Platinum prints.. do NOT look.. you have been warned.

Recently I posted a question asking about platinum /palladium prints

and the actual quality of such a process. Well two of the many fine

photographers that visit this site have been so kind as to help me

answer those questions. I wish to thank both Michael Kravit and

William Blunt for taking the time to help me in my search for

platinum knowledge. These are both fine individuals and a real credit

to the LF photography forum.

 

My true purpose in this post is to caution others about investigating

this process. Once you have actually seen quality platinum prints I

would hazard to say that it is next to impossible NOT to want to do

this. The beauty and depth of this process as well as the tonal

quality is truly outstanding in prints made this way. I have never

seen silver prints that are able to capture the essence of scenery or

architecture as well as prints like these can.

 

So if your photography budget for this year is already in a �deficit

financing� state or perhaps �she who must be obeyed� is closely

watching over you, then for goodness sake do not go looking at

platinum/palladium prints. If you do, you will be quietly seduced by

the essence of this process and then like myself, now strategically

planning how to redo the family budget so as to be able to become a

platinum/palladium printer in the near future.

 

Best Regards,

Romantically and accurately stated.

Listen to Grey Wolf it's true!!!

I have recently been fortunate enough to see very fine prints by both Jorge Gasteazoro and Clay Harmon, and I concur with the Wolf. It's like poison. I can't get over those prints and immediately began imagining my portraits printed similarly. I've already begun developing my negs for printing in platinum, which makes them difficult to print on silver paper, but I just don't care. No monitor image can come close to the experience of seeing one of these beauties first hand. The word that immediately comes to mind is "precious", like the platinum itself. The prints have such unique qualities that I have to remind myself that I'm looking at a photograph. Absolutely and irreversibly contagious.

LA-LA-LA-LA-LA-LA-LA

 

<<fingers in ears>>

Gray, getting a pt/pd printer is not hard or expensive if you have an extra couple of hundred dollars. E bay in the bussiness and industrial section/prepress sells the Nu Arc 26-1k and they usually go for 2 or $300. If you are handy with wood and a few electrical conections, making a UV box could run you about $200 with the lamps. Check out the Edwards Engineering web site for plans on how to make one.

 

Jay, thanks for the kind comment. I am glad you are still thinking about doing this.

I'm intrigued now. Does anyone have a test print they could send my way?

"... The beauty and depth of this process as well as the tonal quality is truly outstanding in prints made this way. I have never seen silver prints that are able to capture the essence of scenery or architecture as well as prints like these can."

 

... or the essence of portraits or of still lifes or of figure studies or of photographic renditions of modernist abstract expression.

 

"Tonal quality" is after all a formal feature independent of content, so why think in terms of any particular subject matter?

 

Just a thought as I contemplate the possibility of trying some of the alt processes myself.

I find Platinum prints rather "muschey" compared to a good, hard, sharp silver/gelatin print (comparing George Tice's beautiful prints done both ways from the same negative). Also, based on the early Paul Strand prints, I wonder about their true archival qualities.

I too would like to see a test print. Maybe some kind person could send one out, and we could pass it around so we can all get addicted.

I'm glad you like the platinum prints, but keep in mind that there are other alt processes which exhibit some of the same qualities: Kallitype, Van Dyke, Albumen, Carbon (not ink jet carbon!) and others.

 

Regards, pete

For those that want to get their feet wet with the experience of coating and

exposing a print with WYSIWYG simplicity, the Ziatype has been quite fun and

so easy to do since you can use the sun as a UV source. This does not mean

that it is better than PT/PD, but it is easier and a little cheaper. No darkroom

work and all you can to do is clear the print in citric acid, dry and your done. I

believe it's a good, fast and cheap intro to the alt process world and it has only

whettted my appetite to continue and explore the PT/PD process as well. It

certainly provides a good foundation to work from.

What would be a couple good books on alternative processes? Thanks!

While I've not taken the platinum plunge, I'd agree with the general sentiment that there is no end to the seductive side of processes - alternative or otherwise.

