Pt/Pd printing using A+B Method

[Cletus]

So I've been doing Pt/Pd printing for going on two years now, always using the "Na2 Method" of contrast control. I've reached the point where I can get a good print from a good negative pretty reliably these days. Through testing, notes and experimentation, I can usually get a negative that prints nicely using no Na2 restrainer at all, just pure Palladium and pure Potassium Oxalate developer. I like the overall tone, or color, of prints made this way and have been generally satisfied.

As of yesterday and this morning, I'm trying something new (or old, depending on your POV), making some prints using the A+B Method, with BS Pt Sol #3 and FeOx #2. I haven't quite got it all down yet, but I've already noted a dramatic difference in print tone/color (using the Pt#3) and it appears, much more contrast control using the FeOx #2 as opposed to Na2.

With nothing really to compare to and only written material to refer to, I had always been under the impression that Na2 as restrainer offered pretty much the ultimate in contrast control and my experience has pretty much borne this out so far, although again, this is my first go with any other method.

I know we have a few seasoned and salty Pt/Pd printers here - I'd be very interested to hear your comments and opinions on your experiences with these two processes. If you've done both, which do you prefer? Why? Any big advantage to one over the other? There is a distinctive, warm sepia-like print color that seems to be unique to Palladium. How do you feel about the color, or tone of prints made with more Pt than Pd, or even pure Pt? Na2 doesn't appear to have much affect on print color, only contrast and printing speed, IME.

I've also tried using pure Palladium with no Na2 and using Dichromate in the developer, but I've not been able to get any appreciable control over contrast this way. I am in love with the warm, hard to describe color of prints made with pure Palladium and I'm not altogether sure that cooling them down with Platinum is a positive for me. Seems like adding Platinum brings the print color closer to cooltone silver B&W, but that's based on VERY little time and experience so far, might not necessarily be the case.

[Doug Howk]

I took a workshop with Tilman Crane and used the NA2 method for about a year. Later tried the A+B method but didn't see any advantage. Prefer the warm tones of straight Palladium. Finally settled on the Dichro method as explained by Ian Leake in his workshop book. I have 7 bottles of PO with varying amounts of potassium Dichromate to achieve vary good control over contrast changes. I also heat the mixture just before pouring to get an even warmer tone.

[bob carnie]

Hi Doug

Is one of the main advantages of your method the ability to pre coat paper for a days run and then just use the developer of choice to control your contrast??
If so where do you keep your paper in advance of printing?

Bob

I took a workshop with Tilman Crane and used the NA2 method for about a year. Later tried the A+B method but didn't see any advantage. Prefer the warm tones of straight Palladium. Finally settled on the Dichro method as explained by Ian Leake in his workshop book. I have 7 bottles of PO with varying amounts of potassium Dichromate to achieve vary good control over contrast changes. I also heat the mixture just before pouring to get an even warmer tone.

[Doug Howk]

Hi Bob, Yes. One of the advantages is that I can create a number of coated papers in advance of an actual printing session. Then decide which developer mixture to use prior to pouring. For example, sometimes the ghost image will suggest a different mixture than I had originally planned based on density range readings. And, of course, its much easier for when a 2nd working print is needed.
I let the coated papers dry out naturally in a collection of relatively light tight boxes. Depending on the humidity, it may only be an hour; but, here in Florida, usually its several hours.

[bob carnie]

I have wonderful notes from Ian and I too plan to use this method of producing the prints, I believe it is very logical and appealing method of printing pt pd.
I going to use a two or three negative approach where the main negative is for the pt pd which will lock in the beautiful highlight possibility's of this process, and then a shadow negative to add pure pigment on top to increase contrast, and maybe a second hit of an appropriate negative if I am using a colour original to keynote the colour.
For this I am mainly thinking gum process , but I have also considered multiple colour carbon transfer to the main pt pd image.

By using the multiple developer method like you do it helps me work with numerous prints in a working session with ease.
The pd pd image is just the first main course step , the pigmented gum or carbon is the dessert.

We have had Ron Reeder here on a couple of occasions showing us the inkjet negative process, as well we are making continuous tone negatives through our lambda that are great for alt process.
Sandy King has been a wonderful mentor through the last few years for me , he has always been genourous with his time and advice, and now I feel that all the steps are locked into place for me.

A big improvement is the method you use for development and contrast control... thanks Ian.

Hi Bob, Yes. One of the advantages is that I can create a number of coated papers in advance of an actual printing session. Then decide which developer mixture to use prior to pouring. For example, sometimes the ghost image will suggest a different mixture than I had originally planned based on density range readings. And, of course, its much easier for when a 2nd working print is needed.
I let the coated papers dry out naturally in a collection of relatively light tight boxes. Depending on the humidity, it may only be an hour; but, here in Florida, usually its several hours.

[Vaughn]

Being rather simple, I prefer to keep the process rather simple, too. So I print palladium/platinum at a ratio of about 3:1 (3 to 1), and use no contrast agent. I occasionally have fun printing old (and some new) medium format negs that need a contrast boost, and find the Na2 to work fine.

The only dis-adavantage I have heard about with the A+B method is that the prints can get a little grainy looking if one uses too much of the B, that is if one's negatives are way too low in contrast, which you (Cletus) do not seem to have a problem with -- so the A+B method probably works well as you do not need to over-do it with the B solution.

[Jim Noel]

I work primarily as Vaughn does. On those occasional prints which need more contrast I keep a 5% solution of potassium chlorate on hand to add to the coating mix. I have also used hydrogen peroxide for this purpose, but the KClO3 keeps better.

[Cletus]

Thanks for all your responses to this rather convoluted question. I've been waiting for my few "A+B" prints to dry, to properly compare them to my Na2 prints. The A+B prints were done, using a fairly dense 8x10 negative with a good long scale and using, specifically:

Arches Platine, 15 drops FeOx#1, 5 d. FeOx#2, 14 d. Pd#3 and 6 d. Pt#3. Exposure was 14:00 under and Edwards UV box in a springback frame (as if that really matters)

Compared to the Na2, same paper and everything else, with 20 d. FeOx#1, 18 d. Pd#3 and 2 d. Na2 %5. Exposure 14:00.

I absolutely cannot tell the difference. Not the slightest, tiniest tiny bit. The prints are IDENTICAL in tone, color, shadow and highlight detail, gradation, etc...

I plan to work my way through my 15ml "introductory" bottle of Pt#3, and FeOx#2. I'll also try to up the ratio of Pt to Pd and see what happens, looking for some change in print color, which was my main goal in trying this to begin with. At this point and barring any dramatic, significant difference in print color and/or tonal rendition, I can see no reason to pursue the A+B method any further. It is considerably less expensive to use the Na2 instead of Pt#3 and if the results are indistinguishable, why do anything else?

Just to mention, I have also done a fair bit of experimenting using Potassium Dichromate in the developer (with no Na2 in the coating) and while it was a fairly effective contract booster, I still prefer using pure PotOx developer, heated to about 35-40C and Na2 as restrainer. Just works better for me that way.