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  1. #11
    Kerik's Avatar
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    While rubylith is an option, you can absolutely use tape to create straight borders. I've done it this way for years. Look for 3M/Scotch safe-release masking tape for delicate surfaces. The current product is blue. There is an older version that was white that I like a little better (still have a stash), but the blue stuff works. Look for the lowest tack you can find. This will work very well on smooth papers like Platine, Fabriano Artistico HP, COT 320, etc. It's a little dicey on a textured paper like Rives BFK because it will pull up fibers if you press it down too hard. The white tape was the best for textured papers. I think there is a newer version of the white tape, but I can't find it with a quick Googling.
    Last edited by Kerik; 02-26-2009 at 06:06 PM. Click to view previous post history.
    Kerik Kouklis
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  2. #12

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    Cheers Kerik, yeah they were using tape attached to an offcut piece of paper at 31 Studio. Dominic's coating technique there was mesmerising, absolutely perfect. I've got a lot to learn but it's gonna be good fun doing so.

  3. #13
    Davec101's Avatar
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    Quote Originally Posted by Jarvman View Post
    I was lucky enough to be able to visit 31 Studio platinum printroom yesterday, they said that the developer has the greatest influence on the tone in the print rather than the ratio of pt to pd. I have ammonium citrate which produces cool tones with arches platine and apparently the opposite with aquarelle. Considering I would like a warm tone to my prints it was suggested that heating up the developer could make a difference. Would the ammonium citrate heated to 40 degrees, the highest my water bath will go yield a warmer print. Also, I was looking at the prints they made of Coburn's work which im sure they referred to as gumover but a mention of vandyke brown also came up when talking about them, whats the difference in the processes? Thanking you kindly!
    I switched from Ammonium Citrate to Potassium Oxalate a while back, much prefer the warmer tones PO has even at room temperature on Platine, also the dichromate method has been much more consistent compared to the ratio method which obviously uses AC. If you do heat AC make sure not to go over 120 F, last time i did that i had some strange results. In Dick Arentz's book on platinum printing there is a table on page 96 regarding heating AC and PO, you might want to take a look at.

    I saw an exhibition a couple of years back in Stroud where there were a good number of 31 Studio's prints show, they were outstanding, it was great to see so many well known prints in one room. Paul and Max Caffell are execptional platinum printers and have printed for many great photographers, hope they have another exhibition sometime.
    Last edited by Davec101; 02-27-2009 at 01:52 AM. Click to view previous post history.
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  4. #14
    Vaughn's Avatar
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    Quote Originally Posted by dpurdy View Post
    ...My developer gets really old because when I heat it I am usually careful to pour it right back in the bottle and cap it so it doesn't evaporate between prints. Then when my volume starts to get low I add fresh developer to the old.
    I could easily be wrong with this, but would not hot Potassium oxalate developer just (or mostly) give off water vapor when it evaporates, thus get stronger over time. If that is the case then one would just add some distilled water to "replenish" one's developer.

    I'd like to know, because it is about time for me to bring my Potassium oxalate back up to its original volume after a long printing session through this past night and into this morning's light.

    Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  5. #15
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    Quote Originally Posted by Vaughn View Post
    I could easily be wrong with this, but would not hot Potassium oxalate developer just (or mostly) give off water vapor when it evaporates, thus get stronger over time. If that is the case then one would just add some distilled water to "replenish" one's developer.

    I'd like to know, because it is about time for me to bring my Potassium oxalate back up to its original volume after a long printing session through this past night and into this morning's light.

    Vaughn
    My developer develops grit like black pepper and also green crystals. I decant the developer off the grit sometimes and add a little water to dissolve the crystals. I am not very scientific about it but doesn't seem to be very problematic. I also sometimes add a little Oxalic Acid to the PO because I read you are supposed to do that to keep the developer acidic. I can't verify that ever had any affect on anything.
    Dennis

  6. #16

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    JArvman...what was it about his coating techniques that did it for you? In what way was it different? What papers was he using and did they humidify, acidify, etc...?

    Tell us everything! ;-)

    Thanks...Paul

  7. #17

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    Quote Originally Posted by Kerik View Post
    While rubylith is an option, you can absolutely use tape to create straight borders. I've done it this way for years. Look for 3M/Scotch safe-release masking tape for delicate surfaces. The current product is blue. There is an older version that was white that I like a little better (still have a stash), but the blue stuff works. Look for the lowest tack you can find. This will work very well on smooth papers like Platine, Fabriano Artistico HP, COT 320, etc. It's a little dicey on a textured paper like Rives BFK because it will pull up fibers if you press it down too hard. The white tape was the best for textured papers. I think there is a newer version of the white tape, but I can't find it with a quick Googling.
    Kerik...I find that the blue tape transmits UV when printing in the sun...

  8. #18

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    Quote Originally Posted by Davec101 View Post
    I switched from Ammonium Citrate to Potassium Oxalate a while back, much prefer the warmer tones PO has even at room temperature on Platine, also the dichromate method has been much more consistent compared to the ratio method which obviously uses AC. If you do heat AC make sure not to go over 120 F, last time i did that i had some strange results. In Dick Arentz's book on platinum printing there is a table on page 96 regarding heating AC and PO, you might want to take a look at.

    I saw an exhibition a couple of years back in Stroud where there were a good number of 31 Studio's prints show, they were outstanding, it was great to see so many well known prints in one room. Paul and Max Caffell are execptional platinum printers and have printed for many great photographers, hope they have another exhibition sometime.
    Yeah I'm a bit gutted that I've got the citrate now instead of the oxalate. I phoned up B&S but the price for shipping one bottle is rediculous. :-( Is there any where in this country I can source it? Should have bought some off Paul and Max when I was up there. They are working on an exhibition in Italy soon showcasing 21 years of their work at the mo.

  9. #19

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    Quote Originally Posted by PVia View Post
    JArvman...what was it about his coating techniques that did it for you? In what way was it different? What papers was he using and did they humidify, acidify, etc...?

    Tell us everything! ;-)

    Thanks...Paul
    The way he used a tilted easel rather than laying it on a flat surface and started from the top of the print and gently lifted the top edge of the paper allowing the solution to flow down the paper. This he did in sucessive brushstrokes down the paper until it began to pool at the bottom then he began to draw the excess away with the same brush where the tape was and drain it back into the pot. The coating was exceptionally even though. Apparently there is a slight difference in exposure at the bottom but this must be factored in when printing. Obviously everyone has their own way of doing things but this seems to work for them. He was quite blase about humidity really. There was a humidifier in the room but obviously when you're that good you're totally intuitive about the process. The paper they use 90% of the time is arches aquarelle. I was in complete awe being there.

  10. #20
    Kerik's Avatar
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    Quote Originally Posted by PVia View Post
    Kerik...I find that the blue tape transmits UV when printing in the sun...
    Ummm... you missed the point. Maybe I wasn't clear. You apply the tape prior to coating the paper then remove it after drying. The idea is to mask off the area to be coated, not masking over the coated area. That's what Rubylith, Amberlith or Goldenrod are for.
    Kerik Kouklis
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