$44.99 + $8.30 S&H ($53.29)
This kit is especially appropriate for digital photographers working with inkjet negatives. Below are the additional items you will need that are not in the kit. You should purchase these items before you order a kit so you can practice coating paper with your brush, for example, and generally be ready.
These are the only papers known to me to work with the Palladiotype Supreme process. I have used all of them. If you use any paper not listed below (such as Stonehenge) do not expect print out. I tried Stonehenge and it was not suitable. After you have mastered basic printing, then experiment. Until that time, use one of these papers.
These substrates are not paper, but they work with the Palladiotype Supreme. And they are impossible to use with hydration.
You should purchase a brush 1/4 to 1/2 the width of the area to be coated. The brush should have soft bristles. Watch the instructional video on Youtube [url] to see the brush. It is pumpkin brown with very soft bristles and narrowing from the tip in toward the handle. Amazon, Hobby Lobby, Michael's, Utrecht, Blick -- any art supply or hobby and crafts store carries these brushes. They usually cost $8 or so. [Beware: Do not let anyone talk you into wasting money on a Richeson 9010 series brush. I spent $80 on one and used it for several years. It did NOT use less sensitizer than any other brush and it had a tendency to splay when wet. Save $70 or $80 and get the brush I show in the video.
Ultraviolet (UV) Light Source
You can use the sun as your light source for printing. It's reasonably inexpensive to use; it's not taxed, yet. But, if you watch the instructional video on Youtube, you will appreciate why I insist UV bulbs or lamps are preferable. I agonized over getting detail in the petals of one of the flowers. It took a long time to print out to that point and that was good: had I exposed the negative on the paper using sunlight, it is almost certain that the print out would have gotten away from me and the image gone too dark. Yes, I could have then immersed the print in 1% hydrochloric acid and, assuming the image was no more than absolutely 1/2 stop too dark, have gotten what I wanted. But with UV it was a lot surer. Further, with a UV box, you can print out any time -- 3 am. During a thunderstorm. On an overcast dawn right after waking up. A UV light source (UV bulbs or UV tubes) provide consistency of the light's intensity, which simplifies repeatable results.
A professional printing box can be purchased for from $250 or so up to about $1000. I was just searching Google for prices and found that www.screenprinting.com sells a box for up to 16x20 thatcosts $229 plus $45 shipping. That's pretty good. (If my ex ever pays me back all the money she's borrowed... Ah, well, if wishes were horses...) Or you can made one for around $50. In the instructional video, again on Youtube, I use a gray plastic storage tub with eight 7w UV LED bulbs ($15.99 a pair on Amazon). You can find instructions for building a more substantial and professional-looking box on Youtube (https://www.youtube.com/watch?v=L7-NVZ7oWSQ and https://www.youtube.com/watch?v=uM5emQuSEhA). An additional resource is good old Walmart, from where you can purchase HyperTough brand 17w UV fluorescent tubes 24" long, in ballasted holders 31" long and with mounting hardware and 115v cord and plug, for under $11 a tube. Four tubes will more than suffice for printing 8x10 palladiotypes. For printing 11"x14" contacts, I used to turn a small coffee table that had cross supports at the bottom of the legs upside down and rest the lights on those supports, drape a light-blocking curtain over it all and print.
THE CONTACT PRINT FRAME
Photographers Formulary makes a perfectly good 8"x10" frame (actual paper dimensions, 9"x11", same as the paper I offer). Buy one for $59.95 from B&H Photovideo, Adorama, Amazon, and the Photographers Formularly website. You can make your own for about half as much. A frame can be as simple as a 10"x12" sheet of 1/4” thick glass with beveled edges (purchase from a local glazier), a heavy but still flexible sheet of cardboard (NOT corrugated) to serve as a flexible mat, a 10"x12" piece of 1/4" plywood cut in half (6"x10") with the two pieces duct-taped together, and at least six strong spring clamps. Total cost about $25. Or simply go to a Goodwill store and buy a used heavy wood frame of the desired dimensions. Replace the backing with two pieces of plywood hinged so you can drop one side to examine your print's process, a thick sheet of cardboard as a mat, and two bronze or light steel curved flat springs. Total cost about $25. In the end, the Photographers Formulary frame is the easiest path...
