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Home , Palladium, Platinum, Platinum print

9

The / Process

OVERVIEW AND EXPECTATIONS In the majority of the classes and workshops that I’ve taught over the years, “the platinum/palladium process” is the answer that surfaces first when I ask the question, “What process do you want to learn the most?” In this chapter you will learn how, and, as in previous chapters, I begin with a little history. Then you will learn the chemistry and sequence of the various stages to a finished print. This chapter gives you alternatives to traditional platinum/palladium chemistry and provides you with a simple sensitizer “drop chart” that is based on the type of you are working with, rather than the print you would like to make. I also provide the beginnings of a trouble-shooting list to assist in hunting down problems that may be showing up in your work. Finally, you’ll get some brief alternative ideas for combining platinum/palladium with other techniques such as Van Dyke and .

A LITTLE HISTORY Like most refined non- and alternative photographic processes, the art of platinum/palladium printing was developed in pieces over time by a number of dedicated artists and scientists. In 1830, Ferdinand Gehlen recorded the action and effects of light on platinum chloride, noting that UV light would alter the color of platinum salts and cause the ferric salts to precipitate out into a ferrous state. At around the same time, Johann Wolfgang Dobereiner (1780–1849) observed the decomposition of ferric on exposure to UV light and scientifically defined its sensitivity. Dobereiner also recorded the light-sensitivity of platinum salts, manganic (containing manganese), and tincture of . His scientific observations are relevant here in that they form a foundation on which many non-silver processes have been built.

164 Figure 9–1 Christopher James, Market, Cairo, Egypt, 1992 (Plastic camera platinum) This image was made in an open-air Cairo market with a plastic camera (a modified Holga) while following this angel-like chicken on its way to a butcher. An internegative was generated on SO-132 film and used to make this platinum/palladium print. (Courtesy of the author)

165 evious experiments Then in the early 1870s, William Willis William Then in the early 1870s, olled adaptation of these pr In 1859, C. J. Burnett was the first to demonstrate a was the first 1859, C. J. Burnett In Pizzighelli the late 1880s, Captain Giuseppe In semi-contr platinum-based exper- His using sodium chloroplatinate. success- entirely to Burnett, not, according iments were and his prints with palladium salts were, ful. However, first palla- happily got to exhibit his work—the Burnett dium prints. to make a more looking for a way (1841–1923), ardently series of experiments stable print, conducted an involved the in reducing was successful Willis using platinum salts. stable to a more UV exposure, salts, following ferrous incorporating a potassium oxalate metallic platinum by patents for his research was granted several He developer. platinum paper enter- and founded the first commercial Company. prise, the Platinotype Hübl (1852–1932) Von Arthur (1849–1912) and Baron an They created work. Willis’s expanded and modified into the emulsion that incorporated sodium ferric oxalate and the paper prior to exposure, humidifying sensitizer, - 1895 , ochloric and nitric acids, dr Portrait of Aubrey Beardsley y, did some experiments in the early y, In 1831, Sir noticed that when he acid- Herschel John 1831, Sir In of salts that gave him a lovely image, solution of mercury him a lovely salts that gave (Courtesy of the George Eastman House, Rochester, NY) (Courtesy of the George Eastman House, Rochester, um. His subject in this 1895 platinum print was Aubrey Beardsley um. His subject in this 1895 platinum print was Aubrey Japanese woodcuts, (1872–1898), a self-taught illustrator influenced by the flamboyance of the silhouette simplicity of Greek vase painting, and with his erotically deco- French Rococo. Beardsley enjoyed a brief career at the age of rative, monochromatic, illustrations and died of and Evans is why 27. The confluence of personalities between Beardsley this image has always been one of my favorites. (Platinum print) would say a zealot, who Frederick Evans was a photographic purist; some essence of the medi scorned any artist who strayed from the truth and Figure 9–2 Frederick Evans (1853–1943), ified platinum salts with hy 1840s using platinum chloride on silver iodide coated 1840s using platinum chloride on silver platinum chloride with a solu- papers. Later on he mixed to sunlight, tion of potassium cyanate that, on exposure in then placed the paper yielded a faint latent image. He a away experiments, faded which, like most everyone else’s time, and which meant that it could not be consid- over for his is also remembered a platinum print. Hunt ered agent (1844), a developing sulphate as of ferrous discovery of the spectrum on the influence his work on light-sensi- for being one the founders of the Royal materials, and tive Society. Photographic mixed them into solution with hydroxide, and them into solution with calcium hydroxide, mixed nothing at all environment, then placed them in a dark when he exposed them to sunlight, a pre- happened. But (1807–1887), a Her- Hunt cipitate was formed. Robert schel contemporar

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 166 competitions. Inmodernnomenclature, theword gion” madeahomeforitselfin cameraclubsandgeneric far moreconservativeandvisualtheology. Thisvisual“reli- secessionist movementunderwentatransformationwith rules” astowhataproperimageshouldbe,andthephoto- became pedanticwithanassortmentofinflexible“new photographers tohavehandsaswelleyes. processes andtheconceptthatitwasappropriatefor the strongestadvocatesforalternativeandnon-silver romantic, trite, a cliché,andpersonal. who isspeaking,aworkofartthat is“painterly,” handmade, most oftendescribes,positively ornegatively, depending on magazine, strength throughthepersonalityofAlfredSteiglitzandhis Photo-Secession (NewYork, 1902)thatachievedits Linked RingBrotherhood(London,1892)andthelegendary would berespectedandestablished“clubs”suchasthe tographers formedtogethertoensurethattheirvoices styles andideasofImpressionistpainters.Groupspho artists andtheirrespectiveeffortsoftenmirroredthe photographers begantothinkofthemselvesaspure influential imagemakersandcritics. istic Photography was toolate,however ond booktitled Driffield’s research(Chapter6),andself-publishedasec- mind abouteverythinghehadwrittenduetoHurterand on artisticphotographyinabookentitled candid posing,andin1889Emersonpublishedhistheories tralized subjectmatter, sharpfocus,naturalsettings,and virtues ofsciencetotheless-definedfineart. spawn amovementinphotographythatledawayfromthe views ofarthistoryanddemonstrativeego,wasableto Emerson (1856–1936)who,byvirtueofhisrevisionistic first scientisttoofficiallymakethebreakwasPeterHenry founded onpracticalscienceorcuriousdiscovery. The the mediumwithmoreartisticintentionsthanthose 1847), therehavebeenphotographerswhoapproached bers ofthenewlyformedFreeChurchScotland(1843– Beginning withHillandAdamson’s Calotypes of the mem- Ironically, therebelliousnatureofpictorialists Shortly afterEmerson’ Emerson madeupalotofrulesforphotography;cen- Camera Work . The followingyear The DeathofNaturalisticPhotography. had grippedtheimaginationsofmany , because theinfluenceof (1903–1917). Thesegroupswere s first book,morethanafew , Emerson changedhis Naturalistic Natural pictorial It - - lic state r development. During theprocess, theplatinum saltwas eliminating theneedforpotassiumo (Courtesy oftheGeorgeEastmanHouse,Rochester, NY) Camera Work Pictorialist movement.Steiglitzwasafanofhers,publishingherin (its firstAmericanwoman)andoneoftheprimaryinfluencesin Gertrude KäsebierwasaprominentmemberofEngland’s TheLinked (Platinum print) Gertrude Käsebier(1852–1934), Figure 9–3 (hy ing bath,theimagewasimmersedinanacidicsolution nostalgic visionsoflife. the majorityofpictorialists,shewasdevotedtoideal,romantic,and ble ” formulasanddiscovered thatwiththeaddition beginning tofittogether? Out-Process (POP).Canyou seehow theseideasare pr educed totheferr ocess wasmarketed asDr. Jacoby’s Platinum Printing- dr Pizzighelli continuedtoexperiment withother“dou- ochloric acid)forclearingandthenwashed. during (1903–1917) andexhibitingherworkinhis291Gallery. Like the exposur ous stateandconv Blessed ArtThouAmongWomen, e. Following abriefwaterclear- er ted intoametal xalate liquid 1900 The - 167

