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

Progression

Music | Into the Wind by Trafik

The moment happened earlier today. Having shot some 8x10 film last Tuesday, processed film yesterday, today was my chance to test more Platinum Palladium for printing. Surprisingly, I came very close for exposure for the small test print off the bat. I was elated to see the tonality throughout the print. Quite excited, I went and tried my first full frame 8x10 Platinum Palladium print. It is still wet, but as the image jumped off the page after pouring the developer, I cannot express how elated I am...


Adriana wearing a Françoise Weeks original.

Maintenance...

Music | The Phonograph by Her Space Holiday

Our Big Pictures Portland project has only been up for a little less than 2 months. All ready, some of the posters where coming down in a bad way. I had anticipated this as we were putting them up as there was no doubt I had mixed the paste incorrectly. I saw some pealing at the upper edges only after 3 weeks. As the weeks went by, more pealing and I could see them coming down quickly.

Sunday was a nice overcast cool day to put in a few hours to mend the images. I was thinking I wouldn't be able to save 2, but the others were basic. Armed with fresh and correctly mixed paste, a couple buckets of water, roller, various brushes and ladder, the late morning early afternoon session was cathartic. Seeing the images again as intended put new spirit in both themselves and myself. I probably would have let them finish the their disintegration, but I knew they didn't get a fair shake. The bad paste we originally used cut short their life span, so I wanted to see what I could do. It was an excellent learning experience for future hangings...

More Hands On...

Music | Clair De Lune by Michael Dulin

A print doesn't seem complete when it isn't mounted and matted. I've always preferred the follow through of execution when displaying or even just showing prints. The least thing we can do when showing prints is to have a good amount of space around the image to remove as much distraction as possible.

Now that I am printing more, the vocabulary of mats, beveled edges, razors are back in the fold. I just went to the art store to buy some linen tape. I m starting to prepare to mount and mat some of the images I've recently printed. All of the things that was since a pain in the ass to do back in the day, I am actually looking forward to doing. Time will actually be used to physically create or change my world, as opposed to working in the virtual world.

Pats on Your Back You don't Really Feel...

Music | Thinking About Tomorrow by Beth Orton

There are relationships in the photography realm I have that are person to person, internet related, and modern versions of pen pals. Of course nothing beats meeting face to face and having real conversations, in a café, over drinks or dinner. I have 2 relationships over the internet where we converse mostly over texts or type written message services. And on occasion, we sometimes talk on the phone. Our communications are often focused and on topic of mostly photography. The internet relationships are via facebook and other interest communities. This, ironically is where most of my time is spent, where more bandwidth is used up and so much interactions occur, nothing really has any meaning.

I cannot deny Facebook is an outlet for a lot of my work. I get those likes and occasional comment, but the lasting power for any meaning is not there. Yet, I go on...

Today, one of my pen pal relationship friends who lives in NYC called. Janusz was aware of my work and it so happened we photographed the same model. He reached out over the Internet, we started a dialogue and mutual respect formed. He has since been a great supporter of mine through words and donations of film, Polaroid and other photographic materials that I use to this day. Maybe 2 to 4 times a year, we actually talk. We both have this understanding that smiley faces and thumbs up don't mean a whole lot and it is better left to say nothing than to emoticon our way to express ourselves.

The interesting thing that stuck with me with what he said today was that it is so much more meaningful to meet face to face and show our latest work, prints, than to watch the screen and see the numerous images fly by. The power of words and expression is unmatched and to try and add an emoticon to express what we feel is almost an insult. He said this because sometimes we do get lost and forget how important face to face is. It certainly doesn't happen as much as it used to... We have been so immediately connected that we no longer see the forest for the trees.

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.

Break Through!

Music | Earthquake Weather by Beck

I may have turned a corner today. Even with more printer issues for the digital negatives, I am for the second time getting consistent results with the digital negatives and a consistent time for exposures over 3 different images. Now I know it is a matter of repetition for me to have this information and process ingrained in my head. Either that or I need to take really good notes!


First outdoor nude in the woods. Thanks Anna S."

Trouble Shooting...

Music | I Remember You by Johnny Griffin

So since I tried to make final adjustments in my printing preferences for the digital negs, I can't print a decent Pt/Pd print. It is no doubt that I did a decent print before I made all the changes that was written in the manual. So... I will try and go back to where I was and start over. Good news is that my actual film negatives print out very nicely. The boost in creating a great looking test print is huge for my confidence. I feel like I am moving in a positive direction.

The issue I am having with the digital negs is that my prints came out too thin, then after a second adjustment, lacking contrast. I figured my chemical profile is fine since I can make a great film neg print, so I will go after the printing of the digital neg...

Corded Drills!

Music | Province by TV on the Radio

I can only go with the flow. I was hoping to get home and start printing, but I accidentally left my light source on over night. The heat generated so much in the box and melted the glue holding my tubes in place. Just as I was about to stick the contact frame into the box, I see 4 tubes have fallen. I figured out a simple and effective fix, but my cordless drill has lost its power... Now I wait for the battery to recharge. Meanwhile, I have nothing to do but write about it...

Progress...

2 steps forward and 1 or 2 backwards. I imagine this is a good way to learn as I am not going to get ahead of myself. I'm still working out the Platinum Palladium printing, of which I am still having a hard time judging exposure, but also, the digital negative aspect of the process. My first go around actually went well rendering a nice Pt/Pd print as well as my second and third. I wanted to lock down my printing preferences and went thru the steps to set it all back up. I tried a "quick" print yesterday only to find that the neg was too thin. I know I made some changes from the previous version I did, but only more accurate to the initial instructions. Needless to say I will recheck the preferences and try another print. I'm only hoping that this process will give me a better understanding of the tasks.

