A Guide To Platinum Printing

Platinum printing is one of the most revered photographic processes, known for its unparalleled tonal range, luminous depth, and archival permanence. Unlike conventional photographs that rely on silver, platinum prints are formed by actual platinum metal, offering a depth and warmth that is unique in the world of black-and-white photography.

©Carl Weese

What is Platinum Printing?

Platinum printing dates back to the late 19th and early 20th centuries, when it was embraced by master photographers like Alfred Stieglitz, Edward Steichen, Paul Strand, and Irving Penn. This contact-printing process results in deep, velvety blacks and a smooth transition between tones, creating an almost three-dimensional quality in images. Because platinum metals are chemically stable, platinum prints are considered the most archival of all photographic prints, lasting as long as the paper they are printed on.

The Platinum Printing Process

Platinum printing is a hands-on, meticulous process that requires patience and precision. Here’s an overview of how it works:

1. Hand-Coating the Paper – Unlike modern photographic papers, which are pre-coated, platinum prints require the photographer to mix and apply a light-sensitive platinum emulsion by hand onto a high-quality paper. This step is crucial, as the paper's surface and absorbency directly impact the final image.

2. Exposure to UV Light – Once dry, the coated paper is placed in direct contact with a negative and exposed to ultraviolet light, either from the sun or a UV lamp. This exposure causes the platinum salts to reduce to metallic platinum, forming the image.

3. Development and Clearing – After exposure, the paper is developed, typically in a bath of potassium oxalate. Several clearing baths follow to remove any residual chemistry, leaving behind only the pure platinum image.

4. Final Drying and Flattening – After washing, the print is air-dried and sometimes pressed to restore its original texture. Since platinum prints do not require gelatin coatings or chemical stabilizers, they remain purely embedded within the paper fibers, ensuring their longevity.

🎥 Want to see the process in action? Watch Kerik Kouklis discuss platinum printing on Revere Platinum: Watch the video

10x12 Palladium Print on Revere Platinum by Kerik Kouklis

©Arkady Lvov

What Makes a Great Platinum Printing Paper?

Because platinum printing is a direct-printing process where the image is formed within the paper itself, the choice of paper is critical. The ideal platinum printing paper must have:

✔ Smooth, but not glossy, surface – The surface should allow for even coating while preserving fine details in the image.

✔ Strong wet strength – The paper must withstand multiple baths without warping or deteriorating. Internal and external sizing is essential to prevent excessive absorption of the emulsion.

✔ Neutral pH with no buffering agents – Many fine art papers contain calcium carbonate or alkaline buffers to prevent acidification. However, in platinum printing, these additives can interfere with the chemistry, affecting tonal depth and print stability.

Why Revere Platinum?

Revere Platinum is specifically crafted for platinum and alternative photographic printing. With its internally and externally sized structure and absence of buffering agents, it ensures optimal absorption and chemical interaction for deep, rich, and incredibly detailed prints. Its smooth surface beautifully retains highlights and subtle tonal variations, making it a favorite among contemporary platinum printers.

For a deeper dive into a platinum printer’s experience with Revere Platinum, read our blog post featuring Kerik Kouklis: Read more

Arches Papers

Differences & Highlights Between Arches 88, Arches Cover, Rives BFK, Arches Platine, Arches MBM Ingres and Arches En-Tout-Cas

(The variety of papers from the Arches Mill stocked at Legion)

1. Arches 88

Key Features:

• 100% cotton, mould-made

• Ultra-smooth, soft, and absorbent (no sizing)

• Heavyweight (300gsm)

• No deckled edges

Best For:

• Screen printing

• Lithography

• Silkscreen & monoprinting

What Makes It Unique?

• No sizing, meaning exceptional ink absorption

• Extremely smooth and soft, perfect for screen printing

• Not ideal for wet media or drawing due to high absorption

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2. Arches Cover

Key Features:

• 100% cotton, mould-made, internally sized

• Smooth with slight texture

• Heavyweight (250-270gsm)

• Acid-free, deckled edges

Best For:

• Printmaking (intaglio, relief, lithography, silkscreen)

• Drawing (charcoal, pastel, graphite)

• Watercolor & gouache

What Makes It Unique?