 

One of the LFers here in the SF Bay area brought several carbon pigment prints to one of our meetings. Absolutely stunning - they were like looking at 16x20 color transparencies, even though printed on (archival) paper stock. The down side (there's always a down side) is that it costs him between $600 and $1,000 per print, and consumes about 100 hours of lab time.

<i>What would be a couple good books on alternative processes? Thanks!

</i><p>

 

If you want pt/pd then the Arentz book "platinum & palladium printing" is the bible along with "the new platinum print" by Sullivan and Weese.<p>

 

If you want a compilation of different processes the book coming into focus edited by John Barnier is a very good book.

My first thought was also "Where can I see one?" I'd also be very interested in joining the other posters who ask whether someone might be willing to circulate a platinum print that we who've not yet been enlightened could drool over, errrr, I mean study...

Ok, ok, since Michael and William did their good deed I guess it will be my turn. You all get together and agree as to who receives the prints first and e mail me the address and I will send you guys two work prints...well actually they are good prints which I messed up. On one I got stains which I do not know where they came from and the other one I masked the area wrong and got a crooked edge. They will be 2 contact prints, one an 8x10 and another a 12x20.

 

The only thing I request is that when you get done passing them around they are returned to me. If you all agree, let me know and I will send the prints next week.

I'd love to see a platinum print in person. Please add me to the

list. Thank You.

Jorge - a suggestion: why not have those who are interested in participating send you an e-mail indicating they agree to mail the prints to the next person on the list within a day or two of getting them (along with their postal address, of course), and then you decide the order/sequence. Then, just include the list of addresses with the prints, and everyone can be infected by the pl/pt bug. Otherwise, everyone will want to see them first.

please count me in on the 'pass the platinum' around idea..i contact print 8x10 on AZO which i have been pleased with and have seen platinum prints in galleries but would love to have a hands on look side-by-side of platinum with my AZO's...

 

how do i join the list to get in on the action?

 

best regards

-andrew

Yeah Ralph, when I said you all get toghether was so that someone would organize the order, but I guess is fine if you all want for me to do it. I suppose first come first serve is in order, so Peter allready sent me his address, you all can e mail me and give it to me and I will make the list and send the prints.

I would highly recommend that you should check out Michael Smith and Paula Chamlee's alternative process and work. They develop negatives by inspection using ABC Pyro and contact print on Azo. The technique is quite simple and the prints are simply beautiful. Their website is michaelandpaula.com.

<i>I would highly recommend that you should check out Michael Smith and Paula Chamlee's alternative process and work. They develop negatives by inspection using ABC Pyro and contact print on Azo. The technique is quite simple and the prints are simply beautiful. Their website is michaelandpaula.com.</i><p>

 

An alternative process is usually though of one where the pratictioner coats a piece of paper with a light sensitve emulsion and then exposes it to an UV source. Printing on Azo developed in Amidol has nothing "alternative" about it, nor does developing by inspection. I develop by a combination of time and inspection with a brush (which is a very old technique astronomers use) and I would not call my developing method alternative. <p>

"An alternative process is usually though of one where the pratictioner coats a

piece of paper with a light sensitve emulsion and then exposes it to an UV

source."

 

that's a pretty narrow definition

 

- the alt photo group uses the definition of "Alternative photographic processes are usually considered to be any photographic process that does not use the methods and technology of current silver-gelatin materials".

 

which to my mind makes more sense - they includes the likes of Polaroid transfers and Carbro prints, which don't necessarily invlove "coating". Nor does using commercially available POP paper. The idea of "current" silver gelatin materials is important I think, as some process fall into disuse, either from lack of interest or loss of materials, they may well become Alternhative Process practiced by a few faithful followers. In this, Azo/Pyro is certainly close to becoming an Alt process. Maybe in a few years time silver-gelatin will too. (you could say those few who are reviving a form of the process of dye transfer are practicing an Alternative Process too.) Bear in mind that some of the alt processes were once main stream, while others never were - and some are modern inventions.

I understand Palladio Company sold already coated paper; but stopped due to supplier problem. Does anyone know if already coated paper is available? Advantage would be consistency.