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS - enation ejuv the use of platinum , y ocess disciplines. oplatinate (ll) pr e ocess, and the booming busi that point in histor es in the pr chlorate chloropallidite chlorate sodium tetrachlor t tially replaced the classical pictorialism, tially replaced ariation t. A kshops in alternativ and separate . y latinum v olution 2:B: olution Part with potassium ferric oxalate ecent years through the work of contemporary the work through ecent years artists, Palladium variation (note: a different Part C) Part (note: a different variation Palladium 1:Solution A: Part ferric oxalate S 3:Solution C Part palladium (ll) chloride/sodium P Solution 1:Solution A: Part 2: ferric oxalate B: Solution Part with potassium ferric oxalate 3:Solution C: Part potassium chloroplatinite/ in r academic electiv ness of wor intentions par elitist many as a privileged and by which was perceived in addition, significant changes view In of the medium. thinking in the arts,conceptual and perceptual that is, the pic- put an aesthetic dagger into the once hardy Bauhaus, torialist hear and palladium declined but has experienced r and palladium declined but has experienced N The Process Explained three are there (Pt/Pd), the platinum/palladium process In primar N - - - substi y eloped a king on all available in Europe available e oplatinite with ammo er eese, began wor eality, and social documen- eality, W ocess, which is essentially the nonissue because of the com- a xalate, potassium ferric oxalate, Carl e y er potassium chlor s ed popular until the 1920s primarily due ent of smaller format cameras, photog ’ palladium-based process that he called the palladium-based process , oplatinite. More recently, Dick Sullivan, with Sullivan, Dick recently, oplatinite. More The palladium pr Portrait of Henry and William eviously assembled POP data and dev izzaghelli London, c. 1905 ith the adv way to make prints by both photographic artistsway to make prints by and Beginning in the early 1900s, commercially produced in the early 1900s, commercially Beginning W eloped an ammonium method of printing b eloped an ammonium method of printing ammonium ferric oxalate, he could alter the sensitiv- ammonium ferric oxalate, rare portrait of William and Henry James rare portrait of William and iatype, which is discussed in Chapter 10. iatype, which is discussed in Chapter James, (Courtesy of the author) (Platinum) A Regent Street taken in Marie Leon’s together, studio in London in 1905. Figure 9–4 Marie Leon, tation, photojournalism, and work with commercial tation, photojournalism, and work to the popularity of the “pictorialist” aesthetic. to the popularity of the “pictorialist” amateurs and stay platinum and palladium papers w made them) and were Kodak (even States and the United very tonalities and per- popular due to the beauty of their manence. became of the papers, and the process availability mercial Z same as platinum, with the principal exceptions of cost same as platinum, with the principal exceptions I. Hand- War World during was introduced and color, coating techniques w the tuting P of either sodium ferric o or ago, Pizzighelli’s years ity and color of his print. Several the through was expanded and refined POP research who Malde, Pradip and Dr. Ware Michael efforts of Dr. dev user-friendly of the pr testing collaboration b nium chlor raphy became a democratic r

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 168 Figure 9–5 Nancy Marshall, Deer Offering, 1995 To make the negative for this haunting palladium image, Nancy used an Derdorff camera and a Taylor ˝10ן˝8 Hobson variable softness portrait lens. For other work with the Derdorff, Nancy has used a zoneplate pinhole lens. (Courtesy of the artist) S S E C

These solutions are mixed together in a shot glass, in O R precise droplet based formulas, to form a light-sensitive P M U emulsion (see the drop chart). The droplet mixture is Once the paper is coated, it is allowed to I D A then gently swirled together and deposited in the center sit for a minute and then cool air-dried. L L A of the paper (if you are coating with a hake brush) or along The coated paper is then placed in your P / the edge of a Puddle Pusher (if you are glass rod coating). M hinged back contact printer along with your negative and U N Once the sensitizer is on the paper it is necessary to exe- I

exposed to UV light. Again, a hinged back contact printer T A cute your coating quickly and efficiently. You are work- L is a frame with a glass insert and is used to hold a P E

ing with a very small amount of sensitizer, and it is negative in contact with a sensitized paper by means of a H T

imperative that you cover your entire printing area with split back. This split back is vital to allow you to check on 9 R what you have made up in the shot glass. Also, an uneven your exposure on one side of the print without losing the E T P and sloppy coating will certainly make itself evident in negative’s registration to the print sensitized paper. A H your final print. C

169 - e ee and many contrast in the image. ariety shot glass for mixing e vely silver gelatin print from your gelatin print from silver vely nontourist v , printed on. e vides a little mor o heavy duty hinged contact printing frame to check on exposur Similar in many respects to the Kallitype, the Pt/Pd to the Kallitype, the in many respects Similar ou can make a lo (see Appendix E). (see Appendix A nontourist vari- By of the sensitizer. formulas the drop The (summer is best) or a UV light printer/light The sun (summer is best) or a UV light days. for winter in the colder climates and overcast box is fr The sun is the better option because it feel it pr if with contrast. Generally, Long tonal range negatives y A plastic trays, one of which is used exclusively clean Five The other of the exposed paper. for the development baths and the single clearing trays will be for the three a set of labeled trays I prefer Personally, washing tray. only used for this process. that are negative it will be too flat for Pt/Pd. The negative it will be too flat for Pt/Pd. negative 1.4 a high contrast range between should have for a 1 or a 0 grade and 2.0 and would be appropriate gel- silver it on conventional printing were paper if you atin based papers. an odd exposure characteristic called “self masking” that masking” “self called characteristic exposure an odd masking Self processes. most POP -based occurs in long expo- happens during that describes what is a term after the to expose highlights when light continues sures that essentially of exposure a degree reached have shadows in exposure additional down slowing functions as a filter, the thinner portions of the negative. with. and easier to work consistent is far more process cool to warm and color ranges from Platinum/palladium a number of factors, including developer by is controlled additions to the sensi- temperature, selection, developer and mixing the two formulas such as chloride, tizer different Part 3 Pt/Pd sensitizers. Palladium is warmer Palladium sensitizers. 3 Pt/Pd Part different is nearly identical. than platinum, but their tonal range as permanent as your are variations Both “” chemicals, and the attention to good technique, fresh paper they ar N Supplies and Materials perform items to will need quite a few this low-cost You process. N N N N - - c el elop elopment. will dev or gly ou a e ee that the negative olv overexposed your paper and it your overexposed e, the exposed paper is dev e ethink the way that y ou hav to r y most cases this will inv n wing the exposur elopment rather than a chemical dev elopment, y ollo The Pt/Pd process has a potentially long tonal range, process The Pt/Pd F Once you begin to expose your negative and sensitized negative to expose your begin you Once The Dropper The that glass droppers common misperception There is a plas- drop volume than a a more consistent will provide droppers are In fact, only the plastic tic dropper. and Drug Administration. lab ware by the Food approved glass droppers are inconsistent as The reason is that their . Plastic drop- they are “drawn” in therefore maintain a consistent pers are molded and drop point. opening at the open-end our print. I oped in one of many developers (in this case ammonium oped in one of many developers to a metallic plat- it is instantly reduced citrate), where inum, or palladium, state to the degr will see is first, the image you At has permitted exposure. based but will convert palladium to platinum or iron print is then cleared The developed metal in the developer. to remove in an acid bath sequence (in this case EDTA) ferric salts, leaving a and unexposed iron any leftover The print or palladium. of platinum print made entirely is then washed for permanence. which many practitioners feel is significantly able to ren- the abilitity of a traditional silver beyond well der values depth and incredible is also able to provide It gelatin paper. These very long tonal ranges, regard- detail in the shadows. of partially the result are times, less of lengthy exposure y will be necessar erin dev paper to UV light, a chemical reaction occurs that con- paper to UV light, a chemical reaction The state. verts to a ferrous the ferric salts in the formula if no metal were image at this point would be visible even iron- This image, unlike other in the solution. present easily in a printing- cannot be evaluated based processes, The ideal state when the print is properly out manner. intended finished of your exposed is a “whisper-image” This means that the image is simply an undistin- print. the hoping for following are guished hint of what you prior can see the image clearly you stage. If development to dev

