• blog
  • in the shadow of sun mountain
  • buy my books
  • photographs
  • paintings
  • bio
  • cv
  • contact
  • search
Menu

Studio Q Photography

Exploring Human Behavior and Death Anxiety Through Art
  • blog
  • in the shadow of sun mountain
  • buy my books
  • photographs
  • paintings
  • bio
  • cv
  • contact
  • search
×

Henry Peach Robinson, n.d.
Platinum print

Platinum Palladium Chemistry and Recipes

Quinn Jacobson December 11, 2021

General Information

Negatives: Wet Collodion Process - this is a Thomas Sutton based process - a blend of method #1 and method #2
Format: Whole Plate - 6.5” x 8.5” (16.5 x 21.6cm)
Negative Density Range: 1.5 - 2.0
Paper: Hahnemühle Platinum Rag - with Fumed Silica rolled on dry (CAS 112945-52-5). Fumed silica increases the Dmax or density of the blacks, clarifies tonal range and even “sharpens” the image. And Arches Platine paper - same methodology.

Ferric Oxalate: 27%
27.5ml DH2O at 120F (49C) for mixing FO
8g Ferric Oxalate
0.5g Oxalic Acid

Platinum - Na2: 20%
25ml DH2O at 100F (38C) for mixing PC
5g Potassium Chloroplatinite

Palladium - 15%
25ml DH2O at 100F (38C)
2.3g Palladium Chloride
1.6g Sodium Chloride - Kosher Coarse Salt

Contrast Control - If Needed
27.5ml DH2O at 120F (49C) for mixing FO
8g Ferric Oxalate
0.3g Potassium Chlorate (for Palladium Prints - 0.6g for Platinum)
0.5g Oxalic Acid
(1 - 2 drops of 5% Gold Chloride can boost contrast but will cool the print in color)

Potassium Oxalate - Developer 30%
300g Potassium Oxalate
1L DH2O
(warm the solution to 120F (49C) for warmer tones)

Clearing Bath(s)
Bath #1 - 10 minutes:
30g EDTA Disodium - 3% (lower pH)
20g Sodium Sulfite - 2%
1L Water

Bath #2- 10 minutes:
30g EDTA Tetrasodium - 3% (higher pH)
20g Sodium Sulfite - 2%
1L Water

Bath #3- 10 minutes:
30g EDTA Tetrasodium - 3% (higher pH)
20g Sodium Sulfite - 2%
1L Water

Final Wash
Running Water - 30 minutes

Drop Chart for Whole Plate Negatives
14 drops Ferric Oxalate
14 drops Palladium
3 drops Platinum
2 drops Contrast Control (will vary negative to negative)
1-2 drop(s) Tween 20 - 10%
1 - 2 drop(s) of Hydrogen Peroxide (if needed for fogging)

Waxing or Gelatinzing Prints
I will also experiment with waxing these prints with beeswax and lavender oil. The traditional 19th-century method. I’ll also experiment with a 5% gelatin coating on the prints too. Renaissance Wax is a brand of microcrystalline wax polish used in antique restoration and museum conservation around the world. I’ve used a lot of this on Salt prints in the past and I use it on my knives (bladesmithing) as well. I will also test gum arabic and albumen.

← Why I Choose The Old MethodsPlatinum Palladium and Wet Collodion Negatives →

Search Posts

No results found
Archive Block
The page connected to this block was deleted. Double-click here to select a different page, or check the recycle bin for the deleted page. Learn more
Post Archive
  • Adventures
  • Spotlight
 

Featured Posts

Featured
May 11, 2026
Glass Bones Going to Print
May 11, 2026
May 11, 2026
May 2, 2026
Wounded Plates
May 2, 2026
May 2, 2026
Apr 27, 2026
The Creative Mind & Mortality Podcast - S1E12: The Collapse of Meaning and the Search for Repair
Apr 27, 2026
Apr 27, 2026
Apr 26, 2026
"Yan Yana" (Side by Side) Exhibition
Apr 26, 2026
Apr 26, 2026
Apr 24, 2026
Experimental Work
Apr 24, 2026
Apr 24, 2026
Apr 22, 2026
The Creative Mind & Mortality Podcast S1: Glass Bones E11: The Rupture Field Theory
Apr 22, 2026
Apr 22, 2026
Apr 20, 2026
The Creative Mind & Mortality Podcast – S1 E10: The Fragile Architecture of Meaning
Apr 20, 2026
Apr 20, 2026
Apr 16, 2026
My Book: The Final Stages of Glass Bones
Apr 16, 2026
Apr 16, 2026
Apr 13, 2026
Terror Management Theory: The Mechanics Beneath Belief
Apr 13, 2026
Apr 13, 2026
Apr 11, 2026
To Buffer or Not to Buffer?
Apr 11, 2026
Apr 11, 2026