How can I start platinum printing?
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I got most of my info on pt/pd from alternativephotography.com - which is a good starting point - aside from them, the net is rife with info, some much more complicated than you really need to start up and get a print going (dont get bogged down with humidities and contrast issues to begin with)
As for suppliers try either photographersformulary.com or bostick & sullivan (do a google search)
B&S have a good kit which gives you mostly Pd and a bit of the more expensive Pt to try (; - they also have COT320 paper which I find excellent
As for suppliers try either photographersformulary.com or bostick & sullivan (do a google search)
B&S have a good kit which gives you mostly Pd and a bit of the more expensive Pt to try (; - they also have COT320 paper which I find excellent
Try this translator. Just paste the link and translate to English. Perhaps, not the best translation but it gives you an idea what's it all about. Great site by the way, Payral! I'll return and take a closer look at the artwork!Bobman said:
Philippe, thank you for posting such a concise explanation of platinum printing for us. Although I don't speak French, it is certainly a good description of the process and the images are very helpful. My old high school Spanish is enough to allow me to understand the text well enough to see how things are done. Perhaps I should take a look at this process! tim
P.S. The print you have made is lovely.
P.S. The print you have made is lovely.
noseoil said:
Thanks for your nice comments. I have some ordered prints to make for customers (following my last exhibition) but I will think about translating in English. One video is on the way too, but it will be definitely in French, my accent is not good enough.
A good way would be to come to the APUG conference and sign up for the course with Jorge.
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That is so cool Philippe. Just what I was looking for. And I realized just how much written french I can actually understand. SO I learned a couple of things. Is your exposure unit always right by the window?
Bob,
I don't know about others but the timing for the conference is terrible for me. SItes like Philippe's are a great alternative.
Bob,
I don't know about others but the timing for the conference is terrible for me. SItes like Philippe's are a great alternative.
mark said:
Yes, it is. When the sun is going in I just close the shutters of that window.
Coating is made in the darkroom, just have to cross few meters to expose the paper.
You can visit my working place here:
Dead Link Removed
If there's interest, I can supply an English translation of the text on the page that Philippe linked to.
Bruce Osgood
Membership Council
Jordan said:
I would be interested.
Okay, watch this thread -- I'll post it here.
Here goes -- Not the most graceful translation, and I'm not totally sure about my rendering of no. 7.
Platinum-Palladium Printing
1. Emulsion-coating area
Everything is set up: the paper, negative, brush, various solutions, the mixing glass, syringe, and pencil.
2. Development area
Everything is set up: the tray, the developer, and the clearing baths. The developer is in a container that allows it to be poured rapidly over the print. The clearing baths depend on the paper being used.
3. Paper preparation
Using a template or an old negative, lightly outline the image area.
4. Paper preparation
Using an anti-static brush, thoroughly clean the surface of the paper that the emulsion is to be coated on.
5. Emulsion preparation
Emulsion measurement: Always hold the eye-dropper vertically so that the volume of the drops is consistent.
6. Emulsion preparation
After stirring the emulsion in the mixing glass for several seconds to thoroughly mix its various components, I take up the liquid with a syringe (without the needle) in order not to lose any of the solution at the bottom of the glass.
7. Coating the emulsion on the paper
I gently spread the emulsion on the paper using a syringe along one side of the paper, if possible (when making the print, it's more difficult for me to do everything at once, especially using my left hand -- I had my camera in my right hand while taking these photographs).
8. Coating the emulsion on the paper
Using a previously moistened brush, I evenly spread the emulsion onto the paper within the area delineated initially.
9. Coating the emulsion on the paper
Here we are. I let the emulsion penetrate into the paper. The time required for this depends on the paper, the relative humidity, and the process used.
10. Coating the emulsion on the paper
I dry the surface of the paper using a hair-dryer set to the "cold" position (no heating). The drying time also depends on the factors mentioned earlier.
11. Preparation of the contact frame
The contact-printing frame is set up.
12. Preparation of the contact frame
The negative is placed on top of the paper.
13. Preparation of the contact frame
The whole assembly is placed into the contact-printing frame.
14. Preparation of the contact frame
It's all ready for exposure.