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 170 N N N N economical andsmoothercoating. is usedfordisplayonaknick-knackshelf is madeformixinganddrinkingratherthanonethat mation ony A free ofcontaminantsand/ormoisture. and dry. It isimperative thatyour coatingarea istotally You thatisabsolutelyclean willneedacoating surface One cleanhakebrush each ofthesolutionsyou willbeusing. bottles withthechemcals,andthatyou have onefor same typesothedrops are thesame,thattheyfit sure thatyou are usingplasticdroppers thatallare the chased atapharmacyorchemicalsupplyhouse.B Photographer’s Formulary. These canbeeasilypur- nativ of Parts A,B,andCthatyou purchase from analter- Several cleanplasticdropper capsforthelittlebottles ety, Imeana also useaglassr pencil tomark negative edgearea andformulainfor- e chemical supplysuchasBostick&Sullivan or our paper real od, thatis,P shot glasswithaheavy, thickbasethat . without uddle P a metal ferrule. metal ferrule. You may usher . , for amor e e fr makes agreat dealofsensetopurchase your ferricoxalates o essential fortheP ladium chemicalsfrom areputable supplier. Freshness is N N N N xalate/potassium chlorate), and,withoutquestion,it om achemicalsupplierwho makesitforalivingrather with ahairdryer. your sensitizer quate ventilation system,whendrying A necessar fluorescent light.Humidity isaplusintheprocess and Y droppers. chase itinsolution,andforrinsingyour plastic ifyou don’t ferricoxalate AandBchemistry dry pur- A A wor hotwaterforabittoaddlittlehumidityyour run associated centralheating. I ou will need a sink with running water andlow,ou willneedasinkwithrunning non- t dual filterrespirator isvitalifyou donothave anade- hairdryer, withacoolairsetting. supply of distilled water for brush cleaning, mixing supply ofdistilledwaterforbrush is criticalthaty king space. y when wor ar t A ou pur king inthedr (ferric o chase fr Y ou canbuyahumidifieror xalate) andP esh platinumorpal- y air ofwinterand process. inum/palladium beauty oftheplat- ing othersthe phy andtoteach ment tophotogra- a has demonstrated years old,George since hewas14 photographer medium. Aserious masters” inthe one ofthe“old is nowconsidered profound surprise, George Tice, tohis Paterson, NJ,1968 Mountain, Picnic onGarrett George Tice, Figure 9–6 artist) (Courtesy ofthe lifelong commit- ar t B (ferric - 171

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS e Ideally, the finest quality negatives will be produced in will be produced the finest quality negatives Ideally, contact negative is essential for printing due to the slow contact negative The Negativ A iron-based emulsion speed, as in all of the non-silver an can be made in camera through Negatives processes. duplicating film or an using direct process internegative multistage duplicating film. to negative interpositive or camera but they can also be generated in a film recorder desktop printer or a service using a Photoshop for bureau can make may also use a copy machine or you You output. or acetate as in the case of a cliché- on glass up a negative a perfect have print on likely that you is, however, It verre. decided to indulge in the plat- have mind if you your will negative of this, your Because inum/palladium process. a large format or pinhole cam- from come directly probably to the perfect the complex route digi- era or it will follow a service specifications by to your made bureau. negative tal - y e ed) or dr der special A), and the emix wn may be roman- Harrisburg, 1998 , ometimes they come ears. our o ou may also or et pack (pr emember that plastic ey R Susquehanna . aking y om the same suppliers. M . chase of w most cases y ears. In a liquid solution, the ferric ears. In n ourself Figure 9–7 Suzanne Solis, can be created when combining a pinhole negative with the platinum/palladium Suzanne provides a fine example of the beauty that process. (Courtesy of the artist) preferable to glass because their drop size is size drop to glass because their preferable e ou add the distilled water and wait 24 hours) kits. our local pharmacy consistent. I suggest the pur e I ee solutions in bottles. S oppers ar om y t/Pd printing papers fr pack (y These packaged kits generally come with the developer (ammonium citrate), a clearing bath (EDT thr oxalate Parts A and B will be past their prime in 6 months A and B will be past their prime in Parts oxalate C solution, the precious The Part at most. salts, will last in liquid form for y tic but hardly worth a dry the time and effort.tic but hardly In state, these chemicals glass bottle, dark and in a tightly covered will be good for y with droppers, but, again, I suggest purchasing a good set again, I suggest purchasing but, with droppers, fr than making it y dr P mor

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 172 tive/Negative sheetfilm,exposedin4˝ In myworkshops, we oftenusePolaroid Type 55Posi- degradation oftheimagethr era wouldbeideal,becauseiteliminatethepossible ously, asingle-stepcontactnegative cam- exposedinaview range ofhighlightandshado be flatinPt/Pd. The negative shouldshow alonglinear ative onaconventional silver gelatinpaper,your printwill y O Negative:Chapter 2,“The Traditional andAlternative overall densityinthe1.5to1.7 range.Please refer to conv in theclassintopr inspection ofthenegative’s qualitiesandgetseachstudent (Courtesy oftheartist) negative andisbasedonherexaminationofDarwin’s This palladiumonsilkbrocadebyJudyNatalwasgeneratedfromadigital Judy Natal, Figure 9–8 Man andAnimals ou canmakeareally nice-lookingprintfrom your neg- ptions,” foranexplanationofwhatthismeans.O Negatives forPt/Pd shouldbe“contrasty.” Again,if entional camera. The NatureofRage, , and therootsofhumannature. This typeoffilmallows for instant ocess withoutdelayorlabtime. 1998 ough atranslationsequence. w detail andhav ן The Expressionsof 5˝ pinholeor e an av erage b vi- to siz a incompatible withthePt/Pd process. Be careful nottouse ponents accidentallyblendedin(metallicbits)thatar lengthy wet stagesintheprocess, orthatwillhave com- handmade paperthatwillsimplynotholdupunderthe patible withyour intentions.Often, you willfindalovely It mustbefree thatiscom- ofimpuritiesandwithasurface purchase thebestqualityprintmakingorwatercolor paper. you. Always The bottomlineis:cheappaperswillfrustrate Papers andSizing paper usingaheavyr may beonthepaper. For this process, itisbesttotearthe the process iscompleted. edge, which,ify (Courtesy oftheartist) fragile handmadepaper. Ernestine Rubenmadethiscompellingnudestudyinplatinumonavery Ernestine Ruben, Figure 9–9 metal utilityknifeorpapercutterwhencutting e because themetalshavingsfr Nude withCrossedArms, ou objecttoit,canbetrimmed offafter uler . This willgiv 1999 om thecuttingpr e y ou adeckled ocess e 173