CHEMICALS FOR CLEARING THE PRINT
You will need a chemical bath for your prints to dissolve the iron that precipates during exposure along with the palladium. If you do not clear your prints, they will gradually turn pinkish, then reddish, and finally black. Iron that remains will oxidize. Before purchasing any chemicals get ready for them by purchasing a pair of rubber kitchen gloves (I actually prefer elbow-length red ones from the hardware stores) and a clear plastic face plate to protect my mouth, eyes and nose from possible chemical splash. As for the chemicals themselves, there are basically two approaches: utterly safe but not versatile, and a little edgy but highly versatile. They are citric acid vs. hydrochloric acid:
Wear rubber gloves throughout the printing process, from mixing the sensitizer through clearing the print. Wear a face splash guard when handling any of the liquids in this kit. Do not leave any of these chemicals within reach of children. Especially note that the palladium and the iridium in this kit are in forms pernicious to the human body and must not under any circumstances be ingested:
The palladium and the iridium must be kept tightly capped or they will evaporate. If kept tightly capped the metals will last indefinitely. The potassium chloride and the ammonium ferric oxalate are both light and heat sensitive. Store them tightly capped in a cool, dark location. Never uncap either bottle without wearing rubber gloves. If stored properly both should last at least one, if not several years.
PROCEDURE FOR PRINTING AN 8"X10" IMAGE
1. Don a pair of rubber or nitrile gloves.
2. Working in weak tungsten light, count 12 to 16 drops of the ammonium ferric ferrous oxalate into a shot glass.
3. Count 12 to 16 drops (an equal count) of 15% palladium chloride into the same shot glass.
4. If you desire a contrast boost, count 1 or 2 drops (maximum) of the dichromate into the shot glass.
5. Holding the damp brush in one hand, swirl the liquid in the shot glass vigorously and pour the sensitizer solution onto the paper inside the sketched negative area.
6. Brush the solution quickly but methodically, vertically, horizontally and diagonally across the paper. Spread the solution out evenly as fast as possible while keeping it more or less within the outline. Do not allow puddles of the sensitizer to stand on the paper. Puddles make dark splotches in prints. Tip: Perfect your brushwork on ordinary paper using diluted corn syrup mixed with food color.
7. Place the sensitized paper in a dark, dry, cool place for 15 to 30 minutes, until dry. On very humid days, a print takes longer to dry. Do not be tempted to print until the sensitizer is dry. Damp sensitizer will destroy your negative.
8. Expose in direct sunlight or to a UV light source. Anticipate exposures ranging from less than 1 minute to as long as 15 minutes, depending on the density of the negative. Keep an eye on any over- brushed sensitizer that went beyond the edge of the negative. When that turns dark gray, drop one side of the print frame back to view print-out progress.
9. Immerse the correctly exposed print in a first bath of iced (~35 degrees Fahrenheit) tap water. This ice water bath minimizes any initial darkening of the image.
10. After five minutes, pour off the cold water and pour 250 ml to 500 ml of .3% to .5% hydrochloric acid, or of citric acid solution (1 tablespoon to 500ml water) into the tray, and rock the tray gently for five minutes.
11. Pour off the acid into an appropriately labeled bottle, and wash the print in cool running water for five minutes.
12. Repeat the acid bath and water wash again.
13. After the water wash, pour a solution of Tetrasodium EDTA, prepared with one tablespoon in 500 ml of water, into the tray. Rock the tray intermittently for 15 minutes. Save the T-EDTA in an appropiately labeled bottle. You can reuse the acid you saved and this T-EDTA until the solution(s) turn slightly yellow at which time you discard them and mix up fresh solutions.
