Handcrafted Heirloom Photographic Prints

About These Prints

Heirloom Quality

I use the finest quality papers, metals, watercolors and inks to create these heirloom quality prints.

All of the prints that I currently make are contact prints using negatives the size of the print. Archival watercolor paper is coated with an emulsion by brush in subdued light, and allowed to dry. The negative is placed over the dried paper and exposed to ultraviolet light for a set amount of time, and then the different processes are put through different stages of development, clearing, fixing, toning, etc. It varies depending on the process. This description is a very simplified explanation of the actual processes. Some prints have many layers of exposure with multiple negatives, and take hours of a day, or over the course of a number of days, to complete.  My descriptions of the processes below are very sampled representations, and do not include the production of one or more suitable negatives for each print.

All prints are shipped matted and in protective sleeves.

Print Sizes are Image Size, placed in a larger mat.

Calla Lilies — Toned Kallitype

Toned Kallitype Prints

When made correctly, toned Kallitype prints are virtually identical to Platinum/Palladium prints and are just as archival. Using different combinations of developers and toners, a fairly wide range of different color tones can be achieved, from warm browns to eggplant purples to charcoal blacks.  Kallitypes are labor intensive and use a combination of silver nitrate and ferric oxalate to coat the paper.  A negative the size of the print is placed on the dried paper, exposed to UV light, then developed, toned, fixed, cleared and washed.  These Kallitypes are toned in either Palladium or Gold.

Platinum/Palladium Prints

Platinum/Palladium prints are renowned for their depth and quality, and were made by the photographic masters of the early 20th century.  These Platinum/Palladium prints are made using the Na2 method, coating the paper with ferric oxalate, palladium and platinum.  A negative the size of the print is placed on the dried paper, exposed to UV light, washed and cleared. 

Gum Bichromate Prints

Gum Bichromate Prints involve one of the most artistic and serendipitous photographic printing methods.  They say no one ever masters it.  It involves anywhere from one to multiple layers, and one to multiple negatives, to build a print.  No two are the same.  Each layer is coated with a mixture of gum arabic, watercolor paints and light-sensitive potassium dichromate.  When the paper dries, a negative covers the paper which is then exposed to UV light.  The print is then developed out in a water bath for 30 minutes and allowed to dry.

Cyanotype Prints

Cyanotype Prints are one of the most simple "alternative" handmade photographic print processes.  A mixture of ferric ammonium citrate and potassium ferricyanide is applied to the paper.  After drying, a negative is placed on the paper and exposed to UV light.  The image develops quickly in a water bath.

Archival Pigment Prints

Archival Pigment Prints are made with a high end inkjet printer that uses multiple inks.  However, none of these prints are simple inkjet prints, as I use special paper and combine the inkjet pigments within the other processes listed above.  The inks and paper used survive the often brutal treatment and multiple cycles of water and chemical baths to produce the final prints.

Various Combinations of the Above Processes

 Many of the prints that I make combine two or more of the above processes, such as kallitype on pigment; gum bichromate on kallitype; and even gum bichromate on cyanotype on kallitype.  Multiple layers and processes, with one or more negatives, can be use to deepen tones, add a hue or produce full color images.

Duotone Variation

Not a separate process from those above, but a different approach to using these processes together.  Instead of a monochrome or full color print, these prints use partial color.  For example, printing one color for warm tones and another for cool tones.  Not all colors are represented, but more than one color is present. 


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