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS er esh ev N Although ou may also Y is evidence that e ops due to paper xalate. Each of these xalate. nonmetallic container w ed with citric acid), which ariably dr cling, decanting, and adding fr entually collect on the bottom of the ecy erything age. advanced else, go bad with olume inv entional wisdom, ther amiable than potassium o e . simply pour it into a ne , Conversely, warming the developer will warm the warming the developer Conversely, . One of the traditional developers for this technique of the traditional developers One Many Pt/Pd printers will keep the same developer printers Pt/Pd Many eloper as the volume drops. eloper as the volume elopers, like ev eloper ough a coffee filter sitting in a plastic funnel. ntil then, keep r throw out your developer: it gets better with age. developer: out your throw this is the conv dev is not behaving well. developer when your will know You U dev Emergency Platinum/Palladium Developer whom I trust on these mat- Sullivan, to Dick According (in case you an emergency developer can make ters, you going spill the whole bottle during a printing session) by and buying sodium bicarbonate and to the supermarket Developer converted is to a fer- ferric oxalate the exposure, During stage, which is development the state. In oxalate rous the ferrous event, and exciting always an instantaneous platinum or pal- removing functions as a reducer, oxalate compound and precip- the salted sensitizer ladium from or platinum into the paper as pure itating those step but begins in the exposure This conversion palladium. to complete the process. the developer requires is not chemical that a rather toxic was potassium oxalate, developer particularly with. Other friendly to work user included and ammonium cit- options have using ammonium citrate are these notes we rate. For (ammonium carbonate neutraliz is a bit mor chase the optional 1% gold chloride in solution, paper, solution, in gold chloride 1% the optional chase same time. at the droppers bottles, and cool the color of a print by working with a cooler devel- with a cooler working cool the color of a print by oper it with new devel- stock for a very long time and refresh oper when the v the may wish to remove You absorption and evaporation. sludge that will ev find it necessary you If to decant the container. developer dev developers provides a slightly different color to the print, a slightly different provides developers acetate yield a that is, ammonium citrate and sodium cooler print color than potassium o thr print color are three basic ingredients in the plat- basic ingredients three are drops of a 1% gold chloride solution of a 1% gold drops e w er our heart on printing on an esoteric, or is set ol) ent y ensitiz ptional: a fe have found that the majority of papers do not require found that the majority of papers have I Paper is an individual choice. Personally, I use Arches Personally, choice. individual is an Paper The primary in the platinum and palla- differences Part A: ferric oxalate Part and potassium chlorate (contrast B: ferric oxalate Part contr or palladium (Pt) C: potassium chloroplatinite Part chloride (Pd) O sizing step for the platinum/palladium process. You will You process. sizing step for the platinum/palladium a be necessary that sizing may examine your know you when the sur- like it is lying slightly below image and it looks Another option is to double coat with face of the paper. coating method when you using a glass rod heavy pressure In surfaceopt for a paper that is less tight in its texture. the ev difficult, paper, there are sizing formulas in the paper are there paper, difficult, chapter. preparation Platine and have had success with Crane’s Platinotype but Platinotype with Crane’s had success have and Platine surfacefeel the Platine is a better support val- for darker and Phoebe Stevens Craig friends My imagery. ues in my MacNeil Wendy 360, and Bienfang by swear McCormick stationery print on Crane’s Others prints on tracing tissue. Artists Drawing, Strathmore’s Wove, AS 8111, Parchment the quality and type of Obviously, Artistico. and Fabriano importance and should be select is of great paper you decided on with care. As mentioned, ther using an are this chapter we In inum/palladium sensitizer. for our clearing and EDTA ammonium citrate developer bath chemistry. The S dium chemistryand the the of the noble metal are color of the finished print—palladium being warmer in tone while the platinum yields a colder black and white solutions will The combination of the ferric oxalate image. C (platinum on which Part depending be slightly different about the pre- The best thing select. or palladium) you out been worked kits is that the proportions have pared can also pur- You fresh. are oxalates and the ferric for you The Chemistry

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 174 nicely asaplatinum/palladiumdeveloper. POTASSIUM OXALATE DEVELOPER AMMONIUM CITRATE DEVELOPER I Two Pt/PdDeveloper Formulas hav sludge hasbeendecanted,mybestguessisthatyou will your mixingcontainerwhenyou are done.Afterthe that ther longer dissolve anymore ofthechemical),somakesure pletely saturatedsolution(meaningthatthewatercanno the bubblinginbeakerstops. You willwantacom- Then begintoaddthewhitevinegar, ataslow pace,until upset stomachs)withwatertomakeastrong solution. white vinegar. First you mixthesodiumbicarbonate(for f 1 1 5 potassiumoxalate 250 g ammoniumcitrate 250 g y ou donothav ie distilledwater liter ie distilledwater liter e just madesodiumacetate,whichwillwor e is somebicarbonatesludgeinthebottomof e prepared theseformulas: developers, try k quite modular sectionsofthewholesuspendedwithinframe. Boston. ItisacompositeportraitofyoungwomannamedKellywiththe Eric madethisplatinumprintphoto-sculpturewhileattheArtInstituteof Eric Janes, Figure 9–10 (Courtesy oftheartist) utive 5-minutebaths. exact andshouldbesetupinthree separateandconsec- print. The EDTA clearingformulaisnotcompulsively it isvitaltoremove ferricsaltsfrom theunconverted the in thepaperbrittle. The clearingstageiscritical,because ar fumes willwreak havoc onanypersonorthingthatis nificantly lesshazardous thanhydrochloric acid,whose cially pr tetrasodium salt),apreservative oftenfoundincommer- 1 This isthebasickitchenversion. Formula forEDTA ClearingBath W of hy The traditionalPt/Pd clearingbathwasadilutesolution The ClearingBaths heaping Tbs ound ittoolong.Hydrochloric acidalsomakesfibers e ar dr e ae tomake1 quart Water ochloric acid.Agentlervariation wascitricacid. 1 ocessed foodsandagriculturaluse.EDTA issig- ⁄ 2 using EDT Kelly s sodiumsulfite(notmandatory, butithelps) tsp , 1995 EDT A A (ethylenediaminetetraacetic acid 175

