Platinum printing demo - my new video!

[Paul Cunningham]

When I began shooting large format just a few years ago, I could not imagine where it would lead me. Although I've dabbled with silver gelatin printing, I was never able to get the results that I wanted, or never in a way that seemed, uh, sustainable.

With platinum printing, I feel I've found my home. It has all the satisfaction of a handmade product, the beautiful and subtle results I want, and it doesn't require an entire symphonic performance every time. (Not that the level of effort involved should ever be underestimated!)

I created this 5-minute video to share my enthusiasm for the process with those that may not have had the chance to experience it firsthand. I hope I have acquitted myself well.


https://www.youtube.com/watch?v=iKFWmLniavE


This is the print I made in the video. Taken last spring in the city of Porto, Portugal from our hotel balcony. Ilford HP5+.

https://static1.squarespace.com/static/580e6fd6725e25f4dd700336/584449951b631be1b53362d0/58a358a8e3df28fdc922e621/1487100165092/_PVC9157.jpg

For more about my platinum palladium prints, and my printing collaboration with Austin Granger, please visit me here:
The Cunningham Press (http://www.thecunninghampress.com). On Facebook: Facebook page for The Cunningham Press (http://www.facebook.com/thecunninghampress)

Cheers!

[diversey]

Beautifully made, thanks for sharing!

[Pete Suttner]

Nice!

[Ray Van Nes]

First of all lovely image. I have one question on your exposure unit . Is the light source LED? I see all those dots, so I am curious.
Thank you
Ray

[Paul Cunningham]

Hi Ray, thank you!


Is the light source LED?

Yes, it's made with LED strips. I left a lot of technical details out of the video, as I'm sure you noticed, but happy to answer any questions. Paul

[Bob Mann]

Video mentions 4x5 - is this a digital negative?

[Paul Cunningham]

Video mentions 4x5 - is this a digital negative?

Hi Bob, yes it is. I use an Epson 3880 and Pictorico transparency film. I also use QTR software to output the image to the Epson at 360dpi.

[Willie]

The video makes it look like you spend a lot of time brushing the surface of the paper during coating. If so, do you get raised fibres or an abraded surface from it?

Nice image and a clean presentation. You might give a shout out to Bostick & Sullivan for the chemistry and whomever you purchase your paper from - as well as what paper you find works best for you.

[Greg]

Thank you

Why were the sizes of the final print and the mat?

Your print size, mat size, and frame size work together quite well. I usually opt for using thinner black frames, but now have to consider using wider black frames after seeing you final frames photograph.

Greg

[RSalles]

Paul,

That's really nice, I'm visiting now the website you've pointed to. You presented the process as simply that makes me want to try the process myself,

Thanks,

Renato

[Paul Cunningham]

The video makes it look like you spend a lot of time brushing the surface of the paper during coating. If so, do you get raised fibres or an abraded surface from it?
Hi Willie, less brushing is best. I may have been a little anxious for this print, but I try to brush "just enough" and not more. I'm using Hahnemühle paper as mentioned in the video, and always use a little tween. I have not had raised fibers or an abraded surface from brushing, but I would avoid using a squeegee on the wet print. Also, I don't normally use a dryer on the paper, but I was trying to minimize photo studio time.


Nice image and a clean presentation. You might give a shout out to Bostick & Sullivan for the chemistry and whomever you purchase your paper from - as well as what paper you find works best for you.
Thank you. I mention both B&S and Hahnemühle in the YouTube notes. I buy my paper from a local photo dealer, Pro Photo Supply. Cheers!

[Paul Cunningham]

Thank you

Why were the sizes of the final print and the mat?

Your print size, mat size, and frame size work together quite well. I usually opt for using thinner black frames, but now have to consider using wider black frames after seeing you final frames photograph.

Greg

Hi Greg, my print is 8x10" on 11x15" paper. The mat is 8-ply, and the frame is 15x17".

[koraks]

I greatly enjoyed watching your video, Paul! It's very clear, concise and well-made, a joy to watch! The final print looks amazing as well.

I noticed you have a very nice timer module built into your UV printer. It's exactly the kind of timer I've been looking for, but have failed to find so far. Can you share some details on it?

[bob carnie]

Nice Video Paul - I am very happy to see many others printing alternative processes.

Very much interested in your light box if you don't mind going deeper into that as I need a new exposing unit and was thinking LED.

