Platinum and Palladium Printing

2nd Edition - October 31, 2009
Imprint: Focal Press
Author: Dick Arentz
Language: English
eBook ISBN:
9 7 8 - 0 - 0 8 - 0 5 7 5 3 7 - 7

Platinum and palladium printing is one of the easiest of the non-silver processes to learn. This guide offers a number of variations, which the photographer can closely control.… Read more

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Platinum and palladium printing is one of the easiest of the non-silver processes to learn. This guide offers a number of variations, which the photographer can closely control. Photographers interested in learning, or improving upon this process, will find this book an indispensable resource and reference guide. This is an absolute must-have for professional photographers and printmakers.

Inside you will find:

*The three basic phases of printing: sensitometry, chemistry, and mechanics
*Practical information based on the making of over 3,000 platinum and palladium prints, covering everything from making your first print, to the most advanced techniques to challenge experienced printers
*Over 50 duotones of the author's platinum and palladium prints and those of five contributors

Also included for the first time are contributions written by recognized authorities in their fields:

*Pyro and Platinum Printing by Bob Herbst
*Crafting Digital Negatives by Mark Nelson
*Ultraviolet Light Sources by Sandy King
*Custom Platinum Printing by Stan Klimek

Contents
Preface to the Second Edition and Acknowledgments
Preface and Acknowledgments
Introduction
Part One
The Process

1
Platinum and Palladium
Platinum Printing in the Twentieth Century
The Platinum/Palladium and Silver Processes Compared
Platinum and Palladium Compared

2
Setting Up a Laboratory
The Wet Space and Coating Area
The Drying and Exposure Area
Materials
The Wet Area
The Coating Area
The Exposure and Finishing Area
Contact Printing Frames
The Ultraviolet Light Source
The Sun
Mercury Vapor Lights
UV Fluorescent Tube Box
UV Light Boxes
Commercial Plate Burner
Densitometers
Modifying a Light Meter
Inexpensive Table Models
Hand-Held Densitometers
The Professional Models

3
The Negative
Photographic Sensitometry
Definitions
Transmission Densities
The Logarithmic System
The Density Range for a Platinum or Palladium Negative
Negative Contrast versus Negative Density
Exposure
Development
The Negative Density Range
Exposing and Developing the Platinum or Palladium Negative
Zone System Development Compared to Subject Brightness Range
Development for Subject Brightness Ranges
Average Gradient
Effective Film Speed
Characteristics of the Platinum/Palladium Negative
Sharpness
Graininess
Scratches and Pinholes
The Circle of Confusion
The Use of Selenium Toner to Increase Negative Contrast
The Pyro Negative

4
Chemicals
The Reasonable and Prudent Use
The Material Safety Data Sheet (MSDS)
Monochromatic Film Developing Agents (MSDS 2)
About Measurement Units
The Metric System
Purity of Chemicals and Water
Sizing of Paper
Solutions Used for Paper Coating, Developing, and Clearing
The Coating Solutions
Oxidizing Agents
Chlorates
Dichromates
Sodium Chloroplatinate
Developers
Clearing Agents
Coating Solutions
Sensitizers (MSDS 2-3)
The Restrainers (Oxidizers) (MSDS 3-4)
The Metal Salts (MSDS 2-3)
The Use of Metal Utensils
Developers (MSDS 1-2)
Formulas
The pH
Filtering of Developer
Temperature of Developer
Clearing Agents
Choosing a Clearing Agent
The Dilute Acids (MSDS 2-3)
EDTA and the Sulfites (MSDS 1)
Formulas
A Matter of Print pH
Buffering Solutions
The Toners
Negative Toning for Contrast.
Print Toning
Sources of Chemicals

5
Paper
The Platinotype Papers
Practical Matters
Some Characteristics Required of a Platinum/Palladium Paper
A Word about Paper Weight Measurements
Testing Techniques
Selected Platinotype Papers and Their Characteristics
Notes on Suitable Papers for the Platinum/Palladium Process
Arches Platine
Bienfang Graphics 360
Bergger COT 320
Crane’s Kid Finish
Crane’s Platinotype
Fabriano Murillo
Fabriano Perusia
Gampi (Gampi Torinoko)
Lenox
Masa
Swiss Opaline Parchment
Rising Drawing Bristol
Strathmore 500 Bristol
Van Gelder Simili Japon
Acidification
Papers Amenable to Acidification
Arches Cover
Fabriano Artistisco Extra White (Formally Fabriano Uno)
Fabriano New Artistico (Formerly Fabriano Artistico)
Fabriano Classico
Rives BFK
Rising Gallery 100
Papers for Double Coating
Fabriano Murillo
Twinrocker Watercolor
Twinrocker White Feather Watercolor Deckle
Van Gelder Simili Japon