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS TE [YOUR CONTRAST CONTROL]) equired a longer than normal exposure time. a longer than normal exposure equired ALLADIUM PART B (FERRIC OXALATE AND B (FERRIC OXALATE ALLADIUM PART oxalic acid (optional) g g oxalic acid (optional) 1 1 ASSIUM CHLORA TINUM/P Some time ago, I recall George Tice recommending Tice George time ago, I recall Some might also Another formula modification that you 16 g ferric oxalate 16 g ferric oxalate 0.3 g potassium chlorate (for platinum) 0.6 g potassium chlorate (for palladium)* 55 ml distilled water at 120˚F 55 ml distilled water at 120˚F using ferric ammonium oxalate in place of ferric oxalate. using ferric ammonium oxalate image with a bit more in a warmer This, he said, resulted contrast and r the thought to this idea, expressed responding Ware, Mike crystalliz- oxalate was a risk of ferric potassium that there substitute with the just if you ing out of the sensitizer This was the primary for the “all reason ammonium salt. of the version Ware-Malde formula in the ammonium” Platinotype. to the addition of oxalate Willis’s is wish to explore to each 60 ml mix: 0.44 g of lead oxalate Willis’s formula. PLATINUM/PALLADIUM PART A (FERRIC OXALATE) PART PLATINUM/PALLADIUM PLA or POT tile ® ou can go to the y , ve calcium) and see if it ve soda or Lime Away ® emo 1996 , mula or British Museum ou. ks for y an out-of-clearing-bath emergency continue to recommend EDTA as your first option. as your EDTA continue to recommend n *Please note that the amount of potassium chlorate changes in the Part B mix depending on whether you are making a platinum or palladium image. are whether you B mix depending on of potassium chlorate changes in the Part note that the amount *Please Sandy Rosenberg, (Platinum/palladium contact print) (Courtesy of the artist) Figure 9–11 cleaner (which is used to r wor The Sensitizer F the premeasured purchase that you Again, I recommend on the mar- chemistry that are and fresh kit preparations time making to spend more you This would allow ket. lab in your beautiful prints rather than rambling around mixing chemicals with and compulsively weighing area face. How- on your hands and a respirator on your gloves is the tra- here happy, kind of thing makes you if that ever, ditional formula for platinum and palladium. Another Clearing Option Hypo- be Kodak Another emergency solution would of one platinum/palladium Clearing Agent. I know giving them a shortprinter who clears his prints by fresh hypo- in a standard water rinse and then immersing them bisulfite and water) clearing bath (sodium sulfite/sodium enough but well for 5 minutes. I suppose this would work I Emergency Clearing Bath I supermarket and buy 7 Up supermarket

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 176 Figure 9–12 George Tice, Men’s Room, Hotel Shelborne, Atlantic City, NJ, 1975 George made this platinum print as part of his extensive portfolio documenting his home state of New Jersey. (Courtesy of the artist) of A and B sensitizer. Platinum images with this formula inexpensive, and simple to use. The ammonium citrate are cooler, show more contrast, have crisper edge defini- can be shipped in a wet state without a problem, but the tion, and are richer in tonality. Be careful with lead oxalate EDTA should be kept dry until you’re ready to mix it. if you decide to experiment. Store your mixed chemicals, except for the developer and EDTA, in a dark and cool place to extend their shelf PLATINUM PART C life. Some texts have recommended the refrigerator as a 50 ml distilled water at 100˚F fine place for the storage but I strongly advise against this, 10 g potassium chloroplatinite especially if there are children in your home. Aside from If you are making palladium prints, following are two dif- the obvious lethal danger of an ingestion accident with fer- ferent recipes: ric oxalate, this chemical may also form into insoluble chunks due to the cold environment of the refrigerator. If PALLADIUM PART C - #1 you are going to refrigerate your chemicals, go buy a small S

51 ml distilled water at 100˚F dorm-room-size unit and keep it in your lab. S E 9 g sodium chloropallidite The emulsion formulas in the following Pt/Pd “drop C O R

chart” are dependent on the density and contrast of your P

PALLADIUM C - #2 M U

negative. This is an important distinction because the I

50 ml distilled water at 100˚F D majority of published drop charts are formatted to achieve A L 5 g palladium chloride L the contrast of the print you desire and hope to finish A P 3.5 g table salt (sodium chloride) / with. They assume that your negative will always be appro- M U N Mix all of the individual solutions, put them in brown bot- priate for the process, which is seldom the case in a class I T A

or workshop environment. It has been my experience, in L

tles with dropper tops, label them with contents and the P

class and workshop situations, that the reading of the E letters A, B, and C, and let them sit for at least 12 hours. H negative is more relevant than wishful thinking about T

As for the developer and clearing bath, I recommend 9

what kind of print you would like. By setting up the drop R buying the prepared ammonium citrate developer and E T

chart for in-the-hand negative variations I am allowing for P EDTA clearing bath crystals. They are essentially safe, A H C

177 oportional rec- latinotype 1977, ou need a pencil for The P ormula Set up a coating board or area, and nearby, and or area, up a coating board Set shot glass (for swirling a good quality have with a short together) the drops and heavy ed. I had suspected that the pr er and special processes in the early parter and special processes of the You may elect to add 1 or 2 drops of a 1% to 5% solu- add 1 or 2 drops may elect to You for a while. chart been around tables have Drop exroth, in her great pamphlet in her great exroth, repare an area in your lab with subdued light and be sure in your an area repare in your formula the more “grainy” your print will look. It look. print will your “grainy” the more formula in your as a primary B that will function of changes control is Part B in the for- print; the more final in your to the contrast in the print. contrast more mula, the will This change formulas. to your tion of gold chloride on a slight effect the contrast and will have slightly elevate print. As an additional technique, the color of the final may wish you with this process, fall in love really after you sensitizing formulas that incorporate to experiment with decision will change both the color This salts. both Pt/Pd good way to begin image. A of your and the contrast alteration is to learn the Ziatype thinking about this a normal part of the these changes are first, where Process process. uses formulas based on the read every I’ve text Nearly print desir originated ommendations in the chart published here who was the accepted authority on Anderson, with Paul non-silv and the concept goes back to Pizzighelli fact, In century. my contemporary only Nancy knowledge, To Hübl. R constructed one does, based on chart her as the following that the artist with the type of negative will be working 9-13). (see Figure Preparing the F and Coating the Paper P favorite on your Put that it is absolutely clean and dry. for some yourself music, get used to the light, and prepare behavior. moderately compulsive type shot glass is importantThe short so that barrel barrel. dump too much solution behind when you leave don’t you it on the paper for coating. Also, y will have of the paper that these drops the area marking - con e es for the 10 drops ן they ar 0 24 drops 22 drops w 78 drops ן 12 drops 11 drops 0 ocess. I am also assuming that 55 drops drops drops ן 6 0 5 4 centages of A and B to C and ho ery Contrasty Negatives Platinum / Palladium Sensitizer Drop Chart / Palladium Sensitizer Platinum C B V A Contrasty Negatives AB drops 4 C 1 drop 9 drops 6 drops drops 2 18 drops 12 drops 4 drops 24 drops Average Negatives Average AB drops 2 C 3 drops 7 drops 6 drops 4 drops 14 drops 12 drops 8 drops 24 drops AB 0 dropsC 5 dropsSoft Negatives 0 drops 6 dropsA 11 dropsB 0 drops 12 drops 1 drop 22 drops C 4 drops 24 drops 4 drops 6 drops 7 drops 8 drops 12 drops 14 drops 24 drops Extremely Soft Negatives Extremely In the drop chart, notice how the proportion of Part chart, the drop notice how In and Part B change to deal with contrast. Also note the and Part ecise and perfect recommended average density. In addi- In density. average ecise and perfect recommended ound the house. Figure 9–13 Platinum/Palladium Drop Chart stant in all formulas. Be aware that the greater the con- that the greater aware stant in all formulas. Be - potassium chlorate) B (ferric oxalate centration of Part total per flexibility in the learning pr not everyone who wants to print platinum or palladium has the ability to fine tune each of their negativ A pr a densitometer sitting tion, most people do not have ar

