Cover Photo: Imogen Cunningham, Birdcage and Shadows, 1921
printed 2019, by Pradip Malde
The cover is one of my favorite photographs by Imogen Cunningham, the use of which was graciously granted by Meg Partridge and the Imogen Cunningham Trust.

I am very happy to announce that “Platinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process” will be available from Focal / Routledge in December. It is the result of over three decades of collaboration between Mike Ware and myself. The volume includes works by over forty photographers representing an exquisite photographic printing process.

Discounted pre-orders for the book can be placed right now.

Alf Magne Andreassen, Angela Berry, Shaun O’Dell, Stuart Clook, Cathy Clair Cone, Jon Cone , Imogen Cunningham, Ivey Dahlstrom, Regina DeLuise, David Dennard, Virgil DiBiase, Danielle Edwards, Jill Enfield, Emily Gómez, Pamela Heemskerk-Hefley, Allie Horick, Skip Klein, Pablo Kolodny, Gilles Lorin, Paula Luttringer, Rachel Malde, Caroline Minchew, Elizabeth Motlow, Ron Partridge, Greg Petropoulos, Stavros Pippos, Robert Poole, Allan Z Razo, Whitt Sellers, Mark Steverson, Sara Silks, Larry Smukler, Mark Stracke, Hunter Swenson, Basil Tahan, Roger Vail, William Will Watson, Elisabeth Weissenstein, Kirk Williams, Lucy Wimmer, and Ellie Young are some of the excellent artists whose work is included in the book.

This excerpt from the introductory chapter will, I hope, give you some idea of the rest of the book:

Platinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process is designed to serve as an instructional guide and a reference”… “This (chapter) serves as an impetus, a jumping-off point, a springboard. There is a lovely proverb, I believe it is Chinese, which calls us to train hard and learn how to jump high, so that one day, the winds of inspiration may catch and transport us to places of wonder. The desire for wonder and magic have brought you and me to this point, to this book. The decisions that a photographer makes about printing, or a collector or curator makes about gathering and presenting work, are fundamentally subjective and passionate. A fine photographic print is shaped by aesthetic motivations, and because beauty reminds us of higher ground, of greater callings, a good print stands to make a difference in our lives. Platinotype is as much a technical guide as it is a collection of inspiring work, as much a chemical journey as an alchemical reveille.”

This is the ninth book in the excellent series edited by Christina Z. Anderson, and it is an honor that she asked us to write this volume. It is the first time that an entire book is devoted to this contemporary platinum-palladium printing-out process. (Printing-out describes any photographic process where the image appears almost completely during exposure to light.)