6
The First Print
The Sun Print
The Basics
Procedure
Assessment of the Print

7
Choose Your Method
Methods of Contrast Control
The Ratio Method
Sodium chloroplatinate3 (Na2)
Combining the Ratio and Na2 Methods
The Dichromate Method: Contrast Control Ingredient in the Developer

8
Calibration
Calibrating the Light Source
Choosing a Print-to-Light Distance
The Step Tablet
The "Visual Comparison Densitometer"
Methods of Contrast Control
Supplies
A note on the Making of Test Strips
Technique: Time/Distance
Technique: Contrast Control
Palladium with the Ratio Method
Standard Negative Contrast Ranges
Calibrating with the Dichromate Method

9
The Platinum and Palladium Print
Utensils
The Test Strip
Coating the Test Strip
Developing and Clearing
The Final Print
The Coating Instruments
Brushes
Coating Rods
The Brush versus the Coating Rod
Making the Final Print
Coating
Drying
Exposure
Dodging and Burning
Developing and Clearing
Using the Combined Step Tablet and Print to Adjust Printing Time and Contrast
The "Visual Comparison Densitometer"
Both Shadows and Highlights Are Too Dark
Both Shadows and Highlights Are Too Light
Shadows Are Good, Highlights Are Too Dark
Shadows Are Good, Highlights Are Too Light
Shadows Are Too Dark, Highlights Are Good
Shadows Are Too Light, Highlights Are Good
More Combinations

10
Advanced Technique
Masking of Negatives
Working Light
Relative Humidity in the Laboratory
The Effects of High Paper Humidity
Prevention of Solarization
The Elusive Dmax
Observations
Hydrogen Peroxide
Brushes
The Use of Sizing Medium in the Sensitizer
Image Hue
Sizing
Developer and Temperature Controls
Combinations of Platinum and Palladium
Metal Ions in the Developer
Toning
Glycerin
Double Coating
Drying of the Coating
Preparation of the Final Print
Drying
Principles of Etching and Spotting Platinum/Palladium Prints
The “Black Plague” Cure
Presentation
Lighting
Matting
Framing
Numbering of Editions
Handling and Storage of Negatives

11
Problems
Chalky or Anemic Prints
Uneven Coating
Graininess
Black Spots on the Print
Streaking Blacks
Fog versus Stain
Solarization with Palladium
Part Two
Sensitometry for the Platinum/Palladium Process

12
The Film and Paper Curves
Silver and Platinum/Palladium Curves Compared
The Individual Silver Curve
The Negative for Silver Paper
Steepness of the Curve
The Individual Platinum/Palladium Curve
The Negative for a Platinum/Palladium Print
Contrast Control
A Platinum/Palladium Curve for a High-Contrast Negative
Effect of Fog
A Platinum/palladium Curve for a Low-Contrast Negative
When the Negative Has Inadequate Contrast
The Family of Platinum/Palladium Curves
The Palladium Print
The Families of Palladium Curves
The Characteristics of Palladium Curves
A Palladium Curve for a Normal Contrast Negative
A Palladium Curve for a High-Contrast Negative
Let There Be Light
The Matcher Program
Negative Development for the Long Toe