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 178 dropper andadd drops from Ctotheshotglass.Part Cis this topaswell. To completetheformula,takePart C’s a mulas intheirindividualbrown bottleswithdroppers and will functionasy tle Btotheshotglass. oftheformulathat This isthepart Then takePart B’s dropper andaddthedrops from bot- of P wards. You mayalsowantahairdryer setonacoolsetting. priortocoatingandtheotherforcleaningitafter- brush to coater, thatis,Puddle Pusher. You willalsoneedpaper br F to cover andtowriteyour formulaonthatsamepaper. be emplo inum/palladium, shouldbelabeledaccordingly andnot ferr or quality papertocoaton.Under low light,add thedrops w ush, especially if you feel brush impaired,ush, especiallyifyou feelbrush isaglassrod F ule. els, twoglassesofdistilledwater;oneforw ar coating y inally t A This br to your shotglass.Replace thetopbefore itspills. y , ed foranyotherprocess. Analternative tothe y ou willneedyour labeledA,B,andCfor- ou willneedahakebr ush, onceitisusedforcoatingplat our primar y contrast control. Replace ush without etting your a metal - appears thaty your precious noblemetalsalt. You willnoticethatit materials) orblotitlightlysothatiscooltothetouch that ispr that thisisnotthecase,simplywor amount isquiteadequate.In thebeginning,ifyou find paper little practicewillshow you theway. because itwillshow upas streaking inthefinalprint.A solution. B smallquantityofmixeding asmoothcoatingwithvery turepaper, the to andtogiveyou adecentchanceofapply- completely absorbingtheemulsion,toaddalittlemois but notwet. , but withalittlepracticey oportionately greater.oportionately e This stepisdonetoprevent from thebrush car ou donothav Wet inthedistilled water your hakebrush (being sur and shakeitoutwithasnapofyour wrist eful that your brush isnottoodamp eful thatyour brush e e to av enough solutiontocoatthe ou willdisco oid sprayingfriendsand k of Bostick&Sullivan. Bostick, istheco-owner along withMelody ator oftheZiatype,and Mexico. Dickisthecre- of Tucumcari, New images fromaportfolio Dick Sullivan’s recent This Ziatypeisoneof (Ziatype) Tucumcari Dick Sullivan, Figure 9–14 (Courtesy oftheartist) Mexico, 2000 with adr v , er thatthe New op count - 179

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS e’s eather on-based ocess. I also and w , ear tant. I advise my stu- uly sun 85˚F humid J aluations, in a lab or critique, eather was hot and humid—a erage one for the pr PM month of the y , These notations are written in the fol- written in These notations are was an av e should look something like this: Try to control your contrast via formula your to control Try t e. 2/1% gold 1:30 rinting times will be dependent on the negativ rinting times will be dependent on Advice easily made. This information tells me by looking at the formula This information tells me by e. P e ont of their prints so that ev hinged back contact printing frame so that you can mon- printing frame so that you hinged back contact that the negativ Best of detail in see a “whisper” paper until you your Expose the same personal- does not have This process the print. other ir ity in its printing-out stage as do many conditions. I 7-4-12 Exposure place it and negative take your paper is dry, When your on the dry paper so that the final print will be sensitized paper into and the coated the negative Put “right-reading.” a less in the sun or, to go sit and get ready itor the exposure UV and paper into a to put the negative romantically, do not look using a UV printer, are you unit. If exposure a tanning (it is like during the exposure at the light source checking on the expo- booth) and turn the unit off before sur made. A higher you and the formula contrast, density, as much as a 50% increase contrast emulsion may require in exposur with progress This is why keeping track of your processes. notations on the paper is so impor dents to write all pertinent information on the bottom fr ar C, any additional drops B, Part A, Part Part order: lowing such as gold, time of day know that 2 drops of a 1% gold chloride solution have that 2 drops know took place in July, that the exposure been added. I know in sunlight, and that the w session is not Pt/Pd printing day if your perfect Ziatype going well. rather than exposure time. rather than exposure glass, take your hairdryer, put it on a cool setting, and gen- setting, on a cool put it hairdryer, take your glass, blow-dry- are you If paper. tly blow-dry the back of your a dust wearing ventilation, without excellent ing in a space the formula in ferric oxalate sane idea due to the mask is a the blow-drying. airborne during that will become - uddle Pusher’s face fibers of the ush and the shot This is the best way to our br od or Puddle Pusher. Go Pusher. od or Puddle om side to side in the solu Then drag or push the solution, glass r a a nice heavy out and purchase Your other coating option is to use Your cleaning y e ou may damage the sur enly distributed along the P ou ar od lengthwise fr plate glass that will be larger than your paper. plate glass that will be larger than your ˝ 4 ⁄ okes. 1 essure, across the paper. Repeat this single stroke Repeat the paper. across essure, inally, let the solution sit quietly in the paper for 2 inally, uddle Pusher and pour the contents of your shot glass and pour the contents of your uddle Pusher F Swirl the solution around in the shot glass and do one and do shot glass in the around the solution Swirl ush str oid roughing up and disturbing the smoothness of your up and oid roughing tion until it is ev Lay down several sheets of newsprint pad a drawing several from Lay down them from to prevent on the glass and tape them down glass rod your Take the coating procedure. during moving or P will be coating. Quickly you along the top edge of the area slide the glass r of two things. Pour the shot glass solution into the cen- shot glass solution the Pour of two things. by begin to coat and area print marked-out ter of the with complete hori- area the entire lightly brushing over ver- with complete immediately followed coverage zontal this repeat Quickly area. negative of your tical coverage of obvi- and free coating is smooth sequence until your brush not be concerned if your ous brush Do strokes. Those area. negative the dimensions of your exceed strokes look of the “signature” the painted edges are roughly any hairs addition, do not fuss over In hand-coated print. the hake brush brush that might fall out of your from dur- during These hairs can be easily removed ing the coating. or after the drying fingernail. of your stage with a flick the hake to the instructions for preventing refer Please brush 6, “The shedding in Chapter hairs from brush- to be light and delicate with your sure Be Process.” ing technique or y surface edge. Slightly raise the rod and place it along the raise the rod surface edge. Slightly back edge of the solution. with pr abundance is an obvious if there in the opposite direction of solution left after the first pass. av the romantic get to have don’t you Unfortunately, paper. br paper. piece of to 5 minutes in very After this waiting subdued light. , while y

