Several friends and colleagues offered creative encouragement
and inspiration. Artist Lois Conner has been a superb master
in both the aesthetic and technical terrains of photography, and
helped define the thematic content of this show. Clifford Ross,
whose photographs of the stormy ocean motivated my own Sea
series, lent advice and support. Conversations with curator and
scholar Maria Morris Hambourg on the history of photography
have occasionally turned toward my own experiments in the field,
and I am grateful for her thoughtful essay.

     The steps leading to this show began in St Barths with
Valentine De Badereau, who introduced me to photographs by
Dolorès Marat printed in the rare Fresson technique. Intrigued,
I arranged to visit the Atelier Fresson outside Paris. It has been a
privilege to work with the fine artisans, Michel and Jean-François
Fresson, who carry on the family’s propriety nineteenth-century
printing process. At McCaffrey Fine Art, I thank Fergus McCaffrey
and director Lisa Panzera for their encouragement and efforts to
realize a gallery show of this work. Fergus has been especially
gracious by joining me in donating all revenues from this exhibition
to arts education.

My assistant, Emily Webb Doskow, provided
early and infectious enthusiasm for the project, acted as translator
and liaison with the Atelier Fresson, and assumed many of the
responsibilities for this exhibition.

A great many technical skills were involved in the creation
of these images. Joan Wood and George Szrir provided Photoshop
expertise; Doug Munson of Chicago Albumen Works converted
the digital files to black-and-white negatives for the Fresson
process; and Jerry Ibaran at Duggal Visual Solutions was an unflagging
perfectionist in producing the digital chromogenic prints.
At my office, Phil Mentesana oversaw production and helped
maintain the highest standards. John Bigelow Taylor and Dianne
Dubler photographed the Fresson images for the plates in this
catalogue. Miko McGinty designed this publication with her customary
mark of elegance and clarity, and oversaw its production.
Finally, I offer loving thanks to Alexandra Munroe, my muse
in all endeavors and an absolutely essential part of this one.

–Robert Rosenkranz

Robert RosenkranzAcknowledgements and Credits