I know it has been over a year since my last activity here but I thought I should post a follow up since i recently rediscovered my tests with this process while having a clear out.
Thank you to PE for your suggestions and assistance, I am only sorry i did not post this at the time
these images are on coated baryta inkjet paper, simply because I considered it more expendable
hopefully one day I will have time to try this on real gelatin coated paper
Not sure how image posting works here, now that I'm not subscribed, so here are some urls to the images on flickr
I have compiled the images and the notes I have on the subject on my blog here:http://blog.pjwphoto.net/2009/05/28/...atin-printing/
Last edited by pedropolis; 05-27-2009 at 09:16 PM. Click to view previous post history.
Reason: images and stuff
I know it's probably been said in other threads, but I have had excellent results using "Renaissance Wax" on the surface of platinum prints, cyanotypes and other handcoated processes.
I have also experimented with running prints through an etching press, which I believe is called "calendaring". I'm more of the lab-geek at work, while my brother was our darkroom geek, so I could be wrong on the terminology.
Regardless, running prints through an etching press produced a slightly glossy surface on a 100% rag paper, and also made the images look sharper and gave the impression of a higher-dmax. I believe the sharpness and d-max came from the fact that the paper fibers were smashed closer together, which eliminated any "dead space" between the fibers. Cotton papers contain a lot of air, and the fibers have tiny spaces between them. Your eyes can see the dead space, but sort of like a half tone image, the brain interprets the black fiber next to a empty space as a shade of grey. Smash the fibers closer together, and your brains says "Hey, that image is darker!".
Just a thought.........