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 180 ammonium citrate developer on the surface oftheprint. ammonium citratedeveloper onthesurface r a opment andbegintothink about usingdistilledwateras may wanttoforgetabouttheammoniumcitratedev image clearly v it faceupinthebottomofdr munal lab ter ho other photographicprocedures maybepresent nomat- an ex palladium prints.Iwanttoemphasiz for you thatisusedonlyfordevelopment ofplatinumand into thelab After theUVexposure, takeyour closedcontactframe (Courtesy oftheartist) 16.5” David MichaelKennedyiswellknownforhisplatinum/palladiumimages,workshops,anddocumentationofnativeSouthwest.Thisillustration isa David MichaelKennedy, Figure 9–15 ect, immediately ery pale yellowery whisperoftheimage.If you canseethe dev Take theexposedpaperfrom thecontactframe,place ן eloper instead.I clusive trayfordevelopment, becausechemicalsfrom 35.5” palladiumdiptych. w w . ell y . , Have a very clean and very dry traywaiting dry cleanandvery Have avery Platinum/Palladium Image De and ifitisfullydefineddar ou washy v eloping the , Looking forRoute66, with completeco f y our pr our trays,especiallyinacom edev eloped imagelookscor y May 1997 tray e the impor v erage, pourthe , and noticethe k, theny tance of ou el - - - prewash andclearingbath. This indicatesthatitistimetogoonthenextstep: print andy utes ifyou want,butitreally isn’t necessary. Examine the You mayleave thepaperindeveloper forupto2min- with thedeveloper. Development isnearlyinstantaneous. admire theimagebefore thepaperiscompletelycovered You mayalsohave uneven development ifyou stopto ment thatwillshow itselfasadistinctflawintheimage. Any hesitationinthisstepmayr and keepsmyclearingbaths fresher. the developer andresidual ferrous saltsoutofmy print while myprintclears.Also, thewaterbathgetssomeof change withasubsequent formula thatI’ll bemaking ing bathstages.It alsogives meanideaofwhatIwill I This provides toevaluate whether mewithanopportunity for aminutebefore goingintotheclearing bathsequence. I Pre like toputthedeveloped paperintoabathoffresh water want tobothergoingthrough the15minutesofclear- washing andClearing ou willnoticethatyour highlightsare yellow. esult inuneven develop- 181

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS - el to 8 6 y er our lab time. our same cleanli- y e ecommendation. Make up a ecommendation. Make this r ough the duration of y definition at this stage, and the y y #1, place it in the #3 position, and our print for 2 minutes in water and w w wash the print for 20 to 30 minutes and hang , bath, rinse y A inally tint in the highlights should be nearly gone. After tint in the highlights should be nearly If you find that you are still having problems with yel- still having problems are find that you you If F w ou might want to tr another 5 minutes. You should clearly begin to see the should You another 5 minutes. highlight and shado prints, make a ne lo another 5 minutes, place the print in the final clearing another 5 minutes, place the print After ev bath #3 for an additional 5 minutes. the to position #2. Rotate #2 to position #1 and #3 move trays in this manner thr bath, EDTA the third highlights following in your lowing y tray with a 4% solution of sodium sulfite (4 g to 100 ml the third sink. Following of water) and set it in your EDT then put it in the sodium sulfite solution for 5 minutes. the final wash instructions. Then follow or alternative As with any non-silver, it on a line to dry. drying screen because process, is just asking for trouble other people in the lab may not hav (never ely think tsp of sodium 2 ⁄ 1 Also, because you have the have Also, because you may add the ou Clearing Bath A of water; y t ortunately, the EDTA clearing bath formula is the EDTA ortunately, ou like but this is an addition that I rar 1986 Place the print into clearing bath #1 and periodically the print into Place student of mine at (Courtesy of the artist) Catherine made this palladium print while a Harvard University in 1986. Figure 9–16 Catherine Harris, Fresno, sulfite if y in nonmetric measure this formula about. I provide the gram scale because most of my students forget about and just guess at the at this point in the procedure amounts. F this first bath clear- minutes. During it gently for 5 rock back into its bottle developer ing time, pour your very mixing suggestion flexible and anything close to this comes in a few forms, different EDTA satisfactory. be will that sells and the best way to obtain it is to go to a source it specifically for platinum/palladium clearing purposes. throw your developer away!). developer your throw The casual clearing bath mix is 1 heaping tablespoon to The casual clearing bath mix is 1 heaping about 1 quar Preparing Three Trays Preparing Three Trays with the EDT time, wash and thoroughly drytime, wash and thoroughly tray so development your or person who uses it. for the next print that it is ready After 5 minutes, place the print in clearing bath #2 for

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 182 N N N Trouble-shooting Some Points toConsider: without thisstep, willbedifficultwithoutexperience. toevaluate theformulayou used, to 20%),andtrying ate whatyoudown did.Dry onPt/Pd issignificant(15% thefirstonesothatyou canadequatelyevalu- force dry print from thesamenegative itwouldbeagoodideato ness andwashingconcerns.If you intendtomakeanother also helpwithanystaining pr ing; somewhere around 100°Fwillwork well. Cold dev that lastednearlyahalf-hour. Workshops, where Iteachthismaterialeachsummer, gav increase contrast.One ofthebestdemonstrationsIever Longer printingtimes,outofdirect sunlight,will coating step ing the2minutesyou letyour printmeditateafterthe withina10minutetimeperiod—includ- coat anddry timethatwastooslow.which causedadrying Try to there mayhave beentoomuchhumidityinthelab, looks weak following thewashingandclearingbaths, addition, ifyour imagelooksgreat inthedeveloper but humidity level inyour workspace (seeAppendex E).In sions sellsaninexpensive hydrometer tomeasure the space toabout55%60%humidity. LightImpres- y weather willoftenhave aless-than-pleasingeffecton fine, sodon’t gettoocompulsive aboutit.Coldanddry in foggytonalvalues inyour print.Alittlehumidityis will collectmoisture from theair, andthismayresult is dry. The hydroscopic nature ofpapermeansthatit It’s soonafterit agoodideatoprintcoatedpapervery trast toy exposed y giv for aninadequateexposure time.A warm developer will under unusual, accor ever you have underexposed your image.It wasnot cooler tonality our printing.In thewinter, humidifyyour working e e a was inadensefogattheMaine Photographic exposed printintoboilingdev slightly warmerimage.Awarm dev our imagethanawarmdev eloper isappr our print.Colddeveloper willgive more con- . ding toP . W arm dev opriate whenev izzighelli andHübl,toplacean eloper isappropriate when- oblems y eloper tomakeup eloper asw er y ou maybehav ou hav eloper may e ell asa over- - N N N N N N N Platinotype, 1977. analysis ofwhaty long forit;theformulayou selectedwasanincorrect your negative wastoothin andyour exposure was too w fogged by strong lightbefore exposure; theferricoxalate these mightbesomeofthereasons: thepaperwas a stage,besure thatthehairdryer isseton ish thedrying minutes afteryou coatit,andthenwhenit’s time tofin- too hotatemperature. Allow thepapertositforafew If your printappearsfogged,itmayhave been driedat degree ofUVlightandmaycontributetofogging. orescent lightbecausethistypeofdoesemita Never allow your coatedpapertoexperiencealotofflu- description ofthetechniqueinNancy Rexroth’s historical textsdescribeit,andthere isalsoagood you’re interested inglycerin development, someofthe developmentcerning localized withglycerin. brush If nique, covered inseveral textsonthissubject,con- anything orto“punch” itupattheend. There isatech- tle ofyour developer tothiswaterifchanges see it it indistilledwater. You mayalsoeventually addalit- If you radicallyoverexpose your print,you maydevelop I y you’re mixingup. Keep meticulous notes;itwillsave and BtoCthesamenomatterhow muchsensitizer them tosuityour ofA needsbutkeeptheproportions You donothave tobemarriedtheformulas:alter rather thanaknifeorpapercutter coating. utensils. Use orglassPuddle ahakebrush Pusher for N and prevent evaporation. fresh developer toitanytimekeepthecontainerfull a Never throw your developer away. You canfilteritwith to useitforanotherpurpose. and labelonetrayforP br store your chemicalsinglassbottles.Designate one f ou timeandmoney. cool setting and to dry from thebackofprintfirst. cool settingandtodry coffee filterwhenitgetstoo“ ent bad(buykitsandusethemwithin6months); ev ush forthisprocess aloneandlabelit.Also,designate y ou hav er exposey Tear your papertosize withaplasticruler e foggy ormuddyhighlightsintheprint, our sensitiz our negativ t/Pd development and try not t/Pd development andtry er solutionstoanymetal e r sludgy equired; there wasmois- . U ,” andy se plastictraysand ou canadd The 183

