|The short documentary, Magic Iron Rose, about Richard Eugene Puckett's relentless quest to work out a formula for printing out rhodium, has won a bronze Remi at the 2017 Houston WorldFest. Click on the image below to view the film.|
Fine Art Photographs in Gold, Rhodium, Iridium, Electrum, Platinum, Silver and Palladium
Richard Eugene Puckett has developed simple formulas that fundamentally alter the light-sensitive compounds used to print with the noble metals. The Texas Chrysotype is the most widely recognized of Richard Eugene Puckett's processes: pure gold photographs with gray tonality, invisible grain, and a wide tonal range -- and that print out on completely dry paper! With the Texas Chrysotype contact prints can be exhibited at their original size and do not need to be shrunken to quarter size to be presentable as is the case with the obsolete "New Chrysotype" or "Chrysotype S". The formula for the Texas Chrysotype is found here.
Texas Chrysotype, The Fannin Monument, Goliad, Texas. Notice several key points: the image is gray scale, the image displays a full tonal range, the image is not grainy, the leaves of the live oaks behind the obelisk glow. None of these points would be valid if this image had been printed with the obsolete so-called "New" chrystoype process. You have nothing to "blush" about when you print a Texas Chrysotype.
Richard Eugene Puckett, shortly after announcing his ground-breaking chrysotype in the March/April 2012 issue of View Camera magazine, introduced in rapid succession three more dry print out processes:
After presenting the Texas Chrysotype in person at the 2013 Alternative Photography International Symposium (APIS) in Santa Fe, New Mexico, Puckett returned to Austin and quickly formulated the Electrumtype, gold and silver. Later research in 2016 and 2017 resulted in the Omnitype, all of the foregoing metals combined for a unique tour de force, as well as the Iridiotype and the Rhodiotype. Puckett had finally completed his ultimate goal: dry print out of gold, iridium, rhodium, platinum, palladium, and silver alone or in any combination with each other.
The metal(s) content of Richard Eugene Puckett's prints has been validated by the Getty Conservation Institute and other professional analysts using ESEM and XREF analysis. At latest count, Puckett lays claim to one dozen validated processes. While Puckett sought to protect his early formulas through the patent and copyright protocols (refer to the dry print out palladium chapter from his book The Old Made New), in 2015 he simply withdrew his later formulas from publication. He is content to leave the ceaseless printing of effectively anonymous palladium prints to the herd, while he offers collectors the rarest photographs ever made -- images formed in electrum, in gold and iridium, platinum and gold, rhodium and palladium. Awe is the touchstone of art.
Copyright © 2016 Richard Eugene Puckett
There are three ways to print an image with a noble metal:
1. Prepare a 10% solution to 20% solution or a saturation solution of one of the following:
* Rhodium(III) Chloride Hydrate
* Ammonium Rhodium(III) Chloride Hydrate
* Sodium Rhodium(III) Chloride Hydrate
* Potassium Rhodium(III) Chloride Hydrate
2. Prepare a solution of 10% to 15% tetrachloropalladate (one of sodium palladium chloride, potassium palladium chloride, or lithium palladium chloride)
3. Prepare a solution of 10 ml of 40% ammonium ferric oxalate, sodium ferric oxalate, lithium ferric oxalate, cesium ferric oxalate, or guanidine ferric oxalate.
4. Prepare a solution of 2% vitamin C (ascorbic acid, ascorbate, or sodium ascorbate)
5. Count 8 drops of the 2% vitamin C solution into the 10ml of 40% double ferric oxalate. Shake the bottle containing the double ferric oxalate with 2% C added vigorously for 30 seconds. (Caution: this step exceeded the intellectual limits of a renowned troll of the now-defunct APUG forum.)
6. Count into a shot glass or similar container approximately an equal number of drops of the modified double ferric oxalate and of the rhodium chloride equal to half as much again as would be normally required for a photographic print of a given size (e.g., assuming an 8x10 print requires 16 drops each of 10% rhodium salt and of oxalate, use 24 drops of each.). This obviously does not apply if you double the solution strength of the rhodium to 20%. In such a case you would count out 12 drops of rhodium chloride and 12 of the modified double ferric oxalate.
7. Count into the same shot glass a number of drops of the modified double ferric oxalate and of the palladium chloride to constitute 25% of the total volume of oxalate and of metal salt in the sensitizer (e.g., add 2 drops of 10% palladium if you prepared the sensitizer in step 6 with 6 drops of 10% rhodium.).
8. Swirl the solution in the shot glass to mix, and pour out and brush the sensitizer onto a sheet of dry rag cotton paper, such as Bergger Cot 320, Hahnemuhle Platinum, Arches Platine Hot Pressed or Revere Platinum, among others). Note: if you prepared a 10% solution of rhodium chloride, you may need to apply half the sensitizer, dry the paper, as in the next step, and then apply the remaining volume and sensitizer and repeat step 9. If you prepared a 20% solution of the metal salt only one coat will be needed.
9. Place the sensitized sheet of paper in a dark, dry place to dry until dry to touch or for 5 minutes after the coated surface of the paper has ceased to glisten with moisture when viewed obliquely against a light.
10. Mount the paper, a sheet of 2 mil mylar or acetate, and on top of both the negative to printed in a contact print frame.
11. Expose the frame to a strong ultraviolet light source, such as sunlight.
12. Drop the frame back to examine the progress of the print out process. In a zone with high UV index, the print out will likely occur very quickly, in a matter of a few minutes at most. Tip: Overbrushing the area covered by the negative leaves a border you can readily observe growing darker as the print out proceeds.
13. When the printed out image is approximately 1/2 stop to 1 stop darker than desired, remove the paper from the frame and immerse it in a tray of hydrochloric (muriatic) acid diluted to a strength of at least 2% acid.
14. Agitate the print gently and observe the lightening of the image. When the image is approximately 1/3 stop lighter than desired, immediately remove it from the acid and immerse it in an alkaline solution such as 10% sodium carbonate (washing soda).
14. Gently agitate the print in the solution for 5 minutes.
15. Wash the print for one hour in running water.
End of copyright assertion for the Rhodiotype.
|Gold-Rhodium. Richard Eugene Puckett refined and resolved this formula on-camera in his documentary, Magic Iron Rose.|
|Gold-Iridium. This combination is simple proof that you can only create to the limits of your imagination. Before Richard Eugene Puckett mixed these two noble metals together, no one in the world even conceived of such a combination.|
|Gold-Platinum: gold precipitates out of solution in the presence of platinum using conventional printing processes. Not so with the Karytype formula. Gold and platinum synergistically render images exhibiting the finest characteristics of each metal.|
|This image is half rhodium, one-quarter platinum, and one-quarter palladium -- another combination no one in the world could ever print.|
|Gold-Platinum-Rhodium-Palladium-Iridium-Ruthenium is a tour de force in fine art photographic printing. Click image for more information.|
|Gold: the famous Texas Chrysotype is the only process for printing grainless, gray-scale, continuous tone prints in pure gold.|
|Rhodium-Palladium prints cannot be found in any collection, any museum, or any references. Richard Eugene Puckett is the only photographer in history able to print with rhodium.|
|All images on this site are protected under international copyright law. Any use of these images without written permission of the copyright holder, Richard Eugene Puckett, is a violation of law. To purchase a print, or to rent an image, contact me: firstname.lastname@example.org|