13
Using the Print Curves
Refining the Standards
Shadow Values
Factoring in the Effects of Contrast Control
Analyzing the Print Curve
The Na2 Method
Graphic Illustrations of Speed Changes Produced by Contrast Mixtures
Using the Algorithm
Examples of Various Negative Density Values
The Normal Negative
The Speed Bar
The High-Contrast Negative
The Low-Contrast Negative
Being Practical
The Speed Point and the Corrected Speed Point
Papers
The Interpretive Process
Palladium
Using Portions of the Paper Curve
Using Intermediate Tonal Values
To Use a Portion of the Curve
Appendix A
The Chemistry of Developing, Contrast Control and Clearing Processes
The Oxidation-Reduction Reaction
The Reduction of Metals in Photographic Print Making
Berkeley's Formula
The Oxidizer
Oxidation
Reduction
Palladium Printing with Sodium Chloroplatinate1, 2
Clearing
Appendix B
The Large Negative
The In Camera Negative
Choices of negative construction
The Camera-Exposed Negative
Camera Size
The Ultra-Large Format
Organization of Exposed Film
Processing the Large Negative
Tray Processing
Drum Processing
BTZS Tubes
Film Hanger/Open Tank
Daylight Plastic Tanks
Appendix C
Some Film/Developer Combinations to Produce a Platinum/Palladium Negative
Choosing a Film
Ten Film/Developer Combinations
Effective Film/Developer Combinations for Selective Processing of Platinum and Palladium Negatives
Data
Tube/JOBO Development
Tray Development
Appendix D
Pyro and Platinum Printing
Introduction
The Sensitometric Effects of Pyro Stain
Observations
Advantages of Pyro – “Stain Is Your Friend”
Disadvantages of Pyro – “Stain Is Your Enemy”
Densitometers for Reading Pyro Negatives
Film Response to Pyro
Pyro Formulas
Pyro Processing Information and Tips
Alternative Processing Controls With Pyro
Conclusion
Appendix E
Crafting Digital Negatives for Contact Printing Platinum and Palladium
About Digital Negatives (Introduction)
Some Digital Basics
Digital Image File Capture
Image File Preparation
Output Devices and Methods for Creating Digital Negatives
Determination of Standard Printing Time
Digital Negative Density and Platinum/Palladium Contrast Mixtures
Determination of the Adjustment Curve
Printing the Negative
Appendix F
Ultraviolet light Sources for Platinum and Palladium Printing
Ultraviolet Printing Lights
The Sun
Ballasted HID Lamps (Mercury Vapor and Metal Halide)
UV Fluorescent Tube Bank
Building Your Own UV Printer
Tube Nomenclature
Plate-Burners, or Graphic Arts Printers
Testing of UV Light Sources
Test Conditions
Conclusion
The Question of Sharpness
UV Blockers
Window Glass
Specialty Glasses
Appendix G
Elements of Platinum and Palladium Printing
The Negative
Duplicating
Materials
Paper
Platinum/palladium Solution
Contrast Control
Technique
Sizing
Humidifying
Coating
Exposing
Developing and Clearing
Finishing
Spotting Out
Flattening
Waxing
Sources
Bibliography
Index

Dick Arentz

Dick Arentz is a fine-art photographer with more than 75 one-person exhibits of his work. He is well known as the authority on platinum and palladium printing and has given more than 30 workshops and seminars on the subject. His work is included in most major museums and corporate collections.

In 1969, after amateur activities, Dick Arentz began three years of study with Phil Davis of the Photography Department at the University of Michigan. His interest at that time was in the large format silver contact print. As an informal "thesis," he produced the Death Valley Portfolio in 1972. That was reproduced in a 1973 issue of Camera Magazine.

After a sabbatical in Europe in 1973, Dick Arentz relocated in Flagstaff, Arizona where he taught studio and photographic history at Northern Arizona University. In 1978, He was selected by the Arts and Humanities Commission as one of Twenty Arizona Artists. That year he began a six year project which was to be published as Four Corners Country in 1986, partly subsidized by a Edna Rider Whiteman Foundation Grant. The book was reissued in soft cover in 1994.

He returned to Ann Arbor in 1980 to study the platinum process with Phil Davis. Because of the lack of published information and the unpredictability of materials, he began researching and writing about platinum and palladium techniques. In 1983, he began to produce negatives with an antique 12x20 Folmer and Schwing Camera. By 1985, major museums and corporations began to collect his work. In 1987, he produced The American Southwest, a limited edition portfolio of 12x20 platinum prints with an essay by James Enyeart.

In 1988, desirous of a change in subject matter, Arentz accepted an Isaac W. Bernheim Fellowship to live and work in Kentucky. He began a two year project photographing the Midsouthern states and Appalachia, concentrating on the human effect of the landscape.

Affiliations and expertise

University of Michigan, Northern Arizona University, Twenty Arizona Artists, Edna Rider Whiteman Foundation Grant, Isaac W. Bernheim Fellowship, National Endowment for the Arts, Phonix Art Museum Triennial Exhibition, National Museum of American Art, Fox-Talbot Museum, Saatchi Gallery, The Columbus Art Museum, The Center for Creative Photography, The Museum of Photographic Arts, The Friends of Photography. Mr. Arentz resides in Arizona.

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