[Alt-photo] Re: Papers for Palladium

francis schanberger frangst at gmail.com
Thu Nov 7 00:43:49 UTC 2013

and I meant to but really shouldn't have opened that 500 year can of worms.
Usually a moot point talking up longevity of work when one is making
mostly anthotypes.


On Wednesday, November 6, 2013, Diana Bloomfield wrote:

> Well, speaking of platinum prints lasting 500 years--  I was at this
> little junk-- uh-- antique store late this afternoon, looking for something
> very specific, and I almost tripped over a framed photograph on the floor,
> propped up against the wall.  I take a closer look, and it turns out to be
> a platinum/palladium print-- really nice-- great light, composition, good
> tonal range-- the whole thing.  It was in a crappy metal frame with a dirty
> mat-- but the print (about 12x12) was pristine and gorgeous.  I could not
> make out the handwriting on who did it-- but the price tag was an
> astounding $14.  Seriously.  So I look a little longer, and way up high on
> the wall-- is another platinum/palladium print made by the same person--
> same location -- just different scene-- also really nicely done,
> brush-marks and all-- in a nice wood frame-- but still a dirty mat-- but
> because of the wood frame, I guess, it was a shocking $22.  So I got them
> both.  I got home, thinking maybe they weren'
>  t pt/pd prints at all, but some computer-generated something or other--
> but I took them out of their frames, and sure enough-- they're the real
> thing.  I can't make out the signature, though.  They're contemporary
> prints, probably done in the last 20 years or so-- but I couldn't find a
> date, either.
> But talk about your worst nightmare.  The good news is, they weren't mine.
>  I was thrilled by that.  But 500 years?  I'm just hoping when I kick, my
> family doesn't dump everything in boxes and send them off to the nearest
> junk-- uh-- antique store.  :(
> Diana
> On Nov 6, 2013, at 6:46 PM, francis schanberger wrote:
> > When I coat a 9" x 12" piece of Tosa washi, I usually have three
> > overlapping "rows" moving from right to left. When I finish the third
> row,
> > I begin brushing from the far side bottom to top or from closest to me to
> > furthest from me. Usually there are four of these "columns". The unsized
> > paper will allow the chemistry to spread to the neighboring column or
> row.
> > It works well enough for a camera based image. For one of my scanner
> based
> > botanicals, the sheer surface area needed to be the densest is when this
> > brushing technique fails. For these images, I double coat with the paper
> > rotated 180 degrees.
> >
> > Coating must be done with the paper on top of felt just like Japanese and
> > Chinese calligraphy.
> >
> > Nishimaru and the paper makers opted for the thin weight to make the
> paper
> > as archival as possible (easy to wash out the iron salts). They are
> calling
> > platinum prints on this paper, 500 year photographs.
> >
> >
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francis schanberger


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