Study day Platinum/Palladium Workshop
Page last updated 17 May 2021
Platinum printing is the aristocracy of the early photographic processes. The image is composed of very finely divided platinum and palladium metals that are more stable and longer lasting than silver based prints. As with the other alternative printing processes, paper is coated with special solutions and, when dry, is exposed under a negative to the sun or sun lamp, the ultra-violet rays are the key here, before being developed in another chemical mix.
Developed first in the 1860s and 1870s, the technique became very popular with fine art printers because of its very delicate highlights and mid-tones and was used extensively until prices rose dramatically during the First World War made the process too expensive.
This workshop offers demonstrations and hands-on opportunity to explore this classic printing technique. No prior experience is necessary.
During the workshop, we will:
- Expose and process 10×8 film negatives using a large format camera
- Prepare platinum/palladium chemistry and coat/sensitise art paper
- Expose and process platinum/palladium contact prints using large format film negatives
- Explore calibration techniques for production of inkjet negative transparencies
- Prepare digital images and print negative transparencies on inkjet printer
- Expose and process platinum/palladium contact prints using inkjet negatives
We will cover the following topics:
- Comparison of digital and film negatives
- Film grain versus ink-drops, density range requirements
- Preparation of film negatives for Platinum/Palladium
- Achieving necessary density range of 1.7 to 2.0
- Ink-Jet Printers and ink sets
- Colourised or black negatives
- OHP Films
- Agfa Clearjet
- Calculating base printing time for maximum black - exposing step wedge
- Choosing colour for negative - _exposing tonal palette
- Printing and linearisation of digital step-wedge
- Checking maximum black and paper white
- Density measurement of steps
- Producing Photoshop curve for linearization
- Production and test printing of first digital negative
Supplies and references
- HP New Premium InkJet Transparency Film
- Pictorico TPF 100
- Agfa Clearjet
- Epson Inkjet Transparency Film
- Stouffer 21-step (half stop) http://www.rhdesigns.co.uk/darkroom/html/accessories1.html
- 'Platinnum and palladium Printing' by Dick Arentz
- 'Digital Negatives: Using Photoshop to Create Digital Negatives for Silver and Alternative Process Printing' by Brad Hinkel and Ron Reeder
- 'Making Digital Negatives for Contact Printing' by Dan Burkholder
- John Purcell Paper, 15 Rumsey Road, London, SW9 0TR
Prices and dates
Supplementary fee information
- Full price registration: £749
- Concessionary price registration: £599
The course price includes all materials and catering.
Please note we offer a 20% discounted concessionary rate to UWE Bristol alumni (including previous CFPR CPD attendees), anyone reliant on state benefits for their income, anyone currently in full-time education (worldwide) or part-time higher education (UK), and those who are retired.
23 to 27 August 2021 (09:30-16:30 each day)
The course is limited to a maximum of six participants, please sign up early to secure your place.
Please note the University terms and conditions of purchase for CPD.
How to apply
How to apply
To apply, please click on the relevant link:
The course is limited to a maximum number of six participants, please sign up early to secure your place.
About the tutor
Dr Peter Moseley is an experienced photographer and printmaker, principally using the techniques and processes of the nineteenth century, including photogravure, platinum, salt and albumen, carbon transfer, kallitype and cyanotype printing. Peter has an MA in Printmaking from the University of Brighton and currently is Visiting Research Fellow at the Centre for Fine Print Research at UWE Bristol where he gained his PhD.
He has had work shown at national and regional galleries, including the National Portrait Gallery and the Royal Society of Painters-Printmakers. He is an experienced and qualified teacher and has taught photography/printmaking workshops at universities, colleges and print centres in the UK, Russia and China. He has been teaching summer programmes at UWE Bristol for a number of years now.
Peter's current focus involves making portraits, primarily of older people and older bodies. His works aim to depict the strength and fragility, and the humanity and life experience of his subjects through the portrayal of their skin and fragments of their bodies. He uses the materiality and haptic of prints made using early photographic printing processes to articulate the surface, depth and texturality of his subjects.