Wednesday, 21 November 2012

U.K Suppliers of Platinum & Palladium Kits

Some participants who I have previously taught platinum printing have been reticent to order chemicals and platinum and palladium kits from the U.S due to the associated Delivery/Tax and Handling charges that can occur. However those interested can now obtain kits from the Imaging Warehouse (The U.K distribution for Bostick & Sullivan) For further details visit:

Monday, 29 October 2012

Silver & Light Wet Plate Project

I have always had a fascination with the wet plate collodion process, of all the alternative photographic printing process's its the one that can create the most unique and wondrous imagery in the right hands. At present I am in the process of translating some beautiful wet plates into platinum prints which you can learn more about here. Recently I came  across an inspirational video shown below on Ian Ruhter's wet plate photography. Its a great story of a photographer/alchemist pushing the limits of the process with all the highs and lows that come with it.


 Ian Ruhter/ Wet Plate Collodion 48’x60”/See the forest for the trees /Tahoe, CA /11.27.2011

Ian Ruhter/ Wet Plate Collodion 36”x24”/ The Lake /Mammoth Ca, 10.10.2012

Ian Ruhter,.Trevor Ricioli, Lane Power /4x5 feet Wet Plate Collodion/ 5.7.2012

The plates measure upto 48x60 inches and must be some of the largest ever created. It would be wonderful to see them in person.He is currently photographing people in various U.S States who have inspirational stories to tell as part of the Silver & Light project, one such example is shown below entitled Matilda

To learn more about him and his photography visit :

Thursday, 25 October 2012

Paris Photo 2012 Preview

Paris Photo is the worlds biggest photography fair and hosts more than 120 galleries and 23 photo book publishers. Previously held at the Carrousel du Louvre, it now takes place at the Grand Paliais which I found to be a much better location.This years event will present a huge variety of historical and contemporary photography and many one and two-man shows that allow collectors and photographers alike to look at a coherent body of work.  Some of the work on show last year was exceptional and am looking forward to going this year. As usual i will blog about some of the highlights from the show which runs from 15th-18th November. For further information visit

Lens Culture also has a preview slideshow of images that will feature at this years show, to visit the blog click here

A few highlights include :

© Sarah Moon, Avril, 2003 Courtesy of Camera Obscura

© Joel-Peter Witkin, The Reader, Paris, 2011 Courtesy of Baudoin Lebon

© Josef Sudek, Moldau Island, Prague 1952 Courtesy Galerie Johannes Faber

© Erik Steffensen, Girl with Camera, 2011 Courtesy of Galleri Bo Bjerggaard

© Cathleen Naundorf, Secret Times (Grand Palais I)  2010 Courtesy of Bernheimer Fine Old Masters e.K.

© Chuck Close, Calla Lily, 2007 Courtesy of Danziger Gallery

© Norman Parkinson, Le Groux Soeurs Hat, 1952 Courtesy of Eric Franck Fine Art

© Jeff Cowen, Camille 1 and 2, 2006 Courtesy of Huis Marseille Collection

    Also In preparation for this years show below are a couple of videos taken at Paris Photo 2011 featuring some  interesting work by photographic artists I have written about previously including Irving Penn (Platinum Prints) and Boris Savelev (Multi-layer Pigment Prints). The interviews were conducted by Michael Kurcfel.

Upcoming Platinum Printing Article in Silvershotz

Here is a few excerpts from the 13 page article on my platinum printing studio, DC Editions, that will feature in next months ‘International Journal of Cotemporary Photography.’ (Volume 8, Edition 4). For larger versions click on images or here,

The article highlights the working practices of my printing studio and features scanned platinum/palladium print reproductions of some of the artists I have worked with over the years including Rankin/Damien Hirst, Simon Larbalestier, Stefan Milev, Wendy Bevan, Paul Coghlin and others.

Will post full article once it has been published.

To subscribe to the paper and digital edition of the journal visit

Saturday, 25 August 2012

Nick Vesey's Cyanotype Prints

 I recently came across  a series of wonderful Cyanotype prints by Nick Vasey. Well known for his stunning x-ray imagery, these recent images of seaweed  have translated beautifully into this alternative printing process. They are a nice hark back to Ann Atkins Cyanotype photograms of  algae  printed over 150 years ago, which can be viewed at the V&A museum in London.