• More rigid & structured than Rives BFK

• Sized for versatility, working for printmaking and some wet media

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3. Rives BFK

Key Features:

• 100% cotton, mould-made, minimal sizing

• Soft surface, smooth but with slight tooth

• Available in 250gsm & 280gsm

• Acid-free, deckled edges

Best For:

• Printmaking (intaglio, lithography, relief, monoprinting)

• Drawing (charcoal, pastel, pencil)

• Mixed media

What Makes It Unique?

• Softer and more flexible than Arches Cover

• Highly absorbent, great for rich ink saturation

• Often preferred for delicate and detailed printmaking

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4. Arches Platine

Key Features:

• 100% cotton, mould-made, specially formulated for alternative photographic printing

• Smooth yet slightly textured surface

• 310gsm & 145gsm options

• Sized with no alkaline buffer, making it perfect for platinum/palladium printing

Best For:

• Platinum/palladium printing

• Cyanotype, Van Dyke brown, Kallitype, alternative photography

• Photogravure & high-end printing

What Makes It Unique?

• Specifically made for platinum/palladium printing, not ideal for traditional painting or drawing

• No buffering – optimized for chemical-sensitive processes

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5. Arches MBM Ingres

Key Features:

• 75% cotton, mould-made

• Classic Ingres laid texture (fine parallel lines)

• 95gsm (lightweight)

• Available in multiple colors

Best For:

• Pastel, charcoal, pencil, drawing

• Calligraphy & bookbinding

• Some light printmaking

What Makes It Unique?

• Ingres-style laid texture holds pastel and charcoal beautifully

• Lighter weight (95gsm) makes it more delicate than others on this list

• Not suitable for heavy ink or wet media

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6. Arches En-Tout-Cas

Key Features:

• 50% cotton, mould-made

• Textured, similar to watercolor paper

• Sized for wet and dry media

• 160gsm (medium weight)

Best For:

• Sketching & mixed media

• Watercolor, gouache, light washes

• Pastel, charcoal, pen & ink

What Makes It Unique?

• The most versatile paper in this list – works with both wet and dry media

• More absorbent than MBM Ingres but lighter than Arches Cover or Rives BFK

• Great for on-the-go sketching & mixed techniques

Final Thoughts: Which Paper Should You Choose?

• For Fine Art Printmaking → Rives BFK (soft) or Arches Cover (sturdier)

• For Alternative Photography → Arches Platine

• For Screen Printing → Arches 88

• For Dry Media (Pastel, Charcoal) → Arches MBM Ingres

• For Mixed Media & Sketching → Arches En-Tout-Cas

Exploring Cyanotype Printing: An Artist's Journey with Josh Ball

Introduce yourself and tell us a bit about your artistic journey and how you became interested in cyanotype printing.

My name is Josh Ball. A native of Ventura, California, a coastal town nestled between Los Angeles and Santa Barbara. Growing up, I've always been drawn to the water and I usually have a camera with me. Years of diving and sailing around the Channel Islands National Park, bodysurfing our local beach breaks, and adventuring in the local backcountry have resulted in quite a collection of photos. It gradually dawned on me that I genuinely enjoy photography and wanted a way to share my stories.

Seeking a more meaningful way to engage with my photography than simply sharing it on social media, I discovered the captivating world of cyanotype printing. Now, I have a vast archive of photographs eager to be reimagined and given new life through this unique art form.

Can you walk us through your typical cyanotype process, from start to finish?

I prefer to mix enough sensitizer for a night or two of work. I apply the sensitizer to the paper methodically, always following the same pattern: left to right, top to bottom, right to left, and finally bottom to top. Then I go hang out with my family and allow the paper to dry for an hour.

Before the paper fully dries, I prepare my trays: one with regular tap water and ½ cup of vinegar and a second with tap water and a splash of hydrogen peroxide. If I'm creating photograms, I gather my chosen objects (often 3D-printed stencils) and begin arranging my scene on the table adjacent to my lightbox. For digital negative prints, I select the desired films from my negatives binder.

I use a 50-watt light in my lightbox, resulting in typical exposure times of 5-8 minutes. Once fully exposed, I transfer the print to the water/vinegar bath and rock the tray for a few minutes. When making multiple prints, I begin the next exposure at this point. After 5-6 minutes, I move the soaking print to the peroxide bath and a final rinse under running water. I do this until the lightbox timer signals the end of the current exposure. I repeat this process until I've completed all my prints.

My cleanup routine involves storing any unused sensitized paper in my lightproof bag and carefully reviewing my completed prints as they air dry (This involves me standing there over analyzing my work for much too long lol). This factory line approach allows me to maintain consistency in my cyanotype printing process.

