New Silver Process (Copyright 2026, Richard Eugene Puckett)

This process is copyrighted just to protect it from someone who has a long track record of claiming other processes as his own. I wanted a simple, appealing silver printing process that yielded gray scale images. To do so I raided the late Terry King's process, the Chrysotype Rex. In that process (which the idiot software Google AI now attributes to Richard Sullivan....) Terry King described coating paper with ferric oxalate and drying it. After contact printing a negative on the ferric oxalate, he washed the faint image that resulted with a gold solution. I remember reading that formula years ago and thinking, maybe that would work with silver. This process is then derived from the work of Terry King and I proudly announce my debt to  the better smith, Terry King.

1. Prepare a solution of 40% ammonium ferric oxalate or of 25% ammonium ferric citrate as for printing a cyanoptye and pour it into a capped bottle. Optionallly, count 6 drops of 2% C, ascorbic acid, into the capped bottle (NOT beaker) and shake it vigorously for 20 seconds or so. This converts SOME but not all of the ferric iron to ferrous iron. You will have ammonium ferric ferrous oxalate or ammonium ferric ferrous citrate. 
2. Apply the solution to any substrate you can get it on -- paper, cotton, linen, silk, the wondrous material known as lotus silk (yeah spun from the lotus plant), etc.
3. When the sensitizer is dry, place a negative in contact with it and print a faint image. Faint is key here: a light image just perceptible is best. But feel free to experiment. It's not gold...
4. Working from now on in dim light, prepare a weak solution of silver nitrate. 3% is a reasonable starting point. You can use a stronger solution but it would be a waste of silver. Again, experiemnt. A weaker solution might work perfectly well for your aesthetics. Wear rubber gloves and goggles or even a face mask when handling silver nitrate: one careless splash in an eye can blind you. And it will turn any organic material (such as skin, wood, etc.) black. Tip: if you do make a mess try strong photo fix to dissovle silver stains. It works on skin but won't work for your eyes... So unless you really groove on staring into darks rooms all day... wear eye protection!
5. Using a chip brush or a hard or soft brayer (roller thingy) or even a soft rubber squeegee, pour and spread a small volume of  the silver across the exposed image. Cover it fully, edge to edge. 
6. Immerse the print in cool water and wash it for about 30 minutes in running water. 
7. Immerse the thoroughly washed print in weak fix (dilute full strength fix to 10% strength -- that is, a ratio of 1 part fix to 10 parts cool water. If the fix is too strong your image will fade. Less is more here.
8. After 1 or 2  minutes in the fix, take it out and wash it another half hour. You also use hypo clear (see digitaltruth.com for the formula). 
9. Hang to dry. If you print on fabric you will likely want to lay the material a sheet of glass and gently squeege it flat. 
10. Be very careful when cleaning the tool you used to apply the silver. G&G: Gloves and Glasses.

QED

THE PLATINUM GLOW ON SILK
The Alamo, San Antonio, Texas
The San Fernando Cathedral, San Antonio, Texas
Sunflowers
Tulips in a Vase
Twistee Treat, Tavares, Florida
Platinum, Tulips on Silk
Same negative on Legion Revere Platinum paper

  WHY PLATINUM? WHY SILK?

Platinum dominated photographic serious printing -- "art" -- until World War One. Printers had access to palladium chloride for printing photographs in the 1890s but the metal did not win widespread acceptance until well into the Great War, about 1916 when platinum, vital to the war effort, was unavailable anywhere. Palladium (and platinum) printing was subsequently killed off by silver paper in the 1920s. Seventy years later, palladium saw a comeback among enthusiast printers after Richard Sullivan succeeded in getting palladium (but not platinum) to print out on hydrated paper. Amateurs nowadays hide their very appropriate sense of inferiority by asserting that they "do platinum printing with palladium" (shades of Aesop's "The Fox That Lost Its Tail"!). And I have even seen on the interwebs desperate dilettantes claiming they print palladium on silk -- that is, the paper with silk fibers pressed into the cellulose while it is in the mold. Not quite the same thing as woven silk fabric. Nor does palladium deliver anywhere near the same cachet as platinum.  

 Early in 1897 the popular photography magazines were abuzz with news that someone had succeeded in preparing silk to print with platinum. Photographers at that time routinely printed silver on silk and were delighted with the commercial prospects for offering clients portraits in the king of the noble metals: platinum. In the fall of that same year William Willis' Platinotype Company announced the addition of platinum-sensitized silk to its catalog. What is certain is that photographers made prints using the material. Platinum was cheap (two dollars an ounce at that time) and the Platinotype silk was not scandalously expensive. After the armistice in late 1918, the material remained in the catalog until 1921. Despite over two decades of promotion and sales, not a sole, solitary, single platinum print on silk is to be found in any collection, any archive, any library or museum. I have exchanged emails with curators, librarians, researchers, art dealers, and scientists who would have access to such works if any were to be found. None exist in any public or known private domain. (I believe this disappearance is attributable to the standard use of hydrochloric acid to clear platinum prints -- fine for paper and cotton but not for silk.) When Platinotype shut down operations in 1937, the formula for prepping silk for platinum coating and printing was destroyed along with all other company documents.

By the mid 1980s, Martin Axon had established himself in New York City as a master fine art printer working with platinum. For several years in that decade, his platinum on cotton prints were all the rage in New York City among well-heeled photographers who could actually afford such objets d'art. Mapplethorpe, Leibovitz, and Horst all notably commissioned platinum-cotton prints of some of their better known images (none were on silk, which was not possible since the early 1920s). Some of the cotton prints even figured in the 2018 film, Mapplethorpe (with a walk on cameo for Martin Axon himself). The tragedy of those prints, considering Christie's and NYC art galleries' fantasy descriptions of cotton prints with platinum variously as linen, canvas, silk -- anything not the pedestrian cotton on which they were printed -- is simply that they were not on silk. The late David Chow reported on his wordpress site,  with straight face, that the famous Horst image of a nude Lisa Fonssagrives reclining on a piece of silk -- titled "Lisa on Silk" -- is, as a Christie's copy writer mistakenly noted, printed in platinum on silk. With the interwebs we have entered the age of boneheaded literalism. In another outburst of enthusiasm for nonsense, Chow also claimed with no basis that Horst printed entire sets of his negatives in platinum on silk. Hardly. This is the same nonsense as "I do platinum printing with palladium." Just visit www.platinumaxon.com: Axon's splash page lists a few of his clients, including Horst P Horst. Even recently, one gallery so frustrated apparently by the non-existence of any platinum-silk prints to sell has announced they can finally offer Mapplethorpe images in platinum on silk -- as photogravures made with platinum. Not quite the same thing as an actual photographic print. 

Printing platinum on silk produces images of astounding beauty: they show a physical richness and elegance that is swallowed up in the absorptiveness of cotton. By comparison, photographic images in platinum (or palladium) on paper are weak, almost phthisic.  

CUSTOM PLATINUM PRINTS ON SILK