Progressions and Movement

Music | Threads by David Ware

A day of accomplishment! Yesterday was good having processed more film and finally getting to make a start at printing, but also, I felt a little disappointed in not being able to get an acceptable print.

Today, lots of errands completed, I got another start with some advice from a master printer, Ray Bidegain. He has helped my in the past with technical problems and he came through again. Since Platinum Palladium printing is still new to me. I have not figured out how to read the prints thru the process. Dry down is much more significant than what I am accustomed to. More difficult is to change my thought structure in working with a dynamic range that I am not entirely familiar with either. It appears that it takes me to ponder finesse changes in a print for several days. However, I do know a bad print when I see one...

Todays printing session started off in the right direction and those finesse changes seemed to come much quicker. I managed to make 3 prints of 2 images that could be in the exhibition. I'm feeling quite elated...


Detail 8x10 Platinum Palladium pour of Contessa


8x10 Platinum Palladium pour of Stephanie
The Platinum Palladium pour is so exciting to me. I won't ever get tired suddenly seeing a latent image come up. With my music in the background, an expresso or whiskey nearby, I'm finishing my session on a high note!

Your Daily Photograph

Music | A Love Supreme by John Coltrane

I cannot tell you how honored I am to be a part of the Duncan Miller Gallery's, Your Daily Photograph. Once each morning, you get an email to receive the opportunity to view and purchase photographs from amazing photographers. I was selected by guest curator, Luther Gerlach. He works in various alternative methods of photography along with shooting with Ultra Large Format cameras. If you are not all ready familiar with the links above, I highly recommend you checking them out.


Your Daily Photograph, edition July 1, 2016
Irish W/ Floral Headpiece | 4x5 Platinum Palladium Print

Platinum Palladium Papers

Music | No Ordinary Love by Sade

I was generously offered some paper by Hahnemühle to test with Platinum Palladium. I started out using Bergger Cot 320, then Arches Platine, which I found very similar with my very basic tests. Both render nice tonalities, but I found trying to decipher a wet print to dry to be difficult. Experience over time I am sure would solve that. I've made beautiful prints with both papers, but I am still looking for a base to get to consistency.

The Hahnemühle Platinum coats just fine and used the same amount of solution as the above. However, I think the spread goes on easier. I had no problem getting an even coat, at the edges as well. Exposure wise, I started with 8 minutes as with the Cot 320 and Platine. The nice difference with the Platinum is that I get more latitude at both ends. Slightly darker blacks and lighter highlights, still holding details. Dry down is a bit more accurate and to see less flattening in contrast is very nice.

This was my first print with the Platinum and at this point, I know well enough that the variables can change things in an instant. However, with price point being relatively the same as Cot 320, the Platinum would be an excellent choice in my relative fledgling opinion.


8x10 Platinum Palladium Print

Processing an 8x10 Platinum Palladium Print

Music | Everloving by Moby

Chemical processing always amazes me...

https://vimeo.com/171020540

The Process of Passion

Music | Manhatta by Cinematic Orchestra

I haven't been on a more pointed and direct path in a long time. I think it means more to me now as I am aware of where I am and how the fact that I am moving. It has been about 7 years since I started to learn the process of Wet Plate Collodion. Besides the occasional traipsing of shooting film, which at that time seemed more like a novelty, it was the first time I was learning something of substance in photography in decades. I don't mean to discount the digital process, but for me, there is very little substance to walk on as far as the process went. The sublities are measured in numbers, not touch, not intuition, not emotion.

I was talking to a fellow photographer, Ray Bidegain, a Platinum Palladium printer years ago. It was a time I wanted to start shooting large format film as an antithesis to the digital process, which I worked in heavy since 1999. He had started printing Platinum Palladium around 1999 and never made the transition to digital. I remember a conversation I had with him and he told me, everyday, he makes at least one print a day. As an artist, it was important and his job to do so. That thought has always stuck with me that he took his work so seriously. It was a part of his life and as an artist. Since my turn away from digital as a main resource, at a time where I think I started to develope as an artist myself, that concept has held strong in my mind.

I've been wanting to initially have an image of mine printed in the Platinum Palladium process for over 30 years. Ever since I went and saw my first Irving Penn exhibition at the Art Institute in Chicago. I was in college at the time and ate up everything photography. Of course there is no comparison in seeing an actual print, but more often than not, book reproductions had to suffice. Over time, the general feel and look and spirit of a Platinum Palladium print by osmosis embedded my brain. I know that in the back of my mind, everything I did in black and white was affected. The hold was strong and I felt no reason to deny it. I think it is funny that as digital took the stronghold in the industry, it never to this day has created its own. Digital is all about mimicking.

Back in the day, I wanted a motorcycle. So before I got a motorcycle, I bought a helmet. Having that object in front of me kept the idea of one day getting a motorcycle very strong and always in front of me. A few short months later, I had my motorcycle. About a year ago, after having done some research, I spent $40 on a paint brush. It was no ordinary brush, it was dubbed the Magic Brush, The Richeson 9010. This was the object that would keep Platinum Palladium printing in front of my face and remind me to keep striving to get to the point where I would one day print my own. A few short months later, I was able to purchase my set of chemicals and paper and start my journey.