[Paul Cunningham]

I greatly enjoyed watching your video, Paul! It's very clear, concise and well-made, a joy to watch! The final print looks amazing as well.

I noticed you have a very nice timer module built into your UV printer. It's exactly the kind of timer I've been looking for, but have failed to find so far. Can you share some details on it?

Hi Koraks, thank you. They are less than $10. I tried to find one in the States, but ordered it from China (via eBay). I like this one because it has a case, even though the relay sticks up out of it. I was going to put somekind of a logo sticker on it, but I guess I forgot. Since they aren't available here I probably should have ordered two, one for backup, just in case.

Here is an ebay link http://www.ebay.com/sch/sis.html?_nkw=New+12V+LED+Automation+Delay+Timer+Control+Switch+Relay+Module+with+case&_id=331612567655&&_trksid=p2057872.m2749.l2658 that you can try.

[Paul Cunningham]

Nice Video Paul - I am very happy to see many others printing alternative processes.

Very much interested in your light box if you don't mind going deeper into that as I need a new exposing unit and was thinking LED.

Hi Bob, I don't mind a couple of questions, but if you want a complete parts list and dimensions then we have to trade for something, like one of your platinum prints. :-)

[bob carnie]

Hi Bob, I don't mind a couple of questions, but if you want a complete parts list and dimensions then we have to trade for something, like one of your platinum prints. :-)

I am open to negotiations Paul

[ghostcount]

https://youtu.be/jLia59KfkSw

Pit panel in an appropriate box.

[tgtaylor]

The commonplace sun is a far superior exposure unit:

1. It's a continuous source of UV radiation - i.e., not made up of discrete bulb sources.

2. By doing the bulk of the exposure in the shade before finishing it off for a few seconds in direct sunlight, you maximize the detail potential while keeping the paper cool. The latter is important because a buildup of heat can melt the emulsion onto the negative.

3. You can dodge and burn during the exposure if needed.

4. It's free - you can't get any cheaper than that.

Thomas

[Paul Cunningham]

The commonplace sun is a far superior exposure unit:
Thomas

Reliability and consistency are my issues with the sun. Especially at this time of year in Portland, Oregon. You can't beat the price, as long as you have the patience.

[Eric Biggerstaff]

Nice video Paul.

What LED strips are you using?

I posted detailed instructions on making an LED UV box on the forum a year or so ago. Recently the LED's in my unit shifted color and no long print (this is after I made several hundred prints). I need to replace them and have settled on the a different type of UV LED, but I am curious what you are using and how many prints you have made with the unit.

[Paul Cunningham]

Nice video Paul.
What LED strips are you using?


Hi Eric, thank you for the kind words. And thank you also for the post you referred to, it was very instrumental in my own adoption of platinum palladium.

I'm probably using UV strips very similar to the ones you were using, the type with a waterproof coating. Greg Brophy reports that the shift was due to yellowing of this coating, and if this is the cause, then I will just pull it off when needed. It may leave some adhesive behind, but that doesn't seem like something to worry about. The cost was so nominal that even replacing the LEDs is not a huge issue, even discharge bulbs and black light tubes are consumables.

I'm of course curious to know what you will use as a replacement, but my standard pt/pd print time is 240 seconds. (On a related note, I did buy a used NuArc for large scale prints and exposures are at least 2-3x). Cheers

[tgtaylor]

Reliability and consistency are my issues with the sun. Especially at this time of year in Portland, Oregon. You can't beat the price, as long as you have the patience.

Well if you can't trust it you'd be a fool to print with it. Personally I find it eminently trustworthy and consistent. Initially I was one who wouldn't print unless if was a cloudless day - what would I do if a passing cloud came by??? Then one morning I coated a sheet of paper and timed the drying until the "fog" outside burned off. But the fog was actually heavy cloud cover - no brakes - and the sheet was already coated and the clock was ticking. So I exposed it as normal, shade and finishing it off pointed at the spot where I assumed the sun was hiding. Came out well exposed as if the sun wasn't behind the clouds. Now I don't worry about the clouds after all you can get a sunburn on a cloudy day. It may take a little longer but the actual exposure time is but a fraction of the processing time and I'm not going to pull the print until the exposure is right anyway.