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS Figure 9–17 Katie Miller, Spiritual #3, 1999 Katie Miller, a former workshop student of mine, made this platinum/palladium print from a greatly enlarged digital negative fol- lowing the recommendations in Dan Burkholder’s book, Making Digital Negatives for Contact Printing. (Courtesy of the artist) T H E

B ture in the paper; your hairdryer setting was too hot; your developing tray was not completely washed or dry; O

O cold and dry weather dominated your lab space—or, you may have used contaminated brushes; there may K

O bad karma. have been impurities in Part C of your formula; you F A

L N may have been working next to others who think

T If your image is too weak and thin it might be because: E

R the paper was too damp when you made your exposure; extravagant gesture is a standard requisite for brush N

A coating; your developer technique was too slow or hes- T your chemicals were not fresh; you made an incorrect I V itant—or, bad karma. E evaluation in your Part B concentration; you used an P H exposure time that was too short; you used a negative N If you have a yellow-stained print it is the result of an O T

O that was either too flat or too dense—or, bad karma. active pH flux due to the formation of an iron com- G

R plex. The stains might be there because: you forgot the

A N If you have black spots, streaks, and blemishes, some P H of the causes may be: that there were fingerprints on clearing bath; your clearing bath may be exhausted; I C your developer has become too alkaline; small amounts P the paper, before and after coating, or that your print R

O of citric acid can slightly adjust the developer back to

C experienced metal contamination from a metal ferrule E

S an acidic state or remix it and start over; your times in

S on the brush, mat knife, or paper cutter; moisture or E S chemicals may have contaminated your working area; the clearing bath were too short; you didn’t take my rec-

184 Figure 9–18 , The Little Round Mirror, 1902 (Platinum and gum) Edward Steichen had one of the most outstanding careers in the history of photography and made his first photograph in 1879 at the age of 17. A member of the Linked Ring and one of the founders of the Photo- Secession in 1902, Steichen went on to become Director of Photography at the Museum of Modern Art and curated the landmark exhibition, The Family of Man. This image is a platinum and gum bichromate print.

(Courtesy of the Royal Photographic Society) S S E C O R P M U ommendation of revolving your clearing bath trays I

Cyanotype, Gum, and D A

and adding a new bath every 6 to 8 prints; your EDTA- L Van Dyke with Pt/Pd L A

to-water concentration is way off. Karma has very lit- P /

Some days, everything seems off, and on these special M

tle to do with a yellow stain. U N

occasions you might want to take your less-than-success- I T

There are exceptions and explanations to most every A ful prints and experiment with them after they are washed L P problem one might encounter with the platinum/palla- and dried. Try other alternative processes in combination E H dium process, but sometimes, even the best Pt/Pd print- with the platinum/palladium; most can be applied on top T 9 ers have bad days and can’t explain them. Sometimes you of a Pt/Pd print, and it was quite common, throughout R E T just have bad karma—so relax and try the print again. its popular history, to apply a light gum bichromate print P A H C

185 on top of a palladium print for additional coloration. The too dense in the negative to bring out easily in a Van Dyke. application of a second process, such as gum or cyanotype, Overprinting in palladium will often solve some of these will often intensify the shadow details and impart greater problems, which will open up the shadows and give life depth to the image. In the last year or two I have made a to the highlights. You have a better chance at success habit of applying short, dark pigment gum exposures to when Parts B and C of the Pt/Pd formula make up the any print that seems weak to me and have actually salvaged primary drop load. quite a few that I would have normally trashed before the Prepare your paper for a multiple printing stages by pre- clearing baths. This particular technique, by the way, was soaking it in hot water for 10 to 15 minutes and then hang- a favorite of both Edward Steichen and Alfred Steiglitz. ing it on a line to dry. Paper shrinking, or sizing, is optional, Cyanotype is often effective in adding density to weak but in most cases it is a good idea if the registration of the shadow details. Make up a standard A and B cyanotype negative through all stages of the printmaking is important formula, dilute it, and coat your dry and flattened Pt/Pd to you. The registration technique is discussed in Chapter print. Briefly expose your negative, in registration, and fol- 13, “The Gum Bichromate Process.” low the traditional cyanotype process steps. I recommend Coat the palladium on top of the Van Dyke, and don’t a specific dilution, but your negative, print, and intentions be surprised to see the image bleach to yellow and fade. I are necessary for that. realize that there may be a question here—why do this if I began experimenting with the Van Dyke/Palladium the Van Dyke is going to basically disappear? I’m not process around 1990 after making an aesthetically exactly sure except that the resulting prints are quite a bit impaired Van Dyke. Though it still provides surprises different from either technique by itself. Then expose the from time to time, like any experience with a second recoated paper to UV light and process the palladium process in combination with Pt/Pd, it is a technique that image normally, paying close attention to the recom- can produce absolutely beautiful tonalities and color vari- mended EDTA clearing bath times. After the clearing, ations. The primary elements to look for in a successful wash your print in cool running water for 30 to 40 min- print are deep and warm shadow details and luminous utes and hang it up to dry. In most cases, if the print highlights that, when done perfectly, seem to glow from looked great when it was wet, then it will likely dry down the inside of the paper. You may also want to consider too flat. Print for an image that is a little weak-looking in going in the other direction by overprinting the Van Dyke the wash and you should end up happy in the end. One on top of a platinum/palladium print. This process seems last thing, I have found that a finger-rubbed application

T to work best with Van Dyke images that exhibit shadows of Dorland’s Art Wax to these prints, after they have dried, H

E that are blocked up and highlights that are a bit stark or will often enrich the blacks and soften too hot highlights. B O O K O F A L T E R N A T I V E P H O T O G R A P H I C P R O C E S S E S

186 Christopher James, Figure 9–19 author) (Courtesy ofthe V Rome, 1987 V in platinum. (SO-132) andprinted duplication film translated, viadirect The negativewas generated image. plastic camera atican Bride atican Bride, is a 187

CHAPTER 9 THE PLATINUM/PALLADIUM PROCESS