I saw one of these large platinum prints at Photo Paris last year when i met mike smith at the stand, they did look excellent but from what i recall they were not as contrasty as those shown on the web, but that usually happens i suppose.
Yeah, if you just try to re-expose on the same coating, you would very quickly get to solarization or bronzing. There comes a point with overexposed blacks, that it isn't black anymore. They must be re-coating and then re-exposing. Hey, if it works for them, great, but I am very happy with what I've got working in PtPd.
Originally Posted by TheFlyingCamera
If I have one complaint it's that I sometimes don't get as much smoothness in skin tones, and this can vary print-to-print depending on all the personal variables we all put up with.
And he also makes prints from digital inkjet negatives!
Originally Posted by Jim Noel
And not to take anything away from Dick but there are better platinum printers in the world, IMO, but I'm splitting hairs here so to speak.
I think if Michael says that the prints are what they are then I would accept his word for it. I've not seen the prints yet first hand but the web versions look stunning.
I am curious to know how the multiple negative system works but I suspect it is something akin to contrast masks used in other printing disciplines like silver gelatin or Ilfochrome/Cibachrome.
A final coating of snake oil is all that is needed to increase the DMAX. It is hard to imagine a 2.1 on a matte paper, but I'll take their word on that. I don't use a densitometer to evaluate print quality.
From the sales pitch: "but platinum prints can be as rich as silver prints (those by Irving Penn are a good example)". So, if the goal is to make platinum prints look like silver prints, why not just print on Azo? Oh, that's right, they don't make it anymore... IMO, Irving Penn's platinum prints are just painful to look at. Yes, great DMAX, VERY high contrast and mostly lacking any nuance in between. Definitely what he wanted, and he worked and worked until he got it, but it's a look that just doesn't appeal to me.
MAS is a master salesman and The Pitch is on big time. For anyone wanting to drop $6,500+ on these prints, go for it! And more power to MAS for finding another ad campaign for his work.
2013 Workshop Schedule Online
I now have the ultimate plan to dispute global warming. All I need to do is get MAS to say that he believes in it and then other people will disagree.
Granted I am being flippant (sadly a common occurence). But I have seen Michael's (and Paula's) prints. I own one of Michael's prints. And I believe that they produce excellent work. I can't imagine these being different. That being said $6500 is alot of money for me.
In the context of full disclosure I own one Pt. print and that is by APUG's own Jorge. I own Azo prints by Alex Hawley and MAS. I am very interested in some of Kerik's work as well and hope to see it in person at some point at a workshop.
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I agree with Kerik - if you want it to look like a silver gelatin print, just print on silver gelatin paper. Why go to all that effort to make platinum look like silver? I like both kinds of prints; I currently choose to print palladium because I like the look and feel, and I want to explore the medium and what it can do for me that is different from silver gelatin printing. I'm sure that if I monkeyed around enough with multiple exposures and multiple developer baths, I could make a silver gelatin print look like platinum - but why?
I've seen quite a few pt/pd and alt prints in my time (geez..I'm sounding like my dad...and with a growing bald patch on my head I'm starting to look like him too..but I digress...)
Anywho, the two best pt/pd prints I have ever seen were by Dick Arentz (he invited me to demonstate my pt on baryta method in Santa Fe a few years back) and by Kerik Kouklis. I saw a show of his at 8 Elm photo in Toronto. There may be better modern printers and prints out there but I haven't seen them yet.
Among the worst pt prints I have ever seen were by Irvin Penn. They were displayed at the Corkin gallery in Toronto. They looked like really big Xerox copies...with yellow stains.
There are many copier of penn print some are really goos other quite badly processed. But Penn print were at his time a new way to print platinum because of he got pure white and pure deep black in his print. For sure a second layer help to get smoother deeper black.
I use Hydrocote Polyshield Clear Gloss (or Satin) Polyurethane wood finish (non-yellowing) for that. (I apply it with a #30 Meyer coating rod - or is it Meyer?) I must admit that I usually don't prefer to coat Pt/Pd prints with that stuff - it just doesn't feel right if you know what I mean...
Originally Posted by Kerik
deep blacks and more
If anyone wants to see the full potential of what the platinum process is capable of they should buy one Mr. Nze's prints. And very reasonable too!!