Recent Exhibition at the Joseph Bellows Gallery in the U.S

Codium Fragile, Cyanotype II,30"x22", Nick Vasey,2011

 Saccorhiza Polyschides, Cyanotype II,30"x22", Nick Vasey,2011

Fucus Serratus I, Cyanotype II,30"x22", Nick Vasey,2011

Ascophyllum Nodosum II, Cyanotype II,30"x22", Nick Vasey,2011

Ascophyllum Nodosum I, Cyanotype II,30"x22", Nick Vasey,2011

 Laminaria Hyperborea, Cyanotype II,30"x22", Nick Vasey,2011

Alaria Esculenta, Cyanotype II,30"x22", Nick Vasey,2011

Nick is using the updated version of the Cyanotype process created by Mike Ware, to learn more visit his site at

Regular blog viewers will know that this is my favoured version of the process as it produces to my eyes a more pleasing blue tone.  They were printed on Herschel, a paper also designed by Mike which works well with many alternative processes to find out more click here

Nick is quite an incredible imagemaker you can see more of his work at

Saturday, 18 August 2012

Platinum/Pigment III

More images of the series and studio

 St. Vincent Millay III, Wendy Bevan, 2010, Platinum/Palladium over Pigment

Colour Proofing- Warm tone, Cool Tone

Thursday, 16 August 2012

Platinum/Pigment II

Here is another print from series

 St. Vincent Millay II, Wendy Bevan, 2010, Platinum/Palladium over Pigment

A few have asked to see a before and after shot showing the pigment layer and then the platinum/palladium layer so i created a gif below. The image is initially stripped of all black detail, this is saved for later as this will be printed in platinum/palladium, the remaining colour channels are then printed. The black detail is then reintroduced by printing this seperation in platinum/palladium. At each of these stages there are ways of influencing the final outcome of the print.

online gif creator
Platinum/Palladium over Pigment Process 

Wednesday, 15 August 2012

Platinum/Palladium over Pigment

Over the last few years I have been experimenting with the Platinum over Pigment technique as I have always wanted to incorporate into a colour image the beautiful tones associated with the platinum/palladium printing process. Previous attempts to do this with three colour gum and inkjet pigment prints have looked rather muted and image resolution has not been as good as I would have hoped for.

However after an extended period of testing I have finally got to a stage where I am happy with the final dried down prints using this hybrid process.  Choice of paper seems critical for this technique to work well, together with pre-treating/debuffering the printing paper to make registration as accurate as possible and also making it suitable for both the inkjet layer and platinum/palladium layer.

 Below shows one example of a portfolio of prints I am currently working on with one of the most talented emerging fashion photographers Wendy Bevan. Originally shot on colour polaroid the prints have translated well into the alternative hybrid printing process. More to follow…

Edna, St. Vincent Millay, Wendy Bevan, 2010, Platinum/Palladium over Pigment

Friday, 10 August 2012

The Beauty of Wet Plate Photography

Recently published is an article I wrote for Black and White Photography Magazine on Mark Sink and Kristen Hatgi’s beautiful wet plate imagery.

To download a pdf copy click here

To view more of their work visit :


Tuesday, 19 June 2012

The Art of Platinum Printing

 A few months ago I set up a new blog called the ‘The Art of Platinum Printing’ . This blog will continue to provide information on anything and everything related to Alternative photographic Processes in general terms however the new blog is more dedicated to the fine art of Platinum printing. You can visit it at

De Monocerote,2011,Stefan Milev,Platinum/Palladium Print

Wednesday, 6 June 2012

Cathleen Naundorf at Hamilton’s Gallery

My first encounter with Cathleen Naundorf’s photographic imagery was at the Hamilton’s stand at Paris Photo 2011, the image entitled ‘La fille en plâtre VIII' was on display, a striking and stylish image, I was instantly captivated. I later learnt that she was to have her first U.K solo exhibition at the gallery in March 2012. Due to being out of the country I was unable to attend the private view; however I had a chance to view the exhibition in its final week.

La fille en plâtre VIII,Design Dior 2011,  Cathleen Naundorf (Courtesy-Hamiltons Gallery)

Hamilton’s seems the ideal venue for this rising star of the fashion photography world, a gallery well known for exhibiting many of the great fashion photographers of the past including Penn, Avadon, Horst, Newton to name a few. 

 The show entitled ‘Un Reve de Mode’ is the culmination of six years work by Cathleen Naundorf. The project initially began in 2005 when she visited Jean-Paul Gaultier and asked him if she could lend one or two his dresses to photograph. He was so impressed by the work that he gave her access to his entire collection. Since then she has been shooting for the other main couture fashion houses including Dior, Lacroix, Chanel, Elle Saab and Valentino. Quite uniquely she was given access to choose gowns from the couturiers archives for her elaborate, cinematic productions. and was also granted free choice of models, locations and hair and make-up designers.