During that time, I had my light source remade/reinforced. Changed out the electrics of 12 tubes, stained the exterior and made something to be proud to work with. I moved my workspace around with a workflow in mind where I could make my prints. I managed to do everything, except to start printing...

Around 6 months ago, I had Susan de Witt go thru the motions for me and show me her work flow. During the process, we made a print of one of my images. As much as I was hooked, I was more afraid the screw up and waste the pricey chemicals and paper. I did nothing to move forward...

3 weeks ago, I went to Susan's place again and we went thru the process. Another print made, but this time, something clicked. The thought that in order to learn, one has to fuck up. Once I accepted that, with blowing my investment of chems and paper, I could move forward. My big test was not at Susan's where I made my own print, but solo, with my light source, in my workspace.

3 weeks have gone by since making that last Platinum Palldium print at Susan's. I went from an initial high to dropping down to ground zero and a little below that. This last week has rendered me with 3 really nice images. I don't have a lock on this process, but I am feeling really good about it. I have gotten to the point where I want to print something new everyday.

The feeling of having one of my own images as a Platinum Palldium print is so amazing to me. And even more amazing is that I can do it myself now...

A Finished Print

Music | Crescent by John Coltrane

I've worked a consistent 3 weeks learning the Platinum Palladium process using digital negatives. It wasn't so much the Pt/Pd process that I was having difficulty with, but the making of a digital neg. Between setting up my print preferences and having ink clogging issues, I was set back a good week. I knew this wasn't going to be easy. These set backs were initially very frustrating, but after realizing it is part of the process that I finally just went with the flow. I made 3 good negatives and made 3 very nice prints.

Earlier, I cut a mat, placed one of the prints behind it... With full realization, as the mat and print came together, the small adjustments I made to center the print, this moment was the ultimate reason I wanted to learn the process. I knew that this moment was special.

Refining the Process

Music | Controversy by Prince

A sad day today... Prince, it was reported passed away earlier. No details as of yet. I have my itunes playing everything Prince.

On a 180º sentiment, today is my second day going solo with the Platinum Palladium printing. I am a much more harsher a critic today than I was 2 days ago. I'm on a second round printing the same 2 images I printed the other day. They are visually getting better. I am pleased to see a marked difference.

Milestones...

Music | Underwater Love by Jerome Isma-Ae

Knowing I can make a Platinum Palladium print at my place and solo is huge. I know I am merely going thru the motions right now, and that actually learning the process will take years, but this is a great start for me. I'm very excited at the notion of learning another alternative process.


Platinum Palladium test print

Round 2... Platinum Palladium

Music | Breathe by Telepopmusik

I had another mini workshop with Susan de Witt to learn some technique to print Platinum Palladium. I was in a much better head space this time as I have been sitting on chemicals here at home with paper and images to print. Now that I think about it, I was in this same position the first time Susan taught me, but this time, things made much more sense. I had pre-cut my Bergger Cot 320 for 4x5 inch negs, but only brought 8x10 inch negs... I ended up going with the flow and came up with this...


I'm totally elated with the test print. I'm still a bit intimidated as this went too easy. First try and an educated guess on exposure and pretty much nailed it.

Platinum Palladium | No Words...

Music | Blue Diamond by World Saxophone Quartet


My first image printed Platinum Palladium

Conflicts... Traditions...

Music | Don't Look Back by Bliss

During the short time I have been trying out Cyanotypes and the eventual desire to start Platinum Palladium printing, I've come to realize the negatives I have to learn and practice the process, they simply do not have the contrast range needed to create a print with proper tonal range and density. What works well for silver gelatin prints don't quite make it...

My obvious action to take is to start to shoot and process my negatives accordingly so that I can create a negative with the necessary contrast and tonal values. The alternative and the issue that this post is about is to use digital means to create my proper negatives. I can simply scan my old negs or plates, throw a profile to it, make some quick and easy adjustments, print out a negative that could render the perfect contact print.

I live thru principles and hold fast to traditions. I like the idea of taking no prisoners and not taking the easy way out. I also want to learn and improve my photography by technique and aesthetics.

Am I over thinking the idea of using modern technology to recreate my negative by a digital means? Going this route enables me to work effeciently and inexpensively. I could start learning now. But in the back of my head, I hate the idea of losing the purity of what I am trying to accomplish.

more as time moves forward...

A Beautiful Print

Music | Polaris by Zero 7



A recent purchase from Ray Bidegain. It is a beautiful Platinum Palladium print rendering light, shadows, textures and transitions that only a print of this quality can relinquish. What I have in front of me is an example of what photography really is... The simple subject standing in front of a wall, directional light flowing in from the right. There is no mysticism here... This is just pure beauty captured by an artist that has honed his skills over years of learning, years of knowing.