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Many thanks for your comment. I agree about the brushstrokes!

Thanks again for your kind comment.

Many thanks for the comment! Much appreciated.

Oh dear. Never mind, you can always look at the pictures.

Thanks for the question. After fixing ant negatives, I rinse them in running water for a few minutes, then use Hypo Clearing Agent for the recommended time. (Both Kodak and Ilford make similar solutions) then wash for 30mins in running water. I do the same for gelatinous / silver prints. Check out my video on archival processing. Hope this is a help. Best wishes.

Many thanks for your comment. Hope the information was useful.

Many thanks for your comment.Much appreciated.

I get the chemicals from: www.firstcall-photographic.co.uk - very reliable. When I have time I will see about explaining a bit more about the chemistry bu there's a lot of useful stuff online already. The platinum and palladium solutions are the expensive bits, the rest is not vastly expensive and most can be re-used quite a lot.

Many thanks. Good luck with the printing. Don't spill the chemicals - too expensive!

@@pete-davis-photography ok, I will remember

Many thanks for your comment Cristian. Glad you found them useful and informative. Thanks again.

Many thanks for your comment. Much appreciated.

Many thanks for the kind comments. Hope you find the videos informative and useful. Your books will be dispatched today. Thanks again.

@@pete-davis-photography Been looking at your videos and much like yourself remember as a child pestering dad to borrow his camera. Mainly when away on holiday, in fact I must have pestered so effectively that for one holiday he bought me my very own camera, then my grandparents gave me their old Cameras.

Thanks Tom. Good to hear from you.

Many thanks for the kind comment. You can get a book from my BigCsrtel shop page. There are links to that on my UA-cam videos.

Many thanks for your comments, much appreciated. Most of my materials I get from Firstcall Photographic - www.firstcall-photographic.co.uk Both for platinum and silver printing. Museum mounting board from John Purcell Paper who can also supply the Arches Platine paper I use for platinum prints. Other archival materials such as hinging tape for the mounts and mats from Conservation Resources UK. They can also sell the storage boxes. Hope that's a help. I'm not sponsored by any of these by the way.

@@pete-davis-photography ,thank you for that great information Pete. I am currently making exposures onto dry glass plates in a large format camera, the plates are inherently contrasty ( although I can control the contrast in development with a pyro dev. )so would these be suitable for platinum prints?

@@thatmancalledhobbs One of the qualities of platinum printing is its ability to reproduce a subtle range of tonalities, especially separating delicate highlights. Provided of course, that the negative also has those qualities. Like all printing, the print can only be as good as the negative. It seems counter-intuitive to the process to try to print very high contrast negatives but there are no rules. It's entirely up to you to interpret the subject the way you see it.

@@thatmancalledhobbs I should also add that contrast control with platinum printing is limited. Get the negative right is the answer. However, you can increase contrast slightly by using a proportion of a second ferric oxalate solution that has an additive to increase contrast.

@@pete-davis-photography thanks Pete, you are a mine of valuable information. I’ll let you know how I get on with the glass plate prints.

Many thanks for your kind comment. Much appreciated.

Selenium toned prints are not 'life long', be aware these toned photographic prints will be fully archival, this means these will last as long as the paper, that is, several thousands of years. Chemists will affirm this. See also Henry Wilhelm research lab, 'The preservation and care of color photographs', which also contains information on black & white photographs.

@@Autorange888 Thank you. I guess that after the selenium process, there needs to be a continuing ‘environmental system’ of preservation, including the attributes of air quality, ambient temperature, and contact with other objects - plus anything else that will ‘get you in the end’. I’m also mindful that as the quantity of selenium treated prints increases over the years, room to display and rotate/transport them will also be a consideration - another risk to their longevity.

@@reusedisland1904 The photographic prints should be made on baryt paper, not on RC (this has a plastic base, the RC prints cannot be displayed in sunlight, which will destroy the image). Ambient temperature is not needed for baryt paper, the prints can be easily stored, to be enjoyed and valued by succeeding generations.

Hi Phil and many thanks for the kind comment. A long time ago I used to run workshops from here - large format and fine printing, with my friend and colleague John Nesbitt. My photography, exhibiting and publishing commitments, plus my teaching at Aberystwyth University mean that I have little time to spare now. Fairly soon I will put out another video which might expand on this one a bit more. Sorry I can't be more help just now. Kind regards, Pete

@@pete-davis-photography completely understand Pete. Liked your approach. All the best . Thsnk you

No, I'm using proprietary chemistry which is already mixed and at the right percentages etc. Just saves time in mixing and weighing etc. I get it from FirstCall Photo. I used to get it from the USA, then Italy but FirstCall now stock it which is great. Less time mixing, more time printing!

@@pete-davis-photography that's great, thank you, I had no idea is was available. I'll make a call to FirstCall as they say !

