Developed first in the 1860s and 1870s, the technique became very popular with fine art printers because of its very delicate highlights and mid-tones and was used extensively until prices rose dramatically during the First World War made the process too expensive. Platinum printing is held to be the aristocrat of the early photographic processes. It has been practiced by many of the famous fine-art photographers including Frederick Evans, Paul Strand, Imogen Cunningham, Edward Weston, Ansel Adams, Richard Avedon, Irving Penn.
The image is composed of very finely divided platinum and palladium metals that are very stable and resistant to environmental degradation. As with the other alternative printing processes, art paper is coated with photo-sensitive chemical solutions and, when dry, the paper is exposed under a negative to the sun or sun lamp, the ultra-violet rays are the key here, before being developed in another chemical mix.
This workshop offers demonstrations and hands-on opportunity to explore this classic printing technique. No prior experience is necessary. The topics covered include: the preparation of film and inkjet negatives, the preparation of the sensitised paper, and the exposure, processing and treatment of the print.
Peter Moseley practices photographic processes of the nineteenth and twentieth centuries. Following retirement from a career in educational management, his life-long interest in photography was extended by a MA in Printmaking (Brighton). He is currently undertaking a PhD project at the Centre for Fine Print Research at The University of the West of England, investigating aspects of the image surface texturality and tonality of early photomechanical printing processes. He has a studio in Kingston and regularly teaches alternative processes at Lux Darkroom and other venues.
2 day workshop with Peter Moseley
Sep 30-Oct 1, 2017
10:30am - 5pm
£265 + £45 materials fee
By the end of the workshop, participants should be able to:
• Make negatives suitable for platinum/ palladium printing
• Mix and coat platinum/palladium solutions on appropriate paper substrate, using brush and glass rod techniques
• Expose, develop, clear and dry at least three platinum/palladium prints
Untitled, Platinum/Palladium print
© Peter Moseley