These last 2 weeks have been enlightening. Progress is a desire now, more so than in a long time. Unlike Wet Plate Collodion, Platinum Palladium printing is making more sense to me. The progression is linear and I can find my way back on track with a bit more ease. I'm not saying I suspect the road to be easy, but I'm feeling more confident so far. Can't wait to get back at it later today.

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.

Oh How I Have Missed You...

Music | Bario Alto by Thievery Corporation

When we were introduced, I immediately fell in love with you. I was committed to be with you from day one. It took a long courtship of 2 years before you kindly submitted to me. I had my way with you for several years after that. Never once did I ever take what we had for granted. You had a way of keeping me on my toes and constantly kept things interesting.

After our 3rd year together, I felt like I lost you. I did lose you. You gave me nothing but frustration and only on small occasions did you make me feel just barely comfortable. You came back to me for only a few months, then left me entirely for close to a year. I came close to just giving up and moving on. I actually did move on, starting relationships that I have become quite fond of and will explore...

But today, today you've come back with some assurances. I haven't nor will I ever figure out why you did what you did, but I am so happy we are together again. You know I've fought the good fight for you, so I hope you know I am committed. I am never myself when you are not there. Oh dear, how I have missed you...


My second successful plate after almost a year of having major issues with Wet Plate Collodion. You can't imagine how much I have missed working this technique. Oh how I have missed you...

10 Big Pictures

Music | Soul Junction by John Coltrane

On April 3rd, our 10 Big Pictures 1 Little Reception took place...

This is the 2nd year Susan de Witt and I have hung our photographs on the St. Johns Coffee Roasters exterior walls. Last years project worked as intended which was to collaborate with someone and get me out of my stalled creativity...


After printing our 3x5.5 foot images, pre planning our layout got our collaboration going...


The wall and what was left over from our first go around over a year ago...


Susan's image from over 14 months. I love the degrading edges and the textures that has survived time.


Our first image pasted on the wall. I made an error in the paste recipe and it layed on opaque. We had to sponge bath the entire print with water to dilute the paste to save it. Mop and Glow floor wax went over the image next and saved the project.


The wind was not at all helpful, but the rest of the images slowly went up. Fantastic helper and model, Billy (second image from the top left) and Susan putting up number 8.


Prepping the wall for number 10...


Twilight


Details...


Detail of Irish...


Detail of Susan's Boots


Susan and I and our first guest, Ray Bidegain for our Little Reception...


In full swing...
Thanks to Susan de Witt again for this years installment. Thanks to St. Johns Coffee Roasters for supporting public outdoor art and the great drinks served daily! All of our supporters and viewers, thank you!

Taking My Own Advice

Music | Lonely One by Johnny Griffin

I was just giving advice to a fellow photographer about doing whatever is necessary to get the work done. She had issues of not being able to print at home because of the lack of darkroom space. Rental darkroom was fine, but the per hour cost made her insane because she kept looking at the clock...

The fact anyone is doing actual wet darkroom work is a sacrifice. I don't know but just 2 photographers that have dedicated darkrooms. These days, it is a luxury. Space and cost are the big issues, especially now here in Portland where rents seemed to have tripled in just the span of 3 years.

So said photographer has an enlarger in her bedroom, in a small apartment. She would only be able to print at night because of light issues. There is a bathroom and kitchen, so running water is not an issue. If we choose to work and create where we have to make sacrifices and extra work, we either do or don't. If we don't, suddenly months, years go by and the regret comes flooding in.

I've been stagnant for sometime, though I've found great rental studios to shoot in, relatively inexpensive. But every shoot is not a situation where I can dish out cash to use space. I have for years, shot in my living room and blacked out the bathroom to process my wet plates. What often holds me back is the idea of having to set up the darkroom before the shoot, then tear it down when I am done. The same as the studio. Pulling out the Speedos, heads, stands, backdrop, etc... often just makes me hold it off for another day and a month goes by.

I've always have been pretty good about using what I have available to me and move forward with the work. I am lucky in that I have alternative means to do what I want to do. I think how easy how my situation could change which would lead to things being so much more difficult than they are now.

Ass in gear, lets go...

Imperfection...

Music | This Must Be the Place by Talking Heads

It isn't that I don't want to master the things I undertake, specifically in photography, but I am taking an appreciation for the flaws that come out of doing things in a non digital manner. Of course I want even development across the film plane, no dust, no fixer stains...

Looking at this image, and its inherent issues, I love it for what it is, but also that it shows that no, this is not a digital image. It was created with lots of time and love. Going thru its iterations of a blank canvas, to a latent image, development, fixer and wash... When going thru these stages, I am on top of my game as best as I know how. I care about each and every step I take with this piece of film... to make the image.


Hoop Skirt
I want wabi sabi. I like distinction. I want soul.

Building an Ultra Large Format Camera

Music | Honey by Moby

Lately, there have been a good amount of posts of people who are making ULF cameras, anything larger than an 8x10. It never occurred to me that maybe I could build one as I felt it was way out of my skill level. Not only that, cost for film is just outrageous and how would I ever be able to process a 16x20 or 20x24 sheet? But with the thought of paper negatives, X-ray film and Direct Positive Paper, the idea of being able to create native images Big is turning my head and the idea is intriguing me more.

I am starting to realize I don't need a fully functioning camera in the traditional sense. I won't be shooting wide ranging subject matter of landscapes to close ups, but more simply, 1/2 to 3/4 shots of a body. One of the hardest parts of building such a camera would be eliminated, knowing what it will be used for. I will have to figure out what lense I will be using and factor the general distance I will be shooting from the subject. I can make a no bellows sliding box camera..

At this point, I am thinking in totally a naive perspective. In due time, I'll do some homework and see how feasible this idea is to construct. I have to admit, shooting 16x20 or even 11x14 is an exciting thought!