The Historical Craftsmanship of Platinum,
Uranotype and Albumen Prints

PLATINUM-PALLADIUM PRINTS

Platinum/Palladium prints are a rare and exquisite form of handmade photographic art, distinguished by their craftsmanship and unique aesthetic qualities. Unlike modern silver-gelatin or digital prints, I hand-coat each sheet of platinum/palladium paper with a blend of platinum and palladium salts, creating a one-of-a-kind image. My choice of paper, its texture, and the chemical ratios in the coating process allow for an incredible range of tones and contrasts, producing images that are rich in midtones and delicate in their highlights and shadows. The metals themselves embed into the paper fibers, offering a warm, tactile quality that feels timeless and evocative, reminiscent of historic photographic processes.

First developed in the 1870s, platinum/palladium printing is a revered process among fine art photographers and collectors alike. Iconic figures like Alfred Stieglitz and Edward Weston championed this technique, praising it for its unrivaled tonal depth and durability. Although the method saw a decline during WWI due to the scarcity of materials, it experienced a revival in the 1960s, notably led by Irving Penn. Today, platinum/palladium prints are celebrated not only for their longevity—platinum and palladium are among the most stable metals—but also for their status as truly handmade photographic masterpieces, ensuring that each print is as enduring as the artistry behind it.

CYANOTYPE PRINTS

Sir John Herschel invented the cyanotype process in 1842 by experimenting with the photosensitivity of iron salts. This simple, inexpensive, and durable method produces a striking cyan-blue image. It quickly gained popularity due to its ease of use, especially when Anna Atkins created the first photographic books using cyanotype prints of plants from her garden in 1843. Cyanotypes later became the standard for architectural "blueprints" for over 150 years.

The cyanotype process involves coating paper with a solution of iron salts, placing a negative or object on the surface, and exposing it to UV light. After exposure, the print is washed with water, which reveals the iconic blue image. Its low cost, minimal toxicity, and simplicity have contributed to its resurgence in recent decades, making it a popular introductory technique for photography students. Like many early photographic processes, cyanotypes are primarily sensitive to UV radiation and produce long-lasting results.

URANOTYPE PRINTS

Uranotype printing is an exceptionally rare and specialized art form, practiced by only a handful of dedicated print makers worldwide. Fewer than 20 people are estimated to regularly create uranotype prints, which is understandable given the high cost of materials and the extreme precautions required to create them safely. This process involves working with highly toxic chemicals, making it accessible only to those with advanced training in laboratory safety.  Despite these challenges, the allure of my uranotypes lies in their extraordinary beauty.  The resulting prints are safe to own.  

The scarcity of uranotype prints today only adds to their mystique and value. The deep, warm tones (like old burgundy wine or old red roses) that define this medium create a timeless and romantic aesthetic that is almost impossible to replicate with modern photographic techniques. It took years for me to master this process but the results are nothing short of breathtaking, evoking a bygone era of photographic artistry and craftsmanship.

SALT PRINTS

Salt prints are a modern revival of Fox Talbot's original Talbotypes, patented in 1841. In this process I first treat paper with a salt solution, typically ammonium or sodium chloride, and then coat it with silver nitrate to create light-sensitive silver chloride. Contemporary salt prints have been updated to include gelatin in the salting solution, which enhances sensitivity and ensures an even coating, yet the process remains largely true to its 19th-century roots.

After exposure to an intense UV source, such as sunlight or artificial light, I rinse the paper in a salt solution, followed by water, and then toned it with gold chloride for added permanence. The print is fixed with a mild sodium thiosulfate solution and thoroughly washed. The final result is a matte-finish print that can range in color from plum to neutral, or even bluish-black, depending on the toning method used, offering a distinct and timeless aesthetic.

ALBUMEN PRINTS

Albumen printing, patented in 1850 by Blanquart-Evrard, is a refined variation of salt printing that uses aged egg whites (albumen) to suspend the salt, which is then coated onto paper. After I treat the paper with silver nitrate it becomes a light-sensitive silver chloride, then follow the same process - exposure to UV light, rinsing in a salt solution, toning, fixing, and extensive washing.

What sets albumen prints apart is their distinctive glossy finish, achieved by the albumen coating, and their warm tones, often in a soft chamois or ecru color. This glossy surface and warm hue give albumen prints a timeless elegance, making them a favorite for portraiture and fine art photography in the 19th century.

SILVER-GELATIN PRINTS

Silver-gelatin printing was the dominant photographic process from the late 19th century until the rise of digital photography in the 21st century. Early on, a key challenge with silver-gelatin prints was ensuring their longevity. Over the years, researchers developed “archival” procedures to make these prints more permanent and collectible. All of my silver-gelatin prints are archivally processed to ensure their durability. They appear in two distinct tones based on the type of toner used. The prints with a neutral tone are selenium-toned, while those with a warmer hue have been treated with a special formula called Golden Sunshine, published by Defender in the late 1940s. This formula is now believed to provide exceptional longevity, making these prints not only visually striking but also incredibly enduring.

GICLÉE PRINTS

Many of my images are available as giclée prints, created using archival pigments on a premium paper known as "e-Satin." I prefer e-Satin over the typical matte archival papers because its satin finish offers a superior tonal range. It’s a well-established fact that glossier surfaces allow for clearer highlights and deeper shadows, enhancing the overall depth and richness of the image. However, e-Satin strikes the perfect balance—it’s not overly glossy but also avoids the dullness of matte finishes.

Unlike glossy inkjet papers, which aren’t archival due to the chemicals used in their production, e-Satin provides the best of both worlds: a wider tonal range and true archival permanence. Whether I create the giclée prints myself or outsource the larger mural-sized prints to a trusted service, all are produced using archival pigments on archival e-Satin paper, ensuring both visual brilliance and long-lasting quality.