Platinum Printing: An Alternative Photographic Process for Artistic Expression
By Bob Herbst

The platinum photographic printing process dates back to the middle of the 19th century. Various people experimented with the materials and in 1873 William Willis filed a patent in Britain on the process. He later presented a paper on the process and his accomplishments at the Camera Club Conference in 1888. From that point until the 1920s, the platinum printing process was widely practiced. Frederick H. Evans was one of the more famous platinum photographers of this period. He is best known for his platinum prints of cathedrals in England. When platinum materials were no longer available, Mr. Evans quit photography altogether out of his disgust for the silver based papers that replaced platinum.

Most people are familiar with the traditional black and white photograph from family photo albums, portraits, senior pictures, etc. The paper for these prints is made using a light sensitive form of silver applied to the surface of a piece of paper as an emulsion. The platinum printing process also results in a monochromatic image. But the paper for platinum prints is made using a light sensitive form of platinum and palladium metals applied to the paper as a coating.
Platinum prints are known for their subtle tonal renderings, an inner luminescence, and ability to represent a greater scale of light than is possible in traditional silver gelatin papers. Platinum prints have a different “feel” to them and sometimes appear more as a drawing than a photograph. The images have more depth because the coating solution soaks deep into the paper. A traditional silver gelatin print has an emulsion that sits on top of the paper making the image look more two-dimensional.

There are only several hundred photographers worldwide who print exclusively in platinum. Platinum prints are more widely collected because they are more rare than common black and white silver gelatin prints. Platinum prints are the most permanent of all photograph processes. They will not fade or change with time or take on a mirror-like finish like many old black and white photographs. They will last as long as the paper on which they are printed since metallic platinum and palladium are highly resistant to oxidation and therefore any deterioration. The platinum process is a contact printing process. You must have a negative the same size as the final print. Therefore the photographer has to work with large format cameras – cameras which yield negative sizes of 4x5, 8x10, 7x17, 12x20, 12x17, 16x20, or even 20x24 inches. The resulting contact print has unparalleled clarity and quality. While platinum prints were popular at the turn of the century and up until World War I, the commercial manufacture of paper ceased during the war. Platinum and other precious metals were needed for the war effort. Commercial silver based papers improved significantly about the same time and were more flexible for the mass markets, so they displaced the demand for the higher priced platinum papers. The materials for printing in platinum were not available for several decades thereafter.

Gradually in the 1960s and early 1970s, the materials to make platinum prints started to re-appear. But even with these materials, it is still a hand made print making process. You cannot buy a box of platinum paper from commercial sources. You have to make your own light sensitive paper one sheet at a time. The chemicals for coating the paper are mixed just prior to printing. The solution is hand brushed on a high quality paper with an artist’s brush and the paper is then dried with a small hair dryer or air dried over night. Platinum materials are sensitive only to ultraviolet light. They are exposed with a high intensity ultraviolet light source or in bright sun light. The very first platinum prints were exposed outside in direct sun and some platinum printers still do this today.

Platinum printing is a 19th century art form practiced by small group of dedicated 21st century artists. Some say they are crazy to work with antique cameras and an antique process. But in this case, the end justifies the effort and, yes, these people are just a little crazy.

About the Author
Bob Herbst has been photographing and printing in platinum and silver gelatin for over 32 years. He has gained international recognition as a master platinum printer and his work is represented in collections in both the U.S. and Europe. His work spans both landscape and architectural subjects and he works primarily with 4x5, 8x10, and 12x20 view cameras. His platinum work has been displayed in numerous solo exhibitions and juried shows. Bob is a contributing writer for View Camera magazine and he prints editions of platinum prints on a commission basis. Bob teaches workshops on platinum printing and has taught undergraduate and graduate classes at the Cleveland Institute of Art, the University of Akron and at Hiram College in Ohio. He is an officer and a member of the Board of Trustees of the Friends of Photography of the Cleveland Museum of Art.