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Platinum and Palladium Printing, Second Edition Paperback – CD, December 28, 2004

ISBN-13: 978-0240806068 ISBN-10: 0240806069 Edition: 2nd

1 New from $986.22 10 Used from $167.19
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Paperback, CD, December 28, 2004
$986.22 $167.19
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Product Details

  • Paperback: 256 pages
  • Publisher: Focal Press; 2 edition (December 28, 2004)
  • Language: English
  • ISBN-10: 0240806069
  • ISBN-13: 978-0240806068
  • Product Dimensions: 10.9 x 8.4 x 0.5 inches
  • Shipping Weight: 1.7 pounds
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #1,123,902 in Books (See Top 100 in Books)

Editorial Reviews

Review

"If you are seriously interested in the process or have tried it but want to improve, this is the book for you."
Amateur Photographer

From the Author

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More About the Author

In 1969, after amateur activities, Dick Arentz began three years of study with Phil Davis of the Photography Department at the UNIVERSITY OF MICHIGAN. His interest at that time, was in the large format silver contact print. As an informal "thesis," he produced the Death Valley Portfolio in 1972. That was reproduced in a 1973 issue of Camera Magazine
After a sabbatical in Europe in 1973, Dick Arentz relocated in Flagstaff, Arizona where he taught studio and photographic history at NORTHERN ARIZONA UNIVERSITY. In 1978, He was selected by the Arts and Humanities Commission as one of TWENTY ARIZONA ARTISTS. That year he began a six year project which was to be published as Four Corners Country in 1986, partly subsidized by a EDNA RIDER WHITEMAN FOUNDATION GRANT. The book was reissued in soft cover in 1994.
He returned to Ann Arbor in 1980 to study the platinum process with Phil Davis. Because of the lack of published information and the unpredictability of materials, he began researching and writing about platinum and palladium techniques. In 1983, he began to produce negatives with an antique 12x20 Folmer and Schwing Camera. By 1985, major museums and corporations began to collect his work. In 1987, he produced The American Southwest, a limited edition portfolio of 12x20 platinum prints with an essay by James Enyeart.
In 1988, desirous of a change in subject matter, Arentz accepted an ISAAC W. BERNHEIM FELLOWSHIP to live and work in Kentucky. He began a two year project photographing the Midsouthern states and Appalachia, concentrating on the human effect of the landscape. In 1990, a traveling exhibition and catalogue of that work, Outside The Mainstream, with an introduction by Merry Foresta, was funded by the NATIONAL ENDOWMENT FOR THE ARTS.
Arentz continue to publish and teach the techniques of platinum and palladium printing. In 1990, he produced his first text, An Outline For Platinum And Palladium Printing. As a result of his research, he was able to solve a problem that has plagued non-silver printers for years with the formulation of specifications to allow a major paper company to manufacture a paper suitable for these photographic processes. Today, his book, Platinum & Palladium Printing 2nd edition: Focal Press 2004, is considered to be the definitive resource on the subject.
In 1990, Dick Arentz was one of four Arizona artists selected for the PHOENIX ART MUSEUM TRIENNIAL EXHIBITION. In 1992, he was included in Between Home And Heaven, Contemporary American Landscape Photographers, NATIONAL MUSEUM OF AMERICAN ART. In England, During 1994-95, Arentz exhibited at the FOX-TALBOT MUSEUM and A Positive View at the SAATCHI GALLERY. In 1996, he accepted a fellowship from THE COLUMBUS ART MUSEUM to create a portfolio of central Ohio.
In 1998, a collection of his work from continental Europe, The Grand Tour, with an essay by Tom Southall, was published by Nazraeli Press. Nazraeli published British Isles in 2003, with an introduction by William Jay. In 2010. Italy Through Another Lens was published in both English and Italian languages, with an introduction by Lucia Gillard.
In a twenty five year career, Dick Arentz has had over seventy-five one man exhibits in museums and private galleries. Since 1984 has conducted approximately fifty platinum printing workshops, included those at THE CENTER FOR CREATIVE PHOTOGRAPHY, THE MUSEUM OF PHOTOGRAPHIC ARTS and THE FRIENDS OF PHOTOGRAPHY.

