love me some Fresson prints, those things are great. They seem to give color a texture that is completely unique, hard to put into words. I feel that its a whole different level of mastery when you are using the process to create your artistic vision, not necessarily reproduce reality. Anytime you're working with gum or similar process, the only limits are the ones you place on yourself. Alvin Langdon Coburn, Steichen, Kasebier and Demachy (as well as many others) made such diverse and incredible work within the medium. Sam Wang's work is special, he was one of the first contemporary artists that got me interested in Gum. Its always an uphill battle with anything handmade, and I feel that people are quick to try to dismiss it by saying, "Thats alternative process" and then feeling like they have engaged with the work. Had to deal with that at SPE, and had a couple of spirited conversations about how my work was not "Alternative Process" and how there was no such thing as alternative process in the art world. As for digi negs on Canon, I don't have any experience as I don't have access to the hardware. I believe that there is a rip that will allow you to control your ink in a qtr like manner, but not having the hardware I never really looked into it. Canon definitely has some features that are attractive, and there are a couple of things about the epson 7890 that I have that drive me a little nuts, but it does the job for me. I have yet to find a process where I need more density in my negatives than I can put down, even high relief carbon prints and printing out processes like salt, zia or albumen. Can't wait to take a look at those prints, please let us know if they are put online anytime soon, and one more reason to visit you sometime in Toronto.
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