wouldn't some kind of etching or engraving into metal process be more permanent, and less subject to environmental problems?

And as far at the $2000 per print, I think he's talking about very large (30x40 inch), color carbon prints.

 

[reellis67]

Yep, he's printing in three colors, and making his own carbon sheets, but still, only 10 people?

- Randy

 

[Colin Corneau]

Likely his opinion -- but based on his work, I'd say a pretty well-informed one and based on some pretty high standards.

 

[Michel Hardy-Vallée]

Yeah, I heard that on the radio before going in to work. I was wondering if Sandy King was in the know? After all he's one of the most prominent carbon printers here--but I don't know if he dabbles in color carbon too.

There was a mention of the print being made on aluminium instead of paper, thus enhancing durability.

 

[reellis67]

I don't doubt his skills, rather I doubt that he is considering anyone but those with large enough checkbooks to register in certain markets. This is related to a comment I heard from a curator at a recent show opening. The photographer in question was presenting a number of form/line/shape/etc type photographs of plants, rocks, and landscapes, and the curator commented that he was very moved by this new way of seeing and that this photographer was doing something that no one else was doing. ???

While most modern photographers are working in styles other than this, there certainly are some doing just this same thing, and certainly many who have done so in the past. And, if you look at people who are not heavily marketed (myself for example), there are a great number more who are doing this as well, they just don't register on the highbrow radar because they are working on their own without a lot of high-dollar support. Their work may be just as strong, or stronger in some instances, as many better known photographers, yet they don't get counted in the tally because of their relative obscurity.

I'm just saying that the same thing may apply here - I would be surprised if there were only 10 people doing technically solid work in color carbon in the entire world. Sure, perhaps there may be only 10 people that have good enough representation to be noticed by someone only looking at those with high profile representation, but surely there are more than that who do work in their own little workshop darkrooms and who possess the technical ability required for this, who but lack in representation and therefore don't get the nod as it were.

- Randy

 

[Bob Carnie]

The ultrastable process is what I believe Ed was referring to. I went on a workshop in Maine over 10 years ago, and made a few prints. This process is indeed done by a few , notably Todd Gangler in Seattle and John Bently here in Toronto.
I am setting up to attempt this process as I now have the equipment , space and desire to give it a go. Making the tissues is of paramont concern and the negatives to lay on top. I think that this time next year our shop will have produced a series of shows highlighting some of our clients work and they will be tri colour carbon with a black detail/contrast carbon kicker.
Very exciting times , this mixing of old and new technologys
I will be posting a blog on Hybrid as progress is made at our end as there is a heavy digital element in making the separation films that respectfully cannot be posted here.
I have just obtained the film required to work in our Lambda to make the separations, and in fact my wifes infared negatives will be the first order of business to make negs for enlarged platinum prints.
I have a good friend willing to show us how to make the carbon tissues required and with good luck and a lot or effort I think we will be making this a standard service at Elevator within a year or two .