  Walking around the gallery what becomes immediately apparent is the scale of the silver gelatin prints on display, ranging in size from 51x35 inches to 72x53 inches.  Its not only their size but the level of detail recorded in these fine prints is quite special, every crease and fold of these elaborate couture dresses is rendered beautifully in rich black and white tones, this in part is due to her impressive technical ability and the use of the now un-available 5x4 and 10x8 polaroid film, capable of resolving a tremendous amount of detail. There are very few contemporary photographic artists who specialise in the use of this type of film, especially the larger 10x8inch format, there is of course Paolo Roversi, however he uses it in quite a different way to Cathleen. Both have an instantly recognisable style which is quite an achievement considering how crowded the world of fashion photography currently is.
Valentino en rose, Paris, 2007, Cathleen Naundorf (Courtesy-Hamiltons Gallery)

The Evolution of Fashion I, Dior 2004,  Cathleen Naundorf (Courtesy Hamilton’s Gallery)
The Evolution of Fashion II, Dior 2004,  Cathleen Naundorf (Courtesy Hamilton’s Gallery)

Untitled, Dior 2007, Paris, 2007 Cathleen Naundorf Naundorf, (Courtesy Hamilton’s Gallery)

   Cathleen started her career in art with formations in sculpture and painting at the Halle/Salle Academy of fine arts and later photography at the school of decorative arts in Munich in the late 1980’s. Indeed much of her current work is rooted in painting in terms of the way she lights and poses her models, preferring to use natural daylight where possible. The Parisisian light is famous for creating some of the most memorable fashion images of the 20th Century; Irving Penn’s exquisite ‘Woman with Roses on her Arm’ is a perfect example.

It was in the mid nineties that her long term friendship Horst P.Horst, the legendary fashion German/American photographer, inspired and helped her find her own photographic voice and identity. Her technique is slow and methodical, before each shoot she conducts intensive research, creates handmade journals in order to develop story boards: archive photos, record text including interviews with the couturiers, extracts can be found in her recently published book ‘Haute Couture: The Polaroids of Cathleen Naundorf’ which  showcases her colour and black and white polaroid imagery. The book is well printed and is a good opportunity to view more of her stunning work.

A number of the colour prints are polariod tranfers onto watercolor paper, an alternative printing technique that works prefectly wtih her imagery. You can read more about how to do the process here 

For further infomation visit :

 Cathleen's Website :
 Ira  Stehmann :
 Hamiltons Gallery

 P.S Cathleen will be signing her book on the 14th June 2012  at the  Sofitel Hotel, 15 rue Boissy d'Anglas, Paris 8ème - Starting 7 pm

Friday, 23 March 2012

Walter Hugo Wet Plate Exhibition

Millie Brown (Glass Type Ambrotype) 40x50 cm, 2011

 Yesterday evening I had a chance to view some large wet plate imagery shot by Walter Hugo at the Shizaru gallery in Mayfair. A few months back I saw a few of them at Nick Knights Show Studio gallery, on this occasion there were far more to view and was really impressed with the whole show, its quite rare to see such large ‘life size’ wet plates. 

They were made by Hugo with a room-sized camera he built himself (See video at the end of post). The plates captured fifty individuals who he felt were inspirational and creative luminaries in London at the time of shooting (2011). The subjects ranged from Fashion designers, Musicians, Actors, Politicians, Astronauts and Playwrights.

Dan Lomas (Glass Type Ambrotype) 40x50 cm, 2011

Hugo (Glass Type Ambrotype) 40x50 cm, 2011

Agnus (Glass Type Ambrotype) 40x50 cm, 2011

Jade (Glass Type Ambrotype) 40x50 cm, 2011

Amber (Glass Type Ambrotype) 40x50 cm, 2011

Isebel (Glass Type Ambrotype) 40x50 cm, 2011

Natalie (Glass Type Ambrotype) 40x50 cm, 2011

 Installation Views

 The show really is a must see, unfortunately there are only two days left to view them, I only stumbled across the gallery whilst going see Cathleen Naundorf's stunning silver prints at Hamilton’s (will post about this later). If you are around the area go take a look you will not be disappointed.

All Images courtesy Walter Hugo & Shizaru Gallery
Links :

The video below shows how Hugo created the  plates :