I wanted to thank you for sending your new book out to me. I have been
enjoying it. I have the original version too, and I like all the ways in
which you've expanded the new edition.
I also wanted to mention a couple of things (in case you're taking notes
for your *next* edition).
I have been working with the Arches Platine for a few months now. I
double coat (7Pd:1Pt), let each coat dry overnight, develop in room
temperature potassium oxalate with sodium dichromate as the contrast
agent, and finally a bath in liquitex gloss medium diluted 1:12 with water.
..kind of breaks a lot of rules, eh?
o.k. one by one...
I double coat because I have found in every experiment I have done, on
every paper I have tried, that double coating yields a deeper black.
After a lot of experimentation I have found that I get the best results
by letting the paper dry overnight. Contrary to common wisdon, this has
not resulted in a sunken/flat image. It does reduce grain, and give
richer blacks however.
I use room temperature potassium oxalate. Yes, I know it's a
super-saturated solution, but I haven't had any trouble with crystals. I
did note (I think - I will have to double check) that you mention that
Ammonium citrate is also used in a super-saturated solution, which is not
the case.
I am using Sodium Dichromate as a contrast agent. It works great. I
noticed that you mention Potassium Dichromate and bleaching. I have no
problems with bleaching using the "Sodium" Dichromate, and it cost less
than Potassium Dichromate.
Another benefit to using the dichromate is the ability to do "local"
development using different contrast grades of developer. Remember you
heard it here first! - or maybe not... :)
For example I have a negative of a large rock on the sea shore. It was a
long exposure just as the sun had dipped below the horizon. It has a lot
of overall contrast, but not a lot of local contrast. The sky above the
horizon is a very high value. If I print to get the clouds, and even a
faint edge to the print, then the rock is too dark. So, I print for the
sky, and then use a higher contrast developer on the rock with a q-tip.
The higher contrast developer has two benefits in this case. First, it
increases the local contrast in the rock, and second, it's "speed" is
slower so the rock is not as dark as it would have been. Once the rock is
developed, I then immerse the whole print in the regular developer. The
rock does not change as a result of being immersed in the regular
developer.
I can also go the other way. If I need to have an area print darker, I
can locally devlop with a lower contrast grade of developer, which seems
to have more speed, thus making that area darker (of course, it also has
lower contrast, so there's no free lunch).
Finally, I use a dilute liquitex bath (after the print has dried). This
bath doesn't really add any perceivable gloss, but it does nake the
blacks richer, and therefore also seems to increase contrast slightly.
As fine art painters feel that this material is "safe" to use (with
regard to longevity, yellowing, etc.) on their paintings, I feel
comfortable usinging it on my prints.
Right now I am working on preparing materials for a platinum printing
workshop I am giving in January, however, once I get a chance I will try
to print a few test samples to send your way so that you can judge for
yourself.
Best wishes for the holiday season,
David Fokos