Platinum And Palladium Printing !!BETTER!! Downloadl
This account of the underlying chemistry and historical practice of the platinum and palladium printing processes has been compiled on the basis of my 36 years experience with the medium. Its writing was initiated in 2010 by my appointment as a scientific consultant to the National Gallery of Art in Washington DC. Over the ensuing six years, the NGA became the hub of a wide-ranging, inter-institutional research collaboration by curators, conservators, photographers and scientists, that culminated in an International Symposium in 2014, the proceedings of which - greatly extended - were published in 2017 as Platinum and Palladium Photographs: Technical History, Connoisseurship, and Preservation, with 46 contributors, edited by Constance McCabe, under the aegis of the Photographic Materials Group of the American Institute for Conservation of Historic and Artistic Works. This beautifully illustrated and scholarly published book may be purchased from the AIC website:
Platinum And Palladium Printing Downloadl
The sensitizer is prepared by mixing the iron solution with an equal volume of either the palladium solution or the platinum solution, or, for a mixed-metal print, a combination of both. It is not advisable to store large quantities of the ammonium tetrachloroplatinate(II) solution, which tends to decompose with time. The instructions below are scaled to realistic quantities, which should suffice to make about 60 10x8in platinum-palladium prints.
For a platinum-palladium print you may combine Pt and Pd in any ratio; the volume of Fe used must equal the combined volume of Pt plus Pd. Let the mixture stand for one hour in the dark before coating.
Interpose a protective polyester film between paper and negative if you think it advisable. Ensure that the rubber backing sheet is in place between the paper and the back of the frame. Exposure times will, of course, depend on the power and efficiency of your particular light source, the negative density range, and the proportion of platinum to palladium; times will probably be in the order of a few minutes, and palladium printing will be about twice as fast as platinum. The correct exposure is readily found by inspection of the printed-out image, without the need for test-strips, if you bear in mind the small degree of development that may occur in the wet processing.
The procedure above is appropriate to palladium or platinum-palladium prints. In a pure platinum print the chemistry is less vigorous, especially at low RH or if gelatine is present. If you wish to use 100% platinum then observe the following points carefully:
Platinum and palladium sensitizers differ in the contrast and colour of print they produce: palladium yields the warmer tones and a softer image (i.e. a longer printing exposure range) with greater delicacy in the high values. This provides a useful control, because the platinum and palladium solutions can be combined in any ratio in the sensitizer to fulfill your wishes for the finished print. However the two metals print out with different speeds, palladium being the faster by a factor of about two. A mixed print will therefore not contain the two metals in the same ratio as in the sensitizer, but will be depleted in platinum.
Calendered paper was glazed or smoothed by passing between rollers to get an extremely glossy and smooth surface. This is the case for Bristol papers for instance, which are not adequate for platinum-palladium printing.
The U.S. Mint launched the American Eagle Coin Program in 1986 with gold and silver bullion coins for investors. The program has since expanded to include platinum and palladium coins. The Mint also makes proof and uncirculated versions of the American Eagle coins for collecting.
American Eagle Bullion Coins provide investors with a convenient and cost effective way to add a small amount of physical gold, silver, platinum, or palladium to their investment portfolios. The gold bullion coins are available in four sizes: one ounce, one-half ounce, one-quarter ounce, and one-tenth ounce. The silver, platinum, and palladium bullion coins are available in the one ounce size.
The Mint produces American Eagle Coins for collectors with proof and uncirculated finishes. The gold and silver coins are released in both proof and uncirculated finishes each year. The platinum coins are currently made only as proof, while the palladium coins switch finishes each year.
How did you acquire the current techniques you use?Ever since I saw my first platinum print nearly ten years ago I was determined to try and recreate the magic I saw in that print. I searched for any workshops in U.K that could give me a head start however could not find any after an exhaustive search. I was aware that platinum printing was an expensive process to learn so started working on my own with Cyanotype, the least expensive. I found the internet a good resource for advice on various alterative printing techniques. As my confidence grew I started to experiment with silver alternative processes such as Kalitype and Van-Dyke and then finally platinum. Along the way I have met other people interested in alternative processes who have helped me in my development as an alternative printer most notably Mike Ware and Ian Leake who are great printers themselves.
Even though you work from digital negatives, have you, in the past, used a purely analogue route to making larger (i.e. from 35mm or medium format film) Cyanotype or platinum/palladium prints?Its something I only tried a few times, personally using a digital negative approach has given me a tremendous amount of control over the final print result which I like and personally could not do without. I do shoot medium format film for the majority of my personal work which is then scanned in.
What is it about these chosen forms of printing that so draws you to them? When I think of platinum/palladium printing I think of Irving Penn and his beautifully toned images, was he an inspiration?In terms of platinum printing I really like the way it reproduces mid and highlight tones. One of the keys to successful platinum printing is identifying the strengths of the process and pairing it with images that will take advantage of these.
20+ years ago I was splitting my time between a job where I was a Leaf45 scanner operator and an apprenticeship with a master printmaker. In the printmaking studio we were making large digital negatives on an imagesetter and using them to make hand-coated platinum/palladium prints in a wet darkroom. Back then everyone was using Photoshop 2 and had CRT monitors. While the color scans coming off the Leaf45 seemed pretty decent after a little color correction in curves, I was frustrated with how different the handmade B&W platinum palladium prints looked in comparison to the same images onscreen. We had developed curves to linearize the imagesetter that made the negatives but still, the prints on Arches Cold Press paper looked soo much different than they did onscreen. The paper had a warm tone that was darker and more yellow that what I saw onscreen. And the platinum palladium blacks were much lighter and warmer than the deep neutral blacks we saw onscreen.
Mike Ware ISBN's 9780955112904 + 9780955112959 50 page PDF file + 211 page book 50 A new step-by-step guide to printing in gold, platinum, palladium, silver and Prussian blue. Covers new chrysotype, argyrotype, new cyanotype, platinotype and platinum/palladium. Essential aspects of chemistry, lighting, negatives and paper are thoroughly detailed. Consists of 'The Siderotype Manual: workshop notes' and 'The Chrysotype Manual'. Read the preface for both here. Free delivery worldwide Making Digital Negatives - download Mike Ware 2010 ISSN 2040-8501 20 pages PDF file 1.99 Mike Ware's methodical workflow leads you through the process of creating optimal digital negatives for contact printing. Includes the file for printing a high resolution 100-step test negative. Delivered by instant download as an illustrated 20 page PDF document. Read the preface here
Mike Ware 2011 ISBN 9780955112959 50 pages PDF file 1.99 The essential instructions for printing in gold, platinum, palladium, silver and Prussian blue. Covers new chrysotype, argyrotype, new cyanotype, platinotype and platinum/palladium. Expands 'The Chrysotype Manual' into the full 'The Siderotype Manual' package. Delivered by instant download. Read the preface here
Instruction on classic B&W sliver gelatin print making as well as the historic light sensitive iron based Siderotype processes of Cyanotype (iron), Vandyke Brownprint, aka VDB, (silver / gold), Argyrotype (silver / gold), and Ziatype (palladium / gold / tungsten / platinum).
Born in 1931 in Wilsele, he was a self-taught photographer since 1956, with a predilection for nature and mineral or vegetal textures. He was also interested in structures developing into random patterns via computer programs. He practiced many historical techniques, most notably cyanotype and platinum-palladium printing. Around 1968 he became interested in the orotone, an old, almost forgotten process, and came up with his own modernised version that he called “chromotype”. His more recent works were more inspired by photographic intent, and less by the purely aesthetic aspects.
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