Platinum Palladium Printing Service

Platinum palladium printing is a traditional handmade photographic printmaking technique dating back to a period in photographic history that predates gelatin silver prints (GSP). Contrary to GSP’s, these prints are only sensitive to UV light and were originally exposed outside under direct sunlight. With the advancements of modern technology, they are now exposed by high-intensity metal halide bulbs inside the darkroom. The prints are created by way of "contact printing" which means the photographic negative must be as large as the final print. Because of this size limitation, photographers and printmakers were limited to the size of the cameras they could carry until the digital age, where we can now create what are known as "digital negatives." These negatives can be printed at nearly any size and can be used to create platinum palladium prints up to 44" wide. 

Digital negatives can be made from any digital file from a digital camera, or a film scan. For more information on my scanning services, click here.

Platinum palladium prints are unparalleled by any modern printing technique, both in appearance and performance. These prints are favored by art collectors due to their longevity and appearance. The tonal range of platinum palladium prints is unmatched, even by modern digital inkjet printers. The final color tonality can range from warm black to reddish brown, with a range of grays in the mid-tones. Pure platinum (platinotype) prints tend to have higher contrast and cooler tones, while pure palladium (palladiotype) prints can tend to have a warmer appearance with deeper blacks and softer highlights. The mixture of platinum and palladium can create a balance between the two appearances and tonalities, which is applicable to most images. Platinum and palladium prints are some of the most durable of all photographic processes. The platinum (and sister element palladium) element is incredibly stable against chemical reactions that may degrade the print and are even more stable than gold.

Clients Include

• Kenro Izu

• David Brookover

• Marc Muench

• Veritas Editions

Coating the Emulsion

Watercolor paper is coated with a solution of platinum and palladium salts, combined with a ferric oxalate sensitizer and restrainers to add contrast if necessary. The mixture is brushed onto the paper slightly larger than the negative, which can be seen as brush strokes in the final print if not masked from light. This coating is what makes the paper light sensitive to ultraviolet light.

Making the Exposure

After the paper has reached a bone dryness, it is humidified slightly. The negative is then placed over the paper and exposed to high intensity UV light with a metal halide bulb. If necessary, the print can be dodged and burned to affect the tonalities in the final image. After the exposure, a "latent image" can be seen on the print.

Development

Following the exposure, the print is developed in a variety of different developers, depending on the desired outcome of the final print. The development is nearly instantaneous for palladium during the develop-out process, but the platinum element sometimes takes a bit longer fully develop out. The print is then cleared of the sensitizer and runs through an archival wash for 25 minutes.

Finishing

After the print has dried, it is flattened using a heat press and then laid underneath a heavy sheet of glass to flatten further. I visually inspect every print, and because it is a handmade process, there are inherent flaws in the final print. These flaws are etched (black spots) away or spotted (white spots) using archival pigments to match the surrounding tonality.

Soft Proofing Your Image

After you submit your digital file you will have a variety of options. I will digitally render your digital file with the tonality and borders you choose from the options below. After a few email exchanges, we will settle on a digital rendering and I will match the final print to your choices.

Tonality

There is a range of tonal control I have in the darkroom with your final print. Generally, platinum has slightly cooler tones with more subtle contrast and finer highlight detail, and palladium has punchier contrast with deeper blacks and warmer and more reddish tones. I typically use a mixture of of both metals to create a balance in the final print, sort of a best of both worlds, but the print can be catered to your needs and desires to match your creative vision.

I also have control over warmth with certain developers and the temperature of the developer. So while you may want a pure platinum print, I can still create you a warmer toned print by using a physically warmer developer.

Print Borders

Because I will physically coat the emulsion with a brush, you have a few options for borders. If the negative is not masked during exposure, you will physically see the brush strokes bordering the image area. I can also mask the brushed area to create a clean black border (generally 1/2” - 1.5” depending on the size of the image), or make a clean border, where you will see no black edges.

Paper Choices

You also have several choices of types of paper I can print your image.

• Hahnemuhle Platinum Rag 300 gsm

• Arches Platine 310 gsm

• Arches Platine 145 gsm

• Bergger COT320

• Rives BFK

• Japanese Gampi Tissue

*Because of limitations of some paper sizes, your choice of paper may limit the overall final dimensions of your print.

**Some papers, such as Rives BFK and Japanese Gampi Tissue require additional technique and labor and may be subject to variances in price.

A Printer’s Tradition - The B.A.T.

Traditionally when printing editions for other artists, printmakers create what is called a “B.A.T.” or Bon á tirer, which means “good to pull.” This is the interpretation from the printmaker, from which the artist signs his or her approval and from which all further interpretations are made. In essence, it is the working reference copy for the printmaker.

If the print meets your expectation, it’s requested that you sign “B.A.T.  your signature” as you would sign one of your editioned prints, reaffix the included, prepaid return shipping label, and return back to my studio. This copy will be stored in my studio as a working copy with the negative and printing notes for future editions. This B.A.T. will not be resold, gifted, or moved out of house for any reason without explicit written permission from the artist, current copyright owner, or estate.

Ordering a Print

If you’d like me to print for you, send me an email, give me a call, or fill out the form below and I’ll get back to you shortly with more instructions.