Tim Layton Fine Art | The Platinum Cookbook Table of Contents


The table of contents is being developed and modified as I create and modify the text so feel free to check back often for the latest updates.  Once a section is fully created, proofed, and tested, I will make it as final and release it to my early supporters.  

You can learn more about The Platinum Cookbook on my website.  



PAPER - Tim explores Pt/Pd printmaking with a variety of papers (e.g., Hahnemühle Platinum Rag, Bergger Cot 320, Arches Platine, Vellum, Japanese Washi, Mulberry, Kozo, Gampi, and others). He shares his technical and creative notes along with video reviews of each type of paper.  You will see videos of his prints on these various papers and he will share his thoughts about each on video.   

Paper is a big variable and can have a dramatic impact on every part of your platinum printmaking ranging from the obvious presentation aesthetics to the impact on your standard printing times, chemical/sensitizer use, and so on.  As Tim tests and prints on each paper, he provides his technical notes as well as his commentary on each papers aesthetics.  

If you are looking to create a unique signature for your platinum and palladium fine art prints, then you have to explore and investigate a wide variety of papers.  For example, Tim developed an entire course on printing on vellum because of the unique variables that must be managed during the printmaking process as well as the unique presentation opportunities. 

DEVELOPERS - In addition to sharing his detailed technical notes and observations about each paper’s aesthetic qualities, Tim explores the use of several developers (e.g., Potassium Oxalate, Ammonium Citrate, Sodium Citrate) which can significantly impact the visual characteristics of your prints ranging from exposure scale, tonal range, and even color pallet rendering from a warm brown to a cool/blue series of blacks.  

DIGITAL NEGATIVES - Tim prints with both large format film negatives and digital negatives printed on Pictorico film using an Epson 3880 printer.  For some prints, Tim scans his film negatives to create digital negatives, and all of his wildlife prints are created using digital negatives made from DSLR RAW files and the Na2 method.  You will receive Tim’s complete process for creating digital negatives and using the Na2 method for making Platinum/Palladium prints. 

FILM NEGATIVES - Tim shares his detailed technical notes and formulas when using traditional large format film negatives for Pt/Pd printmaking.  Tim's notes include everything from exposure strategies to developing the sheet film specifically for platinum and palladium printmaking.  Creating negatives suitable for platinum and palladium printing is much different than making negatives for silver gelatin darkroom prints, and Tim walks you through every step of the process. 

The skill set required for both negative mediums is unique, and Tim takes you through both approaches on a technical level and shares his insights of when he selects one approach versus the other.  

Tim will be sharing his approach to creating and developing FP4+ and HP5+ films that are developed in Pyrocat HD. 

ENVIRONMENTAL VARIABLES - Tim explores other critical variables such as relative humidity, ambient temperature, the temperature of your developer, the degree of dryness of the sensitizer, and other key factors that ultimately shape and modify the appearance of your platinum and palladium prints.  

Tim’s travels to different geographies in his Sprinter van and makes prints while recording the environmental variables.  All of his notes and photos of the prints are included in the book.  

DUAL LAYER PRINTING - The advanced printing technique of dual-layer platinum printing will be explored and compared to the newer Na2 method using digital negatives to determine if there is still a valid reason to pursue this technically challenging method of platinum and palladium printing that Irving Penn made so famous.   

PLATINUM OVER X PRINTING - There are some new opportunities to combine platinum and palladium printmaking with traditional and contemporary methods.  Tim shares his testing of printing pure platinum over Van Dyke as well as new unchartered techniques to include platinum and palladium over inkjet on rag, rice, and bamboo papers.  

TESTING LED BLB VS FL BLB - Tim conducts a new series of tests to understand if LED UV BLB will expose Pt/Pd prints successfully and how that impacts exposure times. 

DOUBLE COATING - Tim investigates what impact, if any, does double coating the platinum and palladium sensitizer has on the final print.  

GOLD TONING - Tim conducts a series of tests and compares Pt, Pd, Pt/Pd prints that have been treated with Sullivan’s gold toning method.