Platinum print

The first person to have recorded observing the action of light rays on platinum was Ferdinand Gehlen of Germany in 1830. The following year, his countryman, Johann Wolfgang Dobereiner, determined that the action of light on platinum was quite weak, but that perhaps something could be combined with platinum to increase its sensitivity. Through experimentation, he eventually found that ferric oxalate was a highly-effective enhancer. The combination of these two metals remains the basis of the platinotype process in use today. In 1832, Englishmen Sir John Herschel and Robert Hunt conducted their own experiments, further refining the chemistry of the process. In 1844, in his book Researches on Light, Hunt recorded the first known description of anyone employing platinum to make a photographic print. However, although he tried several different combinations of chemicals with platinum, none of them succeeded in producing any permanency in the image. All of his prints faded after several months. Over the next decade, Hunt noted that platinum prints he had left in the dark faded very slowly but gradually resumed their original density, and had also shifted from a negative to a positive image, eventually becoming permanent. File:Eakins, Thomas (1844-1916) - 1883 ca. - Autoritratto con John Laurie Wallace.jpg|alt=Title: [Thomas Eakins and John Laurie Wallace on a Beach] Artist: Thomas Eakins (American, Philadelphia, Pennsylvania 1844–1916 Philadelphia, Pennsylvania) Date: ca. 1883 Medium: Platinum print Dimensions: 25.5 x 20.4 cm (10 1/16 x 8 1/16 in.), irregular Met Museum Collection|thumb|Title: [Thomas Eakins and John Laurie Wallace on a Beach] By the early 1850s, however, other, more reliable photographic processes, such as salt and albumen printing, had been developed and were beginning to be widely used. Those scientists who had previously researched platinum lost interest in the process as other methods became more commercially viable. The only major advances in platinum research reported during that decade were made independently by C. J. Burnett and Lyonel Clark of Great Britain. In 1859, Burnett published an article in the British Journal of Photography describing his use of sodium chloroplatinate as a fixing agent. His modification of the platinum printing process resulted in prints that were permanent enough that he could exhibit them in public. That same year, Clark also exhibited prints made using a slightly different process. == Patents ==

William Willis was the first to patent the platinotype process in 1873 (British Patent No. 2011, June 8, 1873), Willis introduced the "hot bath" method, where a mixture of ferric oxalate and potassium chloroplatinate is coated onto paper, which is then exposed through a negative and developed in a warm solution of potassium oxalate. == Commercialization ==

While Willis had greatly advanced the chemistry of the platinum process, there was still no reliable method for the individual preparation of platinum paper by 1880. Two years later, two Austrian Army officers, Giuseppe Pizzighelli and Arthur Baron V. Hubl, published a dissertation describing a straightforward process for preparing the paper. They continued their research for several years, and in 1887, Pizzighelli patented a new process that made the commercial production of platinum paper viable for the first time. The new process was briefly known as a "Pizzitype" and was marketed under the name "Dr. Jacoby's Printing Out Paper." Willis quickly countered this advance by obtaining two more patents in 1888 for cold-bath processes. By adding more platinum to the developing process, he produced prints that had dense brown-black shadows rather than the lighter browns that were the best that previous processes could produce. While much more aesthetically pleasing, prints developed by this process were difficult to produce reliably. Four years later, Willis began manufacturing a platinum paper that was designed for the cold-bath process, and this became the standard for the rest of the decade. The business he started in 1880, called the Platinotype Company, rapidly expanded, and soon he was selling his paper throughout Europe and in the United States. By 1906, his company had sales totaling US $273,715 ($ in 2009 dollars), a significant amount at that time. ==Palladium==

In photography, the palladiotype is a less-common variant of the platinotype. The process came into greater use after World War I because the platinum used in the more-common platinotype quickly became too expensive. Due to the rising cost and the consequent shortage of commercial platinum paper, photographers tried to replace the platinum with the much cheaper palladium which gave similar effects. The cost of this metal, however, also started to rise and eventually around 1930 the process was abandoned in favor of more economical alternatives. In recent years, a handful of photographers have taken up the art of mixing platinum and palladium and printing fine art prints with those chemicals, despite its cost. Characteristics of a palladium print, compared to a platinum print: • A warmer tone • Easier to solarize (see the Sabatier Effect) • Large tonal range, up to D= 2.1, thus requiring a contrast-rich negative for printing • Deeper blacks, with a higher maximum density • A softer image, with delicate highlights ==Chemistry==

