Lundy Canyon, 1993, 4x5 platinum/palladium print. Photo © Kerik Kouklis
Photographers who work with the historic, hand-made or otherwise alternative printing processes know that a good print requires a good paper. Each process has different requirements for what makes a “good” paper, and those of platinum/palladium printing are among the strictest.
It’s been almost 30 years since Kerik Kouklis made his first platinum/palladium print, and in that time, he says there’s never been such a selection of new and improved papers coming onto the market at the same time.
Here, in his own words, Kerik reveals the best of the best from long-time industry stalwarts Hahnemühle, Legion Paper, and Arches.
A platinum/palladium print, Time Portal, Lucca, Italy. Photo © Mark Nelson.
Mark Nelson, photographer and developer of the patented Precision Digital Negatives process, says you always have to be on the lookout for an opportunity. Mark gave up a successful career in the mental health industry to pursue photography, and while he has a loyal following of galleries and collectors, he is known for a system for generating the best digital negatives for alternative processes.
Toned cyanotype. Photo © Daniel Coburn.
There are very few opportunities to study the alternative photographic processes like gum bichromate, platinum/palladium, or wet plate collodion printing—especially in the west. The Image Flow brings together the world’s best photographers and instructors to teach these processes on a rotating schedule.
“For anybody interested in the alternative processes, it’s a rare opportunity to learn them,” said Ed Carey, owner of Gallery 291 and the alternative process workshop liaison at The Image Flow.