Thanks for the comment, much appreciated. Sorry about the sound, my audio skills are not as great as my photographic ones!

@@pete-davis-photography no worries

Thanks for the comment. Much appreciated.

A monopod? With a heavy 8" x 10" camera leaning over? Now that would be a clever trick! I'd make a fortune as a magician or a circus performer! No, it's a very heavy duty Gitzo tripod with a No. 5 head. Thanks for watching!

Many thanks for your kind comment. Much appreciated.

@@pete-davis-photography showed the video to my 9 year old sister and she loved it! She loves nature

Many thanks for your comment. Much appreciated.

It is only a contact printing process. However, you can make a hi-res scan of a smaller negative, enlarge this and print on to transparency film to whatever size you want the finished print to be. Not quite as good as printing from the original negative but it's one way. Hope that's help.

Thanks for the comment. Yes, I have read all those books and many more. Those are just a selection behind me, I have many more on other shelves. A lot are photography books of course, monographs by photographers and selected collections. Some are also text books that I use and refer to in my academic work.

Hi Stuart. Not a silly question al all. 99% of the platinum prints I make are from my original large format negatives. However, on that one occasion in the video, a customer in the gallery that sells my work asked for a platinum print of an image he saw in one of my books in a particular larger size. So I made a hi-res scan from the negative, enlarged it and made the print from that. Not my usual favoured method but I have a hi-res large format scanner so can keep the quality up. Hope that's a help.

Glad to be of help Mark. Good luck.

Hi Romano. There's no set distance they have to be, but if they are a long way from the contact printer the exposures will be longer. Mine are about 15cm from the glass on top of the contact printing frame. I never really measured this before!

Exposure times are much longer for platinum / palladium as the materials are less sensitive to light. It will depend on the type and quantity of UV lamps / tubes you have etc. Typically, my exposures, with my set up are in the range of 10-30 minutes. (I just checked through my notes!).

Hi Romano. Many thanks for your comment. The exposure for each negative / print will be different for each negative, just in the same way as silver printing in an enlarger. You have to make tests by using smaller strips of coated paper to determine the right exposure for that negative and the particular coating you have chosen. I like to keep notes every time I print a new negative and this helps with estimating future printing times. My U.V. box is a very simple plywood box painted white inside with three sets of double tube holders. The tubes in mine are 60cm long and just marked: Phillips TLD 18W/08. Just simple UV tubes. The negative will be fine but you must make sure that the coating is dry of course. If you are in any doubt, you can put a thin sheet of transparent polyester between the negative and the coated paper but I never have to and my negatives are fine. Hope that's a help.

Many thanks Michael. My next UA-cam video will feature another body of work made exclusively on 7" x 5". The format solved a few problems for me at the time too.

Yes, very sad. He made practical, rugged cameras for photographers because he understood about their use in the field. Especially the lignum vitae knobs which were easier on cold fingers than brass or stainless steel!

Many thanks for your comment and glad you found the video interesting. 99% of my platinum prints are made from my original camera analogue silver negatives. Mostly now, 10" x 8". However, as you noticed, if, sometimes I want to make a larger print, I scan the original negative (hi-res) and print it out on to 'Pictorico' inkjet transparency film. Of course you can also start with a digital file and do the same. My preference is always to print from the original camera negative but I do realise that not everyone has a large format 10" x 8" camera. Hope that's a help.

@@pete-davis-photography That's of great help thank you so much! Hope to be doing it by summer time once I get my hands on a 8x10 rear standard. The information is hard to come by but seems important to keep this legacy processes alive specially in this digital age, so hopefully I can help keep it going on my camera club. Thank you again Pete!

Good to hear from you and yes, v. sad about John. All very sudden. We enjoyed running our workshops before he moved to France. I'm still v busy with projects, exhibitions, publications and teaching. I keep going! Best wishes.

For anybody who is interested Pete runs wonderful workshops and teachings!

Thanks for your interest.No, I don't treat the paper in any way prior to coating. Arches Platine is 100% cotton rag paper with no wood pulp or lignin etc so is archival stable like the platinum and palladium. Hope that's helpful.

Yessir, that does help.

Thanks for the comment. You don't need to size or treat in any way the particular paper I use. For platinum printing you should only use 100% cotton rag paper for archival purposes anyway as the process is inherently archival with platinum and palladium being noble metals. There are only a handful of papers that are suitable, Arches Platine being one and my go-to choice. Hope that's help.

Greetings from Ceredigion, Wales! Many thanks for the comment. Much appreciated.

I visited Cardiff in 2019 and hope to visit more of the area again. Good luck.

Many thanks for the kind comments. Glad to hear the workshop helped. Best wishes.

Many thanks for the kind comment. Much appreciated.