Platinum/Palladium Workshop

Led by Dr Peter Moseley
Course Duration: 5 Days
Date: Date: 23rd-27th August 2021 (9.30 AM – 4.30PM each day)
Location: Frenchay Campus

Book your place here:
Full price registration: £749.00
Concessionary price registration: £599.00

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
• Substrates
• Paper
• OHP Films
• Pictorico
• 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

Some Platinum/Palladium process issues:

  • Substrate – _sizing (or not!)
  • Chemistry
  • Road and Bruch coating
  • Drying
  • Exposure
  • Development
  • Clearing
  • Drying

Supplies and References

Transparency substrates:

HP New Premium InkJet Transparency Film
Pictorico TPF 100
Agfa Clearjet
Epson Inkjet Transparency Film
Stouffer 21-step (half stop)

‘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

Paper: John Purcell Paper, 15 Rumsey Road, London, SW9 0TR

Online information:

About: Dr Peter Moseley

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 the University of the West of England 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 and in Russia and China. He has been teaching summer programmes at UWE 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.

The course price includes all materials and catering.

Courses will be held at UWE Bristol. The course is limited to a maximum No: of 6 participants, please sign up early to secure your place.

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