Fine Art Photographs in Dry Print Out Gold, Rhodium, Iridium, Electrum, Platinum, Silver and Palladium
|The short documentary, Magic Iron Rose, about Richard Eugene Puckett's relentless quest to work out a formula for printing out rhodium, won a Remi at the 2017 Houston WorldFest. Click on the image below to view the film.|
Richard Eugene Puckett has developed simple formulas that fundamentally alter the light-sensitive compounds used to print photographs with the noble metals. The Chrysotype Supreme, which sets gold prints truly on a par with platinum and palladium, is the most widely recognized of Richard Eugene Puckett's processes: pure gold photographs with gray tonality, invisible grain, and a wide tonal range -- and that print out on completely dry paper. The Rhodiotype is the first, the only process in history, for printing photographs in rhodium. The Palladiotype Supreme and the Platinotype Supreme are the first and only processes for dry print out with those noble metals -- no hydration of paper, no learning curve, no wasted money time: prepare the sensitizer, apply it to the paper, let it dry, print it out. The Ultimatype resolves an impossible combination: gold and platinum printed together not for special effects but for continuous tone grayscale images that exploit the finest qualities of both metals. And the Auridiotype combines gold and iridium for astounding results. Finally, the Iridiotype Supreme, quite different from the old process used to make photographs for cemetery gravestones, reveals the nuanced subtleties of which that metal is capable.
After presenting the Chrysotype Supreme in person at the 2013 Alternative Photography International Symposium (APIS) in Santa Fe, New Mexico, Puckett returned to Austin and quickly formulated the Electrumtype, gold and silver, along with similar processes that substituted rhodium and iridium for the gold. Later research in 2016 and 2017 resulted in the Iridiotype and the Rhodiotype. The informed printer grasps that these processes are truly for a new century, and new millenium, leaving far behind the old develop out and print out on hydrated paper of platinum and palladium invented back in the 1800s. Richard Eugene Puckett's processes for gold, platinum, palladium, iridium, and rhodium constitute a revolution in fine art printing.
The metal(s) content of Richard Eugene Puckett's prints has been validated by the Getty Conservation Institute and other professional analysts using ESEM and XRF analysis. At latest count, Puckett lays claim to ten validated processes.
Only RIchard Eugene Puckett has invented new photographic printing processes using the noble metals since Willis patented his 1913 Satista print process.
Full List of Richard Eugene Puckett's Processes
Glass Coating Rod circa 1890
Richard Eugene Puckett's innovation of magic iron -- any double ferric oxalate reduced to a double ferric ferrous oxalate -- liberated fine art photographic printers from the bare choice of platinum or palladium. With a deft wave of the hand, Puckett swept away the Willis develop out platinum (and palladium) process, and Pizzighelli's 1880s platinum print out paper (reinvented in the 1980s by a Scottish don and a Tanzanian photographer*). No development, no heavy breathing on paper, no six month learning curve and waste of materials, no absurd, steampunk hydration chambers: prepare the magic iron, mix it with the metal salt(s), brush onto paper, dry and print out. Pizzighelli did not depend on hydrated paper; he used a solution of gum arabic to replaced damp paper. But then, too, Pizzighelli was working with a serious, professional chemist (Baron von Hubl) and not a university don so obviously out of his depth that he thought he had invented the glass coating rod.
Awe is the touchstone of art.
* Pizzighelli's 1897 formula (redacted from The Dictionary of Photography for Amateur and Professional Photographers, London, 1902):
1. Prepare a 50% solution of gum arabic,
2. Prepare a 40% solution of Ammonium Ferric Oxalate )blue-gray tone) or of Sodium Ferric Oxalate (brown-gray tone)
3. Prepare a 16% solution (1:6 in water) of potassium platinum chloride -- Potassium Tetrachloroplatinate (II).
4. For an 8x10 print mix 12 drops of each solution thoroughly ( count all of the drops of each different solution into a shot glass and then swirl the liquid in the glass vigorously to form a single, combined, solution).
5. Brush the truly mixed solution onto a sheet of paper such as Bergger Cot320, place it in a dark, damp location to "dry" enough that the sensiziter is no longer wet enough to damage your negative. Place in contact with a negative and expose to UV or sunlight.
**These three processes involve partially printing out an image in the nobler metal, then fully developing it out with silver nitrate. They have all been validated by professional XRF spectrometric analysis; however, the formulas are suppressed and are solely for my personal work.
Robert Hunt's Manual of Photography, 5th Edition, 1857
Robert Hunt's manual is an invaluable resource with which (along with Google Books) anyone interested in 19th century photographic printing processes should become familiar. Certain persons have counted (with tremendous success) on the ignorance of contemporary photographers and printers to claim to have "invented" many tools and processes that were known to their counterparts 100 and more years ago. The internet has only accelerated the plagiarism and forums such as Flickr, Photrio-APUG, Pinterest, etc., widened the ignorance.
Hunt, Manual of Photography in PDF format.
|All images on this site are protected under international copyright law. Any use of these images without written permission of the copyright holder, Richard Eugene Puckett, is a violation of law. To purchase a print, or to rent an image, contact me: email@example.com|