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Sequence viewing > Index - Alternative Photo Emulsions - Resource - ©
Lloyd Godman
Alternative
Photographic Processes - (Hand
made photographic -emulsions and processes)
Processes
- Platinotype
Early Photographic Processes Platinotype From 1874
(and Palladium from 1920s) Discovery Pioneer William Willis jun. (1841-1923)
had been been looking for ways to make photographs with the most suitable
metal he cold think of. In 1874, the British Journal of Photography
announced his Platinum Printing process. It gave a report of the process
on 4 June 1875. William Willis jun. continued to refine his process
until 1878. Comments from 1884 WK Burton, in his book ABC of Modern
Photography gave the following brief comments on the Platinotype process:
"All the appliances for platinum printing are to be had from the
Platinotype Company, 26 Southampton Row, High Holborn, London WC, and
with them the instructions so full and concise, are issued, that we
need only briefly describe the process." [See below] "The
one thing which requires great constant attention is the keeping the
paper thoroughly dry. It has to be kept in a metal case with a small
quantity of calcium chloride, when not actually in the frames, and when
in these, it is necessary to keep a thin sheet of india-rubber behind
it." Process Comments from 1870s Creating the Print 1. Size plain
paper with starch. (The paper should have been first floated for 2 or
3 seconds on a three-grain solution of nitrate of silver.) 2. Clip the
paper on top of a sheet of glass. 3. Pour a mixture of ferric oxalate
and chloro-platinite on to the centre of the sheet. Spread with a cotton
wool pad then make even with a soft fabric. 4. Place the paper on a
frame to dry. 5. Place a negative in the frame over the paper, and expose
to light (for about a fifth of the time that would be required for a
print on albumenised silver paper.) 6. At this stage, a feint image
will have formed, from the ferrous oxalate, but no image yet from the
platinum © 7. Draw the pictures over the surface of a warm solution
of potassic oxalate (prepared earlier by the decomposition of carbonate
of potash and oxalic acid). 8. The picture immediately appears. ©
The result should be a strong rich picture, in a warm rich velvety-black
tone. [BJP, 4 Jun 1875: p.265] Finishing the Print At this stage, the
print is permanent, but further steps can be taken to improve it. 9.
Place the print in a very weak solution of oxalic acid. (This dissolves
the ferric oxalate, and brings out pure whites in the print.) Then,
rinse in plain water. 10. To give the print a warmer appearance, it
can be gold-toned, then placed in a bath of hyposulphite of soda, then
rinsed. [BJP, 4 Jun 1875: p.265] Comments from 1880s Creating the Print
WK Burton, in his book ABC of Modern Photography, published in 1884,
gave a brief account of the Platinotype process. This differs in some
respects from the 1875 description given above: - The prints have to
be developed by floating them on the surface of a hot solution containing
130 grains of oxalate of potash to each ounce of water. A flat iron
dish is the best to operate with. - The solution is kept at a temperature
of 170 or 180 Fahr., by means of a spirit lamp or Bunsen burner. The
process of development is a most beautiful one. The print, before it
is developed is only just visible. It is placed thus on the surface
of the solution and in a few seconds there is removed a picture most
perfect in colour and gradation of tone. - The developed print is transferred
to a dish containing one part of hydrochloric acid in sixty parts of
water. It passes to a second, and then to a third, similar bath, remaining
a few minutes in each. - It is then washed for about a quarter of an
hour in several changes of water, after which it is finished. [ABC of
Modern Photography] The Negative WK Burton added: - Negatives which
are just somewhat too dense for silver printing give excellent results
with platinum. - Any negative, however, which will give a good silver
print, will give a good platinum print. [ABC of Modern Photography]
Comments from 1890s Papers A Horsley Hinton, in his book Platinotype
Printing, published in 1898 referred to there being two types of platinotype
paper: - Paper for the hot process: this paper is developed in a hot
solution of oxalate of potash - Paper for the cold process: this paper
is developed in a cold solution of oxalate of potash. Both of these
papers were available in a choice of surfaces, differing in stoutness
and smoothness: A - smooth, thin B - smooth, stout C - rough, very stout
[Platinotype Printing: A Horsley Hinton, p.21] Toning A Horsley Hinton
gave advice on toning. Some of his chemicals suggested were expensive
(and may well not be safe by current standards). In particular, he recommended:
- uranium toning to produce a brown or red brown colour with ordinary
black-printing platinotype paper. - adding bichloride of mercury to
the oxalate developer to produce browner colour. - gold toning to produce
colder bluer blacker tones. [Platinotype Printing: A Horsley Hinton,
pp.67-75] Palladium in the 1920s Platinum became very expensive in the
1920s, causing photographers to change from using platinum to palladium
salts. The two processes were very similar and produced similar results.
Result © Please click here to see more examples of Platinotype
photos. Platinotype photos were highly regarded. They often had a good
range of grey tones from silver to black, but could also be produced
in warm brown tones. The platinum was embedded in the fibres of the
paper and did not fade. 1870s The British Journal of Photography [4
Jun 187, p.265] said: "The tones of the pictures thus produced
are most excellent, and the latter possess a charm and brilliancy we
have never seen in a silver print upon plain paper, added to which they
are so permanent as to resist all the usual destructive tests."
1880s WK Burton, in his 1884 book described the colour of Platinotype
prints as being: "not brown or purple, but a feint greyish-brown
colour." [ABC of Modern Photography] 1890s A Horsley Hinton, in
his book Platinotype Printing, published in 1898 wrote: "Whilst
amongst most persons of more or less cultivated tastes the effects secured
by platinotype and by carbon printing are preferred, one still meets
many who will unhesitatingly proclaim their preference for the more
old-fashioned silver print ... ..." "Thus, for example, if
I have prints on platinotype paper and on a fine glossy-surfaced gelatine
or albumen paper, and lay them before a child of twelve years, I expect
him to show preference for the latter (the mere brightness and glossiness
are a sufficiently superior attraction); or if I show them to my servant
or a person of less cultivation, I shall be surprised if he does not
show preference for the print of high surface, and which appears to
him to possess properties which the other lacks; ... ... ... ... ..."
"But when later on we grow to value such prints and pictures for
the sake of the thoughts they suggest, for the pleasure they give as
suggestions of nature in her more beautiful phases, or for the faithful
reminiscence of a familiar face, then it is that the qualities of platinotype
are appreciated, quite apart from the question of permanence, which
is the proverbial character of the platinotype." [Platinotype Printing:
A Horsley Hinton, p.7]
http://www.edinphoto.org.uk/1/1_early_photography_-_processes.htm
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