Customer Reviews

4.7 out of 5 stars
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Out of all of them this book really stuck out in my mind as the best one for people just starting off.
OrangeCrush
There are other books on platinum printing out there (most notably by Weese and Sullivan) but this book is the one resource I keep going back to again and again.
Julie G.
Its written well , has all the information you need , formulas and explains the technique amazingly well .
Mr. Simon Griffiths

Most Helpful Customer Reviews

42 of 42 people found the following review helpful By Julie G. on May 19, 2000
Format: Paperback
This book covers platinum and palladium printing in a very logical, thorough manner. If you have never done Pt/Pd, you will get all the introduction necessary to buy a kit and get started. If you have done some, you can move on fairly quickly to the more advanced topics in the book, and get more out of your printing sessions.
The printing method in this book is not for everyone. The methodology in the book is fairly numerically based, and if you like to work by instinct and intuition, this may not be the right approach for you. However, the discussions of available papers, chemical use and hazzards, and other resources listed in the book are worth the price of admission alone, not to mention the exquisite photographs reproduced in duotone.
The photographs are quite inspirational; Arentz is clearly a master image-maker from the printing perspective, as well as having an eye for composition and subject.
There are other books on platinum printing out there (most notably by Weese and Sullivan) but this book is the one resource I keep going back to again and again.
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21 of 22 people found the following review helpful By Robert MacKimmie on December 20, 2005
Format: Paperback Verified Purchase
Platinum/Palladium printing has "Wizard of Oz-like" mystique and a sense of mysterious alchemy beyond most photographic processes, but don't fret, it's not that difficult to get started. After my personal hands-on introduction (thank you, William Laven), Dick Arentz provides both the simple path to getting started, and then details comprehensive areas of specialty which he makes pretty helpful sense of. If you are already familiar with Platinum/Palladium, there is enough which has been pioneered in the recent several decades to allow a refresher for old photography hounds. For those starting out, just get the basic kit, read through the core sections of the book several times, then follow the three (3) pages of Chapter 6 - "The First Print". Once you have produced a few Palladium prints, cruise Chapter 7 - "Calibration" which provides a nice mental snack. Then move on to Chapter 8 - "The Platinum and Palladium Print", where having gotten past the panic of getting started, you can actually work out your basic functional understanding of the process. Like when that adult helped you launch on your first bike ride, suddenly you will be moving on your own and starting to get in the groove of the process.

For the silver old-timers, the sensitometry chapter and discussion of Pyro developers will really come into play as you confront the issues of "do I have to choose between making negatives for Platinum or silver ..." Pyro can play equally well in both environments, and was very liberating when I realized that I had a rich path of negative making without conflicts ahead of me. Pyro is an opportunity to evolve once again during this lifetime.
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11 of 11 people found the following review helpful By David R. Munson on April 24, 2003
Format: Paperback
I think the previous review of this book pretty much summed things up rather well. I bought this book with minimal to no knowledge of the platinum and palladium printing processes. After having read the book several times now (not because it's hard to understand, but because it's so well done), I feel I've gained a very good handle on the basics of the process, and the information provided is given in such a way as to give you both the kind of knowledge needed to start making your first prints as well as the kind of knowledge needed to refine and grow into the process. I tend to be a very analytical thinkier, and the way the book is organized appeals to my thought patterns. If you're more of a romantic (as opposed to classical) thinker, though, the large amounts of numbers-based technical info may seem a little discouraging. Even if you are, though, I must highly recommend this book, as I think it must be the single most comprehensive and well-produced book on the subject.
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3 of 3 people found the following review helpful By Brian Pawlowski on September 8, 2007
Format: Paperback
This is the bible of Platinum and Palladium printing. The second edition has two or three significant additions over the first edition. It has a quick start chapter to get that first print out. Yes, the book is very technical in some of its treatment of the material - and that is the reason you will go back to it again and again. But the process is fairly straightforward in its essence and working through the steps to get that first print clarifies much of the material to come later on. Second, I think the material covering Palladium printing with the Na2 contrast control method is essential knowledge today. It's surprising the more I've read of the history of Platino/Palladio processes how much information was lost that had to be "discovered" again. Third, there is a strong treatment on the effect of paper choice and characteristics of some papers (at least one of which is no longer being made since the second edition came out) that can help you understand how to find appropriate papers for other alternative processes. Finally, the appendices from different authors provide viewpoints of the process that round out treatment of the subject. Mark Nelson's chapter on digital negatives touches the surface of what has become my primary method for contact printing not only the Platinum and Palladium prints, but traditional silver as well as other alternative processes.

Highly recommended for any student of photography interested in mastering one of the most beautiful processes for printmaking.
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