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Friday, 12 September 2014


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I've never made Pt/Pd prints from "old-fashioned" film negatives [grin], but I did work with Ron Reeder to make 14" x 18" Pt prints from digital negatives made from high-res film scans. You might want to check with him on his set-up (it's pretty impressive), or also contact Jon Cone on his methods for creating digital negatives that could be used for Pt/Pd prints.

Would Carl tell us a bit more about the internegative printing process he uses?

Inquiring minds and all that.

Really didn't know just how involved Pt/Pd printing was- still don't, I gave up halfway just reading about it. Brought back too many painful memories from the humdrum silver gelatin darkroom...

Thank god for inkjet prints (and the people you give your files to make them)!

PS- Love that Pike photo!

There will be more on calibrating and working from digital negatives in the next day or so.

Carl, I'd be interested to know your thoughts on framing (and matting) your platinum prints; under glass or not and, if so, glass type. When considering your generous print offer, I'm trying to envision the final presentation.

Something to watch until Carl gets back ...

For the curious this video by Luís Oliveira Santos shows Manuel Gomes Teixeira making Pt/Pd prints with a digital internegative using digital images from a Leica Monochrom


I've mentioned it before but it's beautifully shot and shows the printing process in action.

I almost missed this, having some very busy weeks.
It seems it is now 4 years since I bought the Pike print, time flies ;-)
These are digital days. Decades since I got rid of my LP's, many years since I got rid of the CD's, quite a few years since I got rid of the books, several years since I stopped buying physical magazines. Nowadays I (we?) almost exclusively look at photographs on a screen. Photo books and a small collection of prints on my walls is what keeps me from being all digital.
The changes through these decades have made me appreciate the physical aspects of things. Good food, wine and coffee (even tea ;-). Design and craft. Photo books and prints.
And the Pike print is just so immensely a physical thing. It is a pleasure just knowing that I have it, and just so great now and again to rediscover what it is to look at it up close. It is small in my big living room; you have to get up close to really see it, but even from a distance you can sense it is different.
That is just so cool :-) Looking forward to my Church print.

Jeff, some collectors like to keep the print in a folio so they can handle it directly (gloves a good idea) to appreciate the highly tactile elements of the print as well as the visual. If it's going on the wall though, it should be under glass for UV protection (the metals are impervious, but even the finest all-cotton paper doesn't want continuous exposure to UV light). Framing/matting materials should be acid-free of course. I leave it up to the collector to decide whether to mat precisely to the picture area, or to leave some or all of the print border visible in the mat window. There's no right or wrong about that, do what appeals to you.

With such excellent photographers as Dick Arentz and Tillman Crane using enlarged negatives for Pt/Pd printing, and Sandy King using them for Carbon prints - there is no reason to wonder if the quality is high enough for most anyone.
It works and makes edition printing feasible for long term use.

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