Platinum printing is based on the light sensitivity of ferric oxalate. Ferric oxalate is reduced to ferrous oxalate by UV-light. The ferrous oxalate then reacts with platinum(II) or palladium(II) reducing it to elemental platinum (or palladium), which builds up the image. By varying the amount of platinum versus palladium and the addition of oxidizing chemicals such as hydrogen peroxide and potassium dichromate or potassium chlorate, the contrast and "color" of the final image can be modified. Because of the non-uniformity of the coating and mixing phases of the process, no two prints are exactly the same. In 2002, working from research done by Howard Efner and Richard Sullivan, Dick Arentz formulated the methodology for using sodium chloroplatinate as a contrast control agent. Richard Sullivan coined the term Na2 and began to sell a 20% solution through Bostick and Sullivan. Arentz found that, since it is a platinum compound (sodium chloroplatinATE), it does not work with platinum prints (potassium chloroplatinITE). It does, however, shorten the scale of a pure palladium print. When minute quantities of sodium chloroplatinate are added to the palladium salt/ferric oxalate emulsion it produces the high-contrast prints needed for thin negatives, but does not exhibit the granularity found when using traditional chlorates. A palladium print made with potassium chlorate will take on a warm, sepia tone. The same print using sodium chloroplatinate will have cooler tones similar to those of a platinum/palladium print. The inherent low sensitivity of the process occurs because the ferric oxalate is sensitive to ultraviolet light only, thus specialized light sources must be used and exposure times are many times greater than those used in silver-based photographic processes. Due to the unavailability of pre-coated sensitized paper, all platinum/palladium printing is done on paper coated by the printer. The light sensitive chemicals are mixed from powdered basic chemicals, or some commercially available solutions, then hand applied with a brush or a cylindrical "pusher". Many artists achieve varying effects by choosing different papers for different surface characteristics, including vellum, 100% cotton rag, silk, and rice, among others. On the collecting market, platinum prints often sell for many times what a similar silver-gelatin print would bring. ==Notable photographers using the technique==

• Dick Arentz • George Charles Beresford • Manuel Álvarez Bravo • Alvin Langdon Coburn • Lois Conner – Sahinefendi, Goreme, Turkey at the Museum of Modern Art • Imogen Cunningham – The Wind at the Metropolitan Museum of Art, Clare Shepard at the Metropolitan Museum of Art • Edward S. Curtis • F. Holland Day – Study of Head of Christ at the Art Institute of Chicago, Menelek at the Art Institute of Chicago, Ebony and Ivory at the Metropolitan Museum of Art, Ebony and Ivory at the J. Paul Getty Museum • Thomas Eakins – [Thomas Eakins and John Laurie Wallace on a Beach at the Metropolitan Museum of Art] • Olive Edis – William McTaggart at the National Portrait Gallery • Frederick H. Evans – Aubrey Beardsley at the Metropolitan Museum of Art, "A Sea of Steps," Wells Cathedral at the Museum of Modern Art • Laura Gilpin • Naohisa Hara • Frederick Hollyer • Gertrude Kasebier • Sal Lopes • Robert Mapplethorpe – Ken and Tyler at the Guggenheim, Self Portrait at the Guggenheim, Coral Sea at the Metropolitan Museum of Art • Andrea Modica • Tina Modotti • Irving Penn – Cigarette No. 98, New York at the Metropolitan Museum of Art • Ted Preuss • Tom Sandberg • J. Shimon & J. Lindemann • Edward Steichen – The Flatiron at the Metropolitan Museum of Art (this work uses pigment over platinum to add color) • Alfred Stieglitz – ''Georgia O'Keeffe'' at the Metropolitan Museum of Art • Paul Strand – Blind Woman, New York at the Metropolitan Museum of Art, Market Woman with Basket, Mexico at the Philadelphia Museum of Art, The Italian, New York at the Philadelphia Museum of Art • George A. Tice • Robert Vano • Edward Weston – Ted Shawn at the Metropolitan Museum of Art • Clarence H. White – ''Blindman's Buff'' at the Museum of Modern Art ==See also==