Originally Posted by SeamusARyan
I remember seeing that glass in the print room, shame they did not have a larger sample to see the difference with an actual photographic print, rather than a brass key!
At the moment my inkjet prints are too close to my platinum prints for my liking. Its early days however if I am going to take the time and effort to make platinum prints they have to be significantly divorced from my inkjet ones before I am happy, which could take a long time. (maybe cyanotype over platinum is a good option to try)
I have a few platinum prints that do have a quality that are ‘unique’ to the hand coated process but not enough. I will be showing Stephanie a few of them in the next couple of weeks and will leave them down there for you to have a look if you like.
Of relevance is that I remember last year seeing at one of the major photographic events Nick Brandt’s work, I think at the Atlas stand. They had one of his large animal framed prints in platinum and another the same size printed using a black and white inkjet. The price difference was obviously considerable and if I recall correctly was in the $1000’s. Did you see those? To me they were both indistinguishable in terms of quality and tonality. They both were excellent, although were behind glass and I think that is the way they would stay for the foreseeable future. I suppose its hitting two markets but for me it does not sit right having the prints side by side and looking virtually identical. Although I guess that’s where the market could be going.
I was going to pay a visit to the V&A next week to see Irving Penns platinum prints, they have around 20 unframed examples up in the print room which I am looking forward to seeing, have you been to see them yet? I am sure the people in the print room curse when I come along because they end up having to get out loads of Portfolios and me getting my grubby hands on them ! .
Last edited by Davec101; 09-27-2007 at 06:19 AM. Click to view previous post history.
Originally Posted by CarlRadford
I think you hit the nail on the head, it boils down to how much you would lose if a print got damaged and whether you could deal with that loss and also whether the print can be reproduced again, more often than not for competant contemporary platinum print makers, a platinum print is ‘fairly easy' to reproduce to some extent. ( that’s kind of why I also want to get into wet plate because you end up with something completely unique at the end of your work, but at the same time can be also be reproduced using ‘other methods’)
I would love to hear the actual gallery owners opinion regarding the ‘archival-ness’ of Izu’s prints that are not framed behind glass. I will be sure to ask at the Howard Greenberg stand at Photo Paris in a couple of months time to see what they say.
Last edited by Davec101; 09-27-2007 at 09:26 AM. Click to view previous post history.
Clay, Where do you buy your Den-glass? Thanks, Robert
I used to show in the Platinum Plus Gallery in Santa Fe and after it was changed to the Stevenson gallery in New York. They showed only platinum Palladium prints and showed some pretty famous people. They never hung the prints with glass. I have had at least 30 exhibits since then and always stipulated not to put in glass. People coming in to view the prints don't figure out right away why your prints look so rich and beautiful and it is partly because there is no glare to look through.
I had a show at a frame shop gallery a while back and they wanted to use my prints to demonstrate that expensive glass as well. They had the glass that was anti glare coated like a pair of glasses. Very incredible. Very expensive.
Actually though I have come to appreciate the jewel like quality of a print behind glass. And platinum prints are still special and beautiful behind glass. IMO
For long-term display of valuable prints, you're rolling the dice without glass. For works like that, the $$ spent on Den-glas is well worth it. My favorite way to look at prints is in my hands, unframed and unmatted. That's when the wonderful, tactile nature of the prints can really be appreciated.
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I completely agree about viewing the Nick Brandt's at Atlas, apart from the price there was very little to distinguish them from each other. They are made by William at Salto, there is a piece about Salto from M Smith in this thread
I think they are almost too perfect, if that is something you can level at a Pl/Pd print.
Has anyone heard anything about there being a problem with Penn's large platinum prints reacting badly to the glue holding them to the aluminum backing?
You're gonna hate me. The framer I use had a contact at the wholesale place he gets his frame materials from. Anyway, I asked him about Den-glas, and he called them to ask about getting some. He was told they stopped carrying it about two years ago, but had a carton left in the back. They wanted to get rid of it, and sold it to me at 50% off of list price. I had the framer cut the glass to the standard sizes I use.
When I googled Denglas, their website appears to be gone. I wonder if they are still in business? They were located in New Jersey, if I recall correctly.
Originally Posted by RobertP
I think denglas is out of business, but Tru Vue has several anti reflective products, including "Museum Glass".
Thanks for the link, I met Mike Smith at Photo Paris last year and he had one of the those very large platinum prints up at his stand that the thread mentions. They were indeed quite stunning, although i did not know they were made from '5 enlarged digital neagtives' and 'the paper is double or triple coated and the negatives are printed in register' sounds like a whole lot of fun!
Originally Posted by SeamusARyan
For those interested there is an article in the BJP this week about the father and son team, the Caffells, who are specialisits in platinum printing (Studio 31), I believe they have printed platinum prints from old negatives by David Bailey's and Sebastiao Salgado for an upcoming show in Stroud.
Last edited by Davec101; 09-27-2007 at 11:59 AM. Click to view previous post history.
The majority of my silver gelatin prints are made on textured papers and the idea of placing glass in front of them really annoys me and seems wasteful.
So much of the beauty is lost, I may just as well have used resin coated paper! I intend heading down to some local framers and discussing my options for glassless presentation.
I'll keep an eye on this thread.