PLATINOTYPE PRINTING

Scientific American Supplement, No. 711, August 17, 1889, by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book here. PLATINOTYPE PRINTING.

PLATINOTYPE PRINTING.

Platinotype, which may be considered to be the most artistic of photographic printing processes, may be separated into its three modifications—the hot bath and cold bath, in which a faintly visible image is developed, and the Pizzighelli printing-out paper. The hot bath process, again, may be divided into the black and white and sepia papers. I intend to give you a rough outline of the preparation of the paper and working of these modifications, concluding by demonstrating the hot bath method, and handing around prints by it.

Platinotype may almost be styled an iron printing process, for, while no trace of iron or its salts is found in the finished print, certain salts of iron are mixed with the platinum salt, which is platinum combined with two atoms of chlorine (PtCl2), as a means for readily reducing it; this, however, cannot be effected without the presence of neutral oxalate of potash, hence the use of the oxalate bath. There is no platinum in the paper for the cold bath process, it being coated with ferric oxalate mixed with a very small quantity of chloride of mercury—somewhere about one grain to an ounce of ferric oxalate solution. When dry it is ready for exposure, which is about three times less than with silver printing.

It is absolutely necessary to store all papers for platinum printing in an air-tight tin containing chloride of calcium, which must be dried by heating from time to time. For the cold bath, however, it is important to have moisture present during printing, or it may be after printing and before development. If the paper is left in a dampish room for fifteen minutes, it should be sufficient. Prints made by exposing damp paper, or damping dry paper just before development, must be developed within one hour if the maximum of vigor is desired; by delaying the development some hours, the prints in the meantime being stored in a drawer so that they may retain their moisture, an increase of half tone and warmth of color will be obtained. If it should be necessary to delay development for a day or two, the prints must be dried before a fire soon after being removed from the frames, and then stored in a calcium tube until wanted for development.

While printing, the lemon color of the paper receives a grayish colored image, which, although faint, can, with practice, be judged as easily as silver printing.

The developer consists of oxalate of potash and potassic chloro-platinite—about thirty grains of the platinum salt to half an ounce of oxalate forming about six ounces of solution; a great many variations, however, may be made in the proportions of platinum salt and oxalate, and different effects secured. Development is effected by sliding the print face downward on to the developer, which must be rocked after the development of each print to avoid scum marks. To clear the prints they are washed in three or four baths of a weak solution of hydrochloric acid after leaving the developer, to remove all traces of the iron salts, and finally washed for a quarter of an hour in three changes of water; they are then finished, and may be dried between clean blotting paper.

Pizzighelli's process differs from the above in being one that prints fully out in the frame without development; the paper contains the platinum and iron salts as well as the developer, and so prints and develops at the same time. Although excellent prints can be produced with it, for general work the results of the paper, as at present made, will not compare with the hot and cold bath processes. It is, however, excellent for printing from very dense negatives, and occasional negatives that seem extremely suitable for it. The paper should be breathed on before printing, as if it is quite dry the printing will be very slow and irregular. The best conditions for the preparation of the paper have scarcely been decided upon yet, and it is not quite fair to judge the process. The prints are cleared in the acid baths and washed for about a quarter of an hour.

The sepia and black hot bath processes are much alike in the general treatment. There are, however, some special precautions to be observed with the sepia paper, the chief being to protect it from any but the faintest rays of light; the prints, unlike the black ones, may be affected by light when in the acid bath. A special solution must be added to the developer to keep the lights pure. Over-exposure cannot be corrected by using a cooler bath, as is the case with the black prints, and the paper does not remain good so long.

The paper for the black prints by the hot bath process is washed with a mixture of potassic platinous chloride and ferric oxalate, the proportion being about sixty grains of the platinum salt to one ounce of the iron solution. It will not keep good longer than twenty minutes or so, and must be applied to the paper directly after mixing. The ferric oxalate in the paper is reduced by the action of light to ferrous oxalate, which forms the faint visible image; this, when the paper is floated on the oxalate of potash bath, is capable of reducing the platinum salt in contact with it into metallic platinum; but the ferric salt, which remains unaltered, has no action on the platinum salt, leaving these parts, which represent the high lights of the print, untouched. The ferric oxalate is removed by the acid baths which follow the development. A good temperature for development is 150° Fahr., and when using this so much detail should not be apparent as when printing for the cold bath process, in which all the detail desired should be very faintly visible. There are, however, many methods of exposing the paper and developing it, and no fixed rule can be made, but the development must in every case be suited to the exposure or the result will be a failure. For instance, the paper may be printed until all detail is visible, but a very much cooler development must be used, say 80° or 90°; on the other hand, a slightly short exposure may be given, and a temperature of 180° to 200° used. 150° should be taken as the normal temperature, and kept to until some experience has been gained, as employing all temperatures will lead to confusion, and nothing will be learned. Some negatives require a special treatment, and both printing and development must be altered, while for a very dense negative the paper may be left out in a dampish room for some time. It will then print with less contrast and more half tone. A thin negative is better printed by the cold bath process, but negatives should be good and brilliant for platinotype printing. Any one taking up platinotype and getting only weak prints would do well to look to his negatives instead of blaming the paper, as the high lights should be fairly dense, and the deep shadows nearly clear glass.

Time for complete development should always be allowed; with a hot bath fifteen seconds will be sufficient, but if a cooler development is used, or the prints are solarized in the shadows, more time should be allowed. When the deep shadows are solarized, or appear lighter than surrounding parts, a hot and prolonged development is required to obtain sufficient blackness, as they have a tendency to look like brown paper. I have found breathing on solarized shadows useful, as in the presence of slight moisture they begin to print out and become dark before development, getting black almost directly the print is floated on the oxalate. Three or four acid baths of about ten minutes each are used, and the prints are washed as before. The process throughout takes much less time than silver printing, and can be kept on all the winter, when it is nearly impossible to print in silver. Prints can be developed in weak daylight or gaslight, and prolonged washing is dispensed with.—N.P. Fox, reported in Br. Jour. of Photo.

A communication to the North London Photographic Society.

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