14. Wash a print on Arches Platine or Bergger Cot320 in running water for 45 minutes. Wash lighter papers for 30 minutes.
15. Drain the print holding it by one corner and hang to dry (plastic clips, not metal). Do not touch the emulsion.
16. Spot the dry print with spot tone or India ink as necessary.
PROBLEMS AND SOLUTIONS
Problem: I tried adding 4 drops of 26% ferric oxalate to my 40% ammonium ferric oxalate but the contrast in my print is still too low.
Solution: Depending on how much more contrast is needed, add 1 drop to 3 drops of 26% ferric oxalate to the sensitizer. If a significant contrast boost is not apparent in the next print, the AFO-C has gone bad (or is the wrong strength) or the ferric oxalate is old (and weak), or the UV lamps are fading. Finally, you may need much higher contrast: prepare a solution of lithium ferric oxalate, and add to that the 8 drops of 2% C (and recap and shake the LFO vigorously to disperse the C throughout the solution); add 26% ferric oxalate to the mixed sensitizer if needed.
Problem: My prints fade in the hydrochloric acid bath.
Solution: The acid is too strong. For pure palladium prints, the maximum strength is .5%. A strong solution of hydrochloric acid dissolves finely divided palladium. (Remember when diluting muriatic acid that its full strength is approximately 30%. So 100 ounces of water added to 1 ounce of muriatic acid yields a .3% solution.) Alternatively, use a lighter paper -- less than 200 gsm -- and replace the muriatic/hydrochloric acid with citric.
Problem: My prints slowly get darker and after a few weeks are almost entirely black.
Solution: This is caused by insufficient clearing of the iron. Leave the print in the hydrochloric acid baths longer. You might try adding a bath in 10% tetrasodium EDTA between the hydrochloric acid baths (with additional water washes). Make sure that the final water wash is 60 minutes for heavier papers (250 gsm and heavier) and 30 minutes for lighter papers.
Problem: My prints look gritty and the image does not completely print out.
Solution: You are using an incompatible paper. The sensitizer soaked too far into the fibers. Refer to the papers list above and choose one suitable for this process. If you cannot find a suitable paper, you can size an otherwise unsuitable one with either Knox gelatin or arrowroot starch (or liquid starch which is typically made with corn starch). Iron the paper before sizing, then let the sized paper dry thoroughly before use.
Problem: I get dark stains in my paper where I pour the sensitizer solution.
Solution: Take care to brush the solution across the paper as fast as possible. Try spreading the sensitizer with a glass coating rod. If you have trouble with the "re-invented" rod with a paddle glued to it, you can use a No. 28 Mayer Rod of the type used by printers for centures (refer to https://www.inkaid1.com/coating-applicator-rods/no-28-coating-rod).
Problem: My image is too contrasty.
Solution: Add less ferric oxalate to the sensitizer.
Problem: My image is blotchy and grainy.
Solution: Either you used the wrong paper or you humidified the paper. Use a paper known to work with palladium (refer to the list above) and do not humidify.
Problem: My print looked fine after clearing but when it dried it turned yellow.
Solution: Clearing was insufficient. Try adding 50 ml of Lime Away to 950 ml distilled water. Give the print two 10 minute baths with 10 minutes baths in running water interposed. If that does not work, try Rit Color Remover, which contains sodium hydrosulfite (sodium dithionite). The non-bleaching chemical will not damage paper.
The Basic Palladiotype Supreme Dry Print Out Kit Consists Of:
Optional Add-ons are an excellent medium weight paper guaranteed to print out palladium, and iridium chloride that enhances blacks in your prints:
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Basic Kit with both 3 ml 5% iridium chloride and 10 sheets 9”x11” Legion Revere Platinum) $85.79 Click to purchase with PayPal