Re: Papers?

Kerik Kouklis (KOUKLIS_KERIK@aphub.aerojetpd.com)
20 May 96 12:04:08 PDT

For Platinum printing, I am now a devoted user of Arches Platine. I
have used Platinotype in the past, rather grudgingly, since I have
never liked it's yellow color and it's tendency to fall apart when
wet (this is mostly true with larger prints). It is a pulp paper (I think
this is the correct term), kind of analagous to particle board. On the
other hand, I find Platine to be analogous to a fine hard wood, in
terms of quality. It is very heavy, VERY strong when wet and is a
nice neutral white color, which I prefer. Despite being quite thick,
Platine is not very absorbent. For this reason, I have gotten best
results by double coating it with two relatively light coats. I use
only about 25% more sensitizer to double-coat Platine than I use
to single-coat other papers. I've read in the archives (yes, I do
read the archives, Judy!) that some people find it less than
"honorable" to double coat a platinum print. Everyone is entitled
to their opinion, of course, but to me, the honor is in making a
stunning print. I am now making much better platinums than I was
ever able to make single-coating Platinotype (or other papers, for
that matter).

A couple of things I've concluded based on my experience and hearing
and/or reading the experience of others. Platine does not like Ferric
Oxalate No. 2 (with the potassium chlorate restrainer). Everyone I
know who has tried it has ended up with horrible grain or mottling,
even with a teeny-weeny bit of No. 2. I've boosted contrast by
adding hydrogen peroxide to the sensitzer and/or developer, which
works well to a point. This past weekend I finally got over my fear
of sodium dichromate, and mixed up several different batches of
potassium oxalate developer containing various quantities of sodium
dichromate to increase contrast. This works incredibly well. I have
a series of landscapes in fog that can be quite difficult to print in
platinum. These prints are now coming out with INCREDIBLY smooth
and delicate tones that are far superior to anything I've done
before. I am also getting a beautiful, rich black with this method.

Another benefit of controlling contrast with the developer is that I
now have one standard sensitzer solution. I can coat a whole bunch
of paper in the evening and then print, print, print all day long. I
find this a much more efficient way to work.

I coat Platine with a glass rod followed by a very light whisking
with a 4-5/8 inch Hake brush (purchased from Daniel Smith Art
Materials) which helps make the coating very smooth and even.

Another member of this list, David Fokos, has written on this
technique in the past and has a nice write-up of this procedure on
the alt-photo-process Web Site. I thank David for pointing me in
this direction. The only drawback is that my consumption of platinum
and palladium are increasing rapidly. Oh well, the kids don't REALLY
need a college fund...

Kerik Kouklis

Kouklis_Kerik@aphub.aerojetpd.com
Kerik717@AOL.com