15. Exposure to UV
The timer is set for the required exposure time.
16. Development
Here is the print, which has been taken out of the contact-printing frame and placed into the tray.
17. Development
The developer is poured all at once onto the print, and the image appears almost instantly.
18. Development
After the development has finished (between 1 and 2 minutes), the print is given a good washing in running water for 2 minutes.
19. Clearing
The first wash is followed by three clearing baths, each 5 minutes long. The clearing bath depends on the paper being used. After each bath, a 2-minute wash in running water is recommended.
20. Final wash
A final wash in running water for 15 minutes completes the process.
21. Finished print
All that's required is to drain the print and leave it to dry.
Platinum-Palladium Printing
1. Emulsion-coating area
Everything is set up: the paper, negative, brush, various solutions, the mixing glass, syringe, and pencil.
2. Development area
Everything is set up: the tray, the developer, and the clearing baths. The developer is in a container that allows it to be poured rapidly over the print. The clearing baths depend on the paper being used.
3. Paper preparation
Using a template or an old negative, lightly outline the image area.
4. Paper preparation
Using an anti-static brush, thoroughly clean the surface of the paper that the emulsion is to be coated on.
5. Emulsion preparation
Emulsion measurement: Always hold the eye-dropper vertically so that the volume of the drops is consistent.
6. Emulsion preparation
After stirring the emulsion in the mixing glass for several seconds to thoroughly mix its various components, I take up the liquid with a syringe (without the needle) in order not to lose any of the solution at the bottom of the glass.
7. Coating the emulsion on the paper
I gently spread the emulsion on the paper using a syringe along one side of the paper, if possible (when making the print, it's more difficult for me to do everything at once, especially using my left hand -- I had my camera in my right hand while taking these photographs).
8. Coating the emulsion on the paper
Using a previously moistened brush, I evenly spread the emulsion onto the paper within the area delineated initially.
9. Coating the emulsion on the paper
Here we are. I let the emulsion penetrate into the paper. The time required for this depends on the paper, the relative humidity, and the process used.
10. Coating the emulsion on the paper
I dry the surface of the paper using a hair-dryer set to the "cold" position (no heating). The drying time also depends on the factors mentioned earlier.
11. Preparation of the contact frame
The contact-printing frame is set up.
12. Preparation of the contact frame
The negative is placed on top of the paper.
13. Preparation of the contact frame
The whole assembly is placed into the contact-printing frame.
14. Preparation of the contact frame
It's all ready for exposure.
15. Exposure to UV
The timer is set for the required exposure time.
16. Development
Here is the print, which has been taken out of the contact-printing frame and placed into the tray.
17. Development
The developer is poured all at once onto the print, and the image appears almost instantly.
18. Development
After the development has finished (between 1 and 2 minutes), the print is given a good washing in running water for 2 minutes.
19. Clearing
The first wash is followed by three clearing baths, each 5 minutes long. The clearing bath depends on the paper being used. After each bath, a 2-minute wash in running water is recommended.
20. Final wash
A final wash in running water for 15 minutes completes the process.
21. Finished print
All that's required is to drain the print and leave it to dry.
Last edited by a moderator:
Bruce Osgood
Membership Council
Jordan, Thank you
Jordan,
Thank you very much. This is just right to introduce me to the process. Thank you.
Jordan,
Thank you very much. This is just right to introduce me to the process. Thank you.
Jordan,
Very nice and precise translation.
Just one thing about the n°7, that's the camera in the right hand (taking pictures) and not the brush.
As I am a right hand worker some pictures are a bit funny as I did all the prparation with the left hand taking pictures with the right one.
Very nice and precise translation.
Just one thing about the n°7, that's the camera in the right hand (taking pictures) and not the brush.
As I am a right hand worker some pictures are a bit funny as I did all the prparation with the left hand taking pictures with the right one.
Regarding coating the paper: Coat with the grain of the paper, not against it.
payral said:
Thanks Philippe. I edited my post to reflect this.
I do all my coating with my safelight on... Is that overkill? I would much rather do it with the white light on in the darkroom.
You can coat under normal incandescent light (not TOO bright). You may get fogging with flourescent lights, though.
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