New Palladium Prints to Come

After two weeks of testing, making finished prints has begun. The variables for palladium printing allow for a lot of options. What can be controlled, using the same negative, is light source & light intensity, which controls the outlook of the tonal structure, the developer and developer temperature. Each of these variables alters the final image in different ways. What I was looking for was a warm toned palladium print of two Datura Blooms.

First test strips out were made using the UV printer, developed in ammonium citrate at 68-70 degrees. I moved to printing in sunshine, using north light, reflected light (off the house in full morning sunshine), and direct sunlight. I also began developing in potassium oxalate, the historically traditional developer. The oxalate is a warm toned developer and the citrate a cool toned developer for palladium prints. Temperature adds to the affects therein.

Ending up with over a dozen test strips in hand analyzing each one for quality of the white flowers, and the depth of the black background. I wanted the white flower blooms to show a tonal gradation from zone 6 right up to zone 8, on a couple small areas. Brilliance. I got that. Turns out the best tonal representation of that image was making the print in the UV printer for fifteen minutes. Developed in potassium oxalate, at 85+ degrees.

One of the characteristics of palladium printing is 'bronzing'. That occurs in the deeper shadows and outright blacks in the  image, whereupon the UV light upon those darker areas chemically begins to build up and reverse the blackening, beginning to appear to solarize, or 'bronze'. I have noticed it more using the potassium oxalate warmed over 80 degrees. What would be a deep dMax black if it were a platinum print, what is seen is more of a warm toned or soft black. The ammonium citrate at a cooler temperature isn't as visible, but there, none the less.

To correct for this bronzing, a couple drops of a diluted solution of sodium based platinum stops the bronzing, as well as deepening the black quite a bit. This process is referred to as the 'double sodium' process, otherwise known as the Na2 process. This was formulated by Dick Arentz and Richard Sullivan (Bostick & Sullivan) The testing also has to do with the fact that I am also writing a book on palladium printing; #4 in the Alchemist's Guild;" series. Knowing the process theoretically is not the way to write about it. I am printing a portfolio of palladium images, as well as platinum/palladium Na2 prints. I will be using some of the images for examples in the book.

I don't like to copy the fresh prints while they are wet, as they tend to dry down slightly differently. I was able to make two clean prints for the palladium portfolio, both Datura blooms. I will be posting an image of at least one of them tomorrow. I have also been making a gum over palladium print to add to the portfolio of studies. It is coming along nicely, and is ready for a final print layer before clearing and drying. I'll be posting a copy of that soon as well.