Which papers did you test that worked best for Cyanotype printing? Can you describe why these papers worked well?

Stonehenge and Coventry Rag emerged as my favorites. These papers proved remarkably resilient during the cyanotype process, and produced some of the deepest blues. Minimal buckling occurred during both sensitizer application and drying, resulting in sharp images with excellent contrast and a wide range of tones.

I also liked Arches Hot Press, a classic and a great paper to work with. Weight of the paper handles the contact printing process well. The paper produces great tones and a dark Dmax.

Legion Bamboo is an all around great paper that handled the brush application of the sensitizer really well. I like the smooth texture of the paper a lot. Masa White This one surprised me as it is a lightweight paper at 77gsm. However, it is very strong,  the texture is smooth, and I like the blues it produces.

Incision. This paper produced some of the darkest blues with deep rich tones.

Rising Barrier is an example of paper that didn’t work well because of the minimal sizing in the paper.

Stonehenge was a favorite producing deep blues.

Masa, as a lightweight paper, worked surprisingly well!

Does the paper's texture or surface quality impact your creative choices in any way?

The answer is a resounding yes! Every paper is going to respond differently to the cyanotype process. There are so many factors that come into play. Just to name a few: What type(s) of materials the paper is made from, the thickness/weight of the paper, is sizing used (inside and out) and of course the overall texture of the paper. In the end though, I think beauty is in the eye of the beholder. Artists will find a paper they love and never look back and try other papers they will only use once. My advice is to keep trying new papers and keep experimenting. There are so many papers out there!

Any challenges with some of the testing you came across?

The biggest challenge was to come up with a process to test these papers in a way that would give me reliable, repeatable, comparable results across the board. I decided to track specific parts of the process that every paper would experience. First, I looked at how the paper responds to the brush application of the sensitizer. If and how the paper buckled and warped during the sensitizer application process. An added factor was if the paper “pilled” (small bits of paper that would come off the paper in little balls). Some of the papers with little to no sizing on the surface would pill. This affected the finished look by showing little white spots on the paper where the sensitizer came off and did not turn blue.

Next, I decided that a 15 minute step test would give me a comparable look at each paper's tones of blue, and whiteness of the paper. Although most of the papers reached Dmax in the 6-8 minute range I am glad I took the step tests as far as I did. I found a wide variety of tones and deepest blues throughout the papers. Those few extra minutes over Dmax ensured I did not miss out on any darker tones in the variety of papers.

Lastly I looked at how the papers took the rinsing and drying process. This last step really saturates the paper; the slight bangs on the edge of paper while removing the leftover sensitizer can easily damage some types of paper to the point of causing the paper to separate in the corners. Also handling very saturated papers can cause the paper to rip and tear, ultimately ruining your final product.

Do you have any advice for other artists who are just starting out with cyanotype printing?

The best advice I can give someone just starting out is to simply begin! There are several ways to jump in, catering to different learning styles:

●     The Easiest Route: Purchase pre-sensitized paper online. Forage for local plants in your area. Follow the instructions on the paper packaging. This is how I initially started, and it's a low-pressure way to experiment.

●     A Bit More Involved: Order a two-part sensitizer kit online. Mix the chemicals according to the instructions. Apply the sensitizer to your chosen paper. Then, proceed with creating your cyanotype images, starting with simple photograms.

●     For the Adventurous: Explore the "wet cyanotype" process. This technique offers unique results, but it's generally more challenging for beginners.

Focus on the Basics! I suggest starting with simple botanicals, photograms, or abstract designs. This allows you to understand the core principles of cyanotype printing, such as exposure, washing, and drying, without the added complexity of photographic techniques. By starting with the basics and gradually increasing your complexity, you'll build a solid foundation in cyanotype printing and enjoy the process more.

Lastly, I try very hard to take detailed notes the same night or in the morning on what worked well and what did not. I write notes on the prints themselves, and on the negatives. This is invaluable in helping me remember what I did and has been the best tool in helping me grow in this artform.

Testing our new Artist Panels with Cyanotype!

Where can people find more of your work or learn about your upcoming projects?

@JoshBallArt for all my social media channels and JoshBallArt.com. Cyanotype printing is here to stay but I am always trying out new mediums. Currently I am interested in Van Dyke Browns and darkroom printing my photos in black and white.