Thomas

[stawastawa]

thomas, with my cyanotype printing I often find hazy cloudy days to be better than sunny days. Probably because of the heat factor and moist paper sometimes buckling.
you say finish of pointed at the sun... do you print by inspection? are your times slightly longer in the clouds?
cheers,

[tgtaylor]

I print by inspection taking several peaks along the way to see how its progressing. You can print totally in the shade or under an overcast sky in which case the exposure time will be greater than in direct sunlight. I time my exposures with a stop watch but I determine how much more exposure to give it during the inspection and keep a check on the time with the watch. Since I do the bulk of the exposure in the open shade, I know when to start checking. Knowing what you are looking for you can then determine when to give it a final blast in direct sunlight. This is the Kallitype of which I am speaking which is a hybrid DOP/POP but I use the same method with other processes. The Cyanotype is a slow printing process so instead of say 6 minutes in the shade maybe 15 or 20 minutes in the shade.

Thomas

[Willie]

How do you guys using sunlight print in the winter? Inside through the windows? Can't see putting a contact printing frame out in the sunlight at 22 below zero.

[stawastawa]

thanks thomas,

Willie, try it and tell what happens!

How do you guys using sunlight print in the winter? Inside through the windows? Can't see putting a contact printing frame out in the sunlight at 22 below zero.

[andreios]

Looks good! One problem with the sun also is that it does not work if you only have time to print during the nights, as I do..

[tgtaylor]

How do you guys using sunlight print in the winter? Inside through the windows? Can't see putting a contact printing frame out in the sunlight at 22 below zero.

Doesn't make any difference how cold it is outside, the UV is still there. You can get a sunburn in the winter too.


One problem with the sun also is that it does not work if you only have time to print during the nights, as I do..

You can print by moonlight too since the moon reflects the suns rays - in fact they make UV/ND eyepiece filters for observing the moon through a telescope or binoculars. Might take a while though - I'd wait for daylight myself.

Thomas

[sanking]

Paul,

Nice video, thanks.

I was very impressed with how neat and clean everything looked, even the chemistry bottles! Big contrast to my work space where carbon pigment solutions seems to find a way to nearly everything in my space.

With regard to UV light sources, hope you get long life from your LEDs. I spent quite a bit of time and money installing the strip LEDs in a large UV light source, hoping to supplement the existing BL tubes to shorten exposure times. And it worked for a while, but after about a year the strips changed color and useful radiation dropped significantly.

As for using the sun to expose alternative processes, works great if you live in the desert southwest and only print in the day. Also nice for POP processes where you can peek to evaluate exposure. But unless one combined the sun with a light integration system I would not recommend the sun for printing pt/pd. This chemistry is just too expensive to leave much latitude in terms of exposure time.

Sandy

[tgtaylor]

Although I haven't made a platinum print to date - I've been meaning to - but I would have to disagree with you last paragraph. I don't live in the Desert SW and have been printing kallitypes now for over a year in open sun, shade, overcast in all seasons without a problem.

As you know the kallitype requires an image that is closer to a latent image than a POP image very similar to a platinum print. James describes the kallitype image as being a "stage whisper" whereas he describes the platinum image as a "very faint image...This means that the image is simply undistinguished, a little more than latent, and a hint of what you are hoping for following the development stage." I think than my method of doing the bulk of the exposure in the shade would work best for platinum as the exposure time slows down in the shade allowing you the check on the print as it progresses. Incidentally James believes that the sun is the best exposure source although you would need a light-box for printing at night or in overcast. I disagree with the latter conclusion as mentioned above I have printed under completely overcast sky.

Thomas

[sanking]

"Incidentally James believes that the sun is the best exposure source although you would need a light-box for printing at night or in overcast. I disagree with the latter conclusion as mentioned above I have printed under completely overcast sky."

It was not my intention to suggest that you could not print under completely overcast sky. You can of course, but your exposure times with completely overcast sky will be very different (longer) than when printing in direct sun, or in the shade on sunny days.

My point was merely to suggest that exposure times vary greatly when printing outside, and you will have to spend a lot of money testing for the right exposure with pt/pd. You can certainly do it if you want to, but I believe it will be a lot more expensive in the long run than to just bite the bullet and buy an artificial light that you can calibrate for pt/pd printing. But it is your money and time so just enjoy what you do.

Sandy

[Willie]

I understand that if you like to check a print during exposure the Ziatype Palladium/Platinum prints work this way. Have seen some that really have good color and deep shadows and look very good.