Yeah he did, some are referred to as multiple-printed platinum-palladium prints on aluminum. The bond that he used called Surlyn and was made by Dupont, unfortunately from what i hear, the bond is having lets say 'archival issues' and a few prints are having to be repaired as a result of using this technique.
Originally Posted by Ian Leake
Last edited by Davec101; 08-05-2010 at 11:48 AM. Click to view previous post history.
Here is some more info from Michael Smith's site regarding the prints Georges made for him and Paula that i referred to :
Originally Posted by payral
We have had a series of sixteen large platinum prints made from a selection of our photographs from Iceland. They are made at the Salto Platinum Atelier in Belgium. We have never before seen platinum prints as rich as these.
Paula’s prints are printed on translucent handmade Japanese Taizan paper 23" x 29". Michael’s prints are printed on Arches Platine paper and are one meter wide—15" x 39".
The prints are stunning. Many contemporary platinum prints are “soft” and lack rich blacks and a full tonal range, and many people mistakenly believe that this is the way platinum prints should look, but platinum prints can be as rich as silver prints (those by Irving Penn are a good example).
To make these prints our original negatives are scanned; then five enlarged digital negatives made from each one are printed in register with multiple exposures—a lengthy and arduous process.
Attended a Michael & Paula workshop last year during which they showed us their Platinum prints. The prints were very impressive, especially Michael's on Arches Platine. I was not doing pt/pd at the time so didn't think of asking about the process other than the multiple negatives. Single coated? I presume that to avoid shrinking, these are single processed with the contrast being controlled thru exposure with each registered negative. Then processed as for normal contrast.
Last edited by doughowk; 08-05-2010 at 12:41 PM. Click to view previous post history.
van Huyck Photo
"Progress is only a direction, and it's often the wrong direction"
I found a piece of Taizan paper. A sample one but big enough to print a steptablet. I print 100% palladium, one coat, use potassium oxalate for development at room temperature (23° C) and got a Dmax of 1.42
I also checked my prints on Arches Platine and my average Dmax for exhibition prints is between 1.32 and 1.36. Most are pure palladium prints.
With all this talk about dmax I did a few tests yesturday and the highest reading I got was 1.78, Platinum/Palladium on Arches Platine non waxed (see attached). I put down a heavy single coat, humidity was 49%. Potassium Oxalate Developer (Dichromate as contrast contol)
Originally Posted by payral
Last edited by Davec101; 08-07-2010 at 03:48 AM. Click to view previous post history.
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Back in the day when I tried Palladio platinum paper my max density was about 1.4. Their paper was matte and the appearance was much better after the prints were dry mounted. My carbon prints max out at 2.05 Dmax. This thread has been going on for quite a while and I always meant to measure some of my prints. So i finally did it.
Having checked my densitometer with a friends analogue one, my readings seem to be out for some reason and will have to send it off for recalibration. The more accurate readings from his meter were averaging 1.4 to 1.5 on Arches Platine non waxed.
Originally Posted by Davec101
Emulsions and paper
It is partly off-topic maybe, but since paper structure in relation to emulsions is discussed as well, I thought I would post these page from James M. Reilly's "Care and identification of 19th century prints".
It shows high magnification (up to some 40.000x) electron micrograph images of cross sections through paper and light sensitive emulsions / coatings, including Pt, giving a better idea of how these emulsions integrate or combine with the paper layer.
I found it quite intriguing to see...
"The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true.
" - William M. Ivins Jr.
"I don't know, maybe we should disinvent color, and we could just shoot Black & White.
" - David Burnett in 1978
"Analog is chemistry + physics, digital is physics + math, which ones did you like most?