I print out gold, platinum, and palladium (as well as rhodium with gold) routinely. I stress the words "print out" as in brush the sensitizer onto dry paper, let it all dry nicely and print out the image. With gold alone, at 10% solution strength, I generally use Arches Aquarelle hot pressed paper, which is gelatin sized and yields exquisite, grainless chrysotypes with a full tonal range -- with the correct sensitizer. That would be ammonium ferric ferrous oxalate (AFFO), which is the standard 40% solution of ammonium ferric oxalate to each 10 ml of which one adds 6 to 8 drops of 1% ascorbic acid (vitamin C) solution for pure gold. Prints are gray on Aquarelle with some purple staining from the gelatin retaining moisture, but the image quality is so high a little purple is acceptable (and can be mitigated somewhat with a bath in weak muriatic or nitric acid (as in ~2%).
For gold-palladium prints, with the gold above 1/3 of the total solution same thing except I use Arches Platine. The palladium serves to extend the tonal range a stop or two and the print out is usually gray scale. Gelatin sizing is not necessary. Prints are not cooler; they are gray scale. For prints mostly gold, I used 10% gold and 10% lithium palladium chloride or potassium palladium chloride or sodium palladium chloride.
For pure palladium or for prints that are palladium with just a small percentage gold, I use the standard saturated 15% palladium solution to print out with lithium ferric ferrous oxalate (LFFO) for its higher contrast than AFFO. LFFO is lithium ferric oxalate prepared according to Richard Sullivan's formula and to each 10 ml of which I add 8 drops of 2% ascorbic acid solution. For contrasty negatives with pure palladium or with palladium and a few drops of gold, no further contrast boost is needed. For softer negatives, I add a drop or more of 26% ferric oxalate (no C added to it) to kick up the contrast without inducing grain.
I can also mix palladium, platinum and gold, though for any combination that is more gold and platinum than palladium, either AFFO or SFFO (sodium ferric ferrous oxalate) must be used as LFFO induces grain with gold and platinum alike. For prints that are more than about 60% platinum, a volume of 99.9% glycerine equal to the volume of platinum is necessary to prevent graining with the platinum. I use all metals in 10% solutions, until I reach about 66% of palladium or platinum, in which case I switch to the standard solution strengths for the dominant metal. 1/3 Pd, 1/3 Pt and 1/3 Au would be a 10% solution of each. As with pure palladium, ferric oxalate serves to boost contrast, if needed. I haven't printed much with palladium and the other metals because I respect Richard Sullivan quite deeply and feel it's his turf, as it were. But the look of gold with palladium when using AFFO, SFFO, or LFFO and 10% Au with 10% OR 15% Pd is quite different from the Ziatype results.
I put a lot of effort into gold and platinum -- mostly because when I showed Ed Buffaloe a print, he remarked that it sounded like an expensive process. I riddled out how to print out platinum dry (search for my channel on youtube for a video explaining the formula) AFTER I mastered gold and platinum (on Arches Platine). With mostly gold and up to about 40% platinum, prints are cool, slate gray. The tone can be shifted slightly with any of a weak solution of nitric acid, hydrochloric acid or very very weak bleach (as in about .15% solution of bleach). I never tried citric, tartaric, lactic or phosphoric acid because I found all of those simply pushed pure gold toward lavender or dark purple (the 1st two toward lavender, the last two toward purple). With platinum accounting for more than 40% of the solution, I switch to 20% platinum and the Fannintype formula (dry print out pure platinum). The result is not the atmospheric effect of violet, red, and blue in roiling clouds, but a continuous tone gray scale print in which the two metals interact synergistically, exhibiting the strong Dmax of gold with the nuanced tonal delicacy of platinum. I have literally had to yank prints out of people's hands as they gazed on the images (when I had other things to do).
If you have specific questions about dry print out gold, platinum, or palladium -- all of them alone and in any combination -- you may want to view my videos on youtube. You can also view an array of images on my Pinterest and Flickr pages. And feel free to contact me -- email@example.com.
Richard Eugene Puckett
Last edited by Richard Puckett; 07-26-2014 at 01:39 AM. Click to view previous post history.
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