Four Ways to Display Your Art on Legion Artist Panels

Legion’s new Artist Panels offer a versatile canvas for your creativity, providing a sturdy and elegant way to present your pieces. But how do you display them in a way that elevates your space and brings attention to your art? Here are four creative ways to use these panels to make your art stand out.

1. Create a Layered Gallery Wall

Shealeen Louise

A gallery wall is an excellent way to transform a blank wall into a curated collection of your artistic expression. By layering different sizes of Legion Artist Panels, you can add depth and dimension to your display. Try mixing and matching art styles, colors, and shapes to create an eclectic but cohesive presentation. Play with the spacing to avoid rigid uniformity—stagger the panels for a dynamic, layered effect that draws viewers in. Whether you stick to a theme or go for variety, a gallery wall lets you tell a visual story that reflects your artistic voice.

2. Put them in a Frame

Sarah Jane Art Studio

While Legion Artist Panels are stunning on their own, framing them can add an extra layer of sophistication. Our Artist Panel sizes are ideal for standard frame sizes. Opt for frames that complement the color palette of your artwork, or choose minimalist frames to let your art take center stage. Framing not only protects your artwork but also enhances its presence, making it a perfect option for formal presentations or spaces where you want to elevate the aesthetic.

3. Throw them on an Easel

Sarah Jane Art Studio

For an eye-catching and ever-changing display, why not showcase your art on an easel? This approach allows for flexibility, letting you switch out pieces or rotate your collection whenever inspiration strikes. Easels are particularly useful for open spaces like studios or galleries, where your artwork can be a focal point. By placing your Legion Artist Panels on an easel, you create a sense of immediacy and intimacy, as if your work is still in progress—an invitation for viewers to engage more closely with your creative process.

4. Hang them on your wall

Sometimes, simplicity is key. Hanging Legion Artist Panels directly on the wall creates a clean, modern display that puts the focus solely on the art. The panels' sleek design means they can be hung without the need for heavy hardware or framing, giving your space a minimalist and refined look. Whether you choose to feature one standout piece or arrange several in a grid, hanging your art is a timeless and straightforward way to share your work with others. Just make sure to use the right mounting hardware to ensure stability and longevity.

Here is one way we suggest hanging your panel on a wall.

• Learn more about our Panels.

• Try a 5x7 or 6x6 Panel.

Featured Artist: Mixed Media Artist, Rosi Tonaco

Tell us about yourself and you work.

My name is Rosi Tonaco and I am a mixed media artist. I have always been a creative person, passionate about everything from art to pattern design and fashion. Art gives me a sense of freedom of expression. I try to express things that are personal to me and relatable to other people. 

Five years ago I made the transition from a successful career in science to fully investing in my passion for the arts. I have always been fascinated by the power of colors, shapes and forms, and I have found that abstract art is the perfect way to express the complexity of the human experience.

My background in Artificial Intelligence (I hold both a Master degree and a PhD in that area) brings a unique perspective to my work, and I enjoy exploring the relationship between intellectual depth and artistic expression. I believe that art has the ability to transcend language, culture and time, and I strive to create pieces that evoke emotion, provoke thought and inspire connection.

My work has an experimental way and I’ve been exploring different styles and techniques. In my mixed media art, I use textures and colors to help express a mood or emotion. My creative process is purely organic, the work changes and grows gradually. Papers are adhered; paint is brushed or splashed; more paper is added; lines are drawn and so forth, until the image is satisfying to me.

Which papers did you test?

Stonehenge Aqua Black - CP 600gsm

Mirri Sparkle Silver 10pt

Mirri Sparkle Sunburst 16pt

Yupo Translucent

What was your process in testing these papers? 

I used the Mirri paper to cut some tropical leaves and flowers, the Yupo Translucent I painted with link and then also cut some leaves and the Stonehenge was used as the surface to my collage, I love the texture and the feeling of this paper.

Which paper(s) worked well for your work? What did you like about these papers?

Yupo translucent and Stonehenge Aqua are the ones I use the most, Yupo works great to paint and cutting the transparency adds a nice touch to the artwork. And the Stonehenge is a perfect surface to my mixed media work because it is heavy, has a Beautiful texture and holds nicely any watercolor details I want to add.

What are important characteristics of a paper for your particular kind of work?

I don’t usually use only one kind of paper, I often use at least three, one that can hold well layers of paint, the other one needs to be cut nicely and one with a beautiful texture.

follow rosi on instagram

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