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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.

Best Papers for Platinum Printing

©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:

Platinum Printing Process
  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

Palladium Print on Revere Platinum

10x12 Palladium Print on Revere Platinum by Kerik Kouklis

Platinum Print by Arkady Lvov

©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-350gsm)

  • 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


2. Arches Cover

Key Features:

  • 100% cotton, mould-made, internally sized

  • Smooth with slight texture

  • Variety of weights (160-400gsm)

  • 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


3. Rives BFK

Key Features:

  • 100% cotton, mould-made, minimal sizing

  • Soft surface, smooth but with slight tooth

  • Available in 180gsm - 300gsm

  • 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


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


5. Arches MBM Ingres

Key Features:

  • 75% cotton, mould-made

  • Classic Ingres laid texture (fine parallel lines)

  • 85gsm - 105gsm (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


6. Arches En-Tout-Cas

Key Features:

  • 50% cotton, mould-made

  • Textured, similar to watercolor paper

  • Sized for wet and dry media

  • 280gsm

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 PrintmakingRives BFK (soft) or Arches Cover (sturdier)

  • For Alternative PhotographyArches Platine

  • For Screen PrintingArches 88

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

  • For Mixed Media & SketchingArches En-Tout-Cas

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