Malde-Ware chemistry questions

Hello,

For those practicing the Malde-Ware process using inkjetmall’s pre-mixed chemistry I have a few questions (as I cannot find the answers in either Ware’s or Malde’s descriptions of the process):

  1. What is the difference between the metal solutions for methodology 1 and 2? I assume it was the mix of Pt. and Pd. but the descriptors for both are 50-50. I understand that these pre-mixed solutions, when combined with different humidity levels, produce prints with different hues (from warm to neutral to cool).

  2. Malde and Ware only have one formula for producing ammonium iron(III) oxalate (or so I’ve been able to find), so what is the difference (chemically) between the two iron solutions offered by inkjetmall?

  3. Closely related to question 2 is if I have the ammonium salts of Pd. and Pt. (as described by Malde and Ware) then which iron solution from IJM would one use (as opposed to ammonium iron(III) oxalate as described by Malde and Ware)?

thanks!
Michael

** What is the difference between the metal solutions for methodology 1 and 2?*

Meth 1 and Meth 2 are only the sensitizers used in combo with the metals. We sell the bottles pre-mixed so maybe this was the confusion.

I assume it was the mix of Pt. and Pd. but the descriptors for both are 50-50.

see above. It’s just the ammonium sensitizers.

I understand that these pre-mixed solutions, when combined with different humidity levels, produce prints with different hues (from warm to neutral to cool).

Yes. Meth 1 reacts to humidity differently and is warmer. Meth 2 cooler. They can also be combined when coating paper.

Hi Walker,

Thanks for the quick answers.

OK, so the Malde-Ware Methodology 1, 50-50 Platinum-Palladium solutions are a mix of 50% ammonium ferric oxlalate and a 50% blend of ammonium Platinum and Palladium. If that’s true and and let’s say one starts with one of the pre-mixed solutions then wants to transition to mixing the Pt. and Pd. separate what would be the ratio of Pt. to Pd.? Another way to ask is what is the % of Pt in the pre-mixed solution for Meth 1; and Meth 2?

It must be the hot July sun that caused my confusion, ;-)!!

But I still don’t understand the difference between Meth 1 and Meth 2 Iron salts. I have only read about ammonium iron(III) oxalate but since they are substantially different in price there must be something else in this chemistry?

best.
Michael

Hello Michael!

Sorry for the late response.

1	What is the difference between the metal solutions for methodology 1 and 2? I assume it was the mix of Pt. and Pd. but the descriptors for both are 50-50. I understand that these pre-mixed solutions, when combined with different humidity levels, produce prints with different hues (from warm to neutral to cool).

I will back track a bit first. IJM packages M-W Pt/Pd solutions in two ways:
either as a single, pre-mixed solution, ready to coat onto paper, and referred to as a sensitizer;
or as a set of solutions that should be mixed before coating.

The M-W solutions, in other words, have a long shelf life even after being mixed together.

To avoid some confusion, I have recommended that all mixed solutions that are ready to be coated onto paper be referred to as sensitizers and the separate components be referred to as solutions - such as ammonium ferric oxalate, ammonium tetrachloroplatinate(II) and ammonium tetrachloropalladate(II).

Now to your question. The ammonium ferric oxalate solution may be prepared with just that compound (Methodology 1), or with an addition of ammonium nitrate (Methodology 2). [I prefer calling these just Fe Method 1, and Fe Method 2, or even more conveniently, Fe1 and Fe2, respectively.]
The differences between each are:[/floatl]

1. Color: Fe1 generally prints much warmer than Fe2. These differences are most dramatic the the coated paper is hydrated in atmospheres between 30% and 50% RH / 20°C (approximately). The differences narrow with higher hydration levels, but you will find that Fe2 can render very neutral to cool tones around 80% RH, depending somewhat on the Pt and Pd content of the sensitizer.

2. Contrast: Fe1 is slightly more contrast than Fe2, and the same hydration dynamics noted in #1 apply here.

3. Paper: Some papers will render much smoother tones with Fe2. Much of this has to do with the interactions between hydration (ammonium nitrate is a humectant, and increases the sensitizers ability to retain water molecules) and paper content.

The “50-50” part of the question: The sensitizers are actually a combination of:
Fe1 or Fe2 + ammonium tetrachloroplatinate(II) + ammonium tetrachloropalladate(II)
For convenience again, I prefer to use the shorthand, “Pt” and “Pd” for the precious metal solutions above. So, Methodology 1, 50-50 actually means that the sensitizer is mixed with 100 parts of fe plus 50 parts of Pt plus 50 parts of Pd. I feel it is simpler to describe this as a set of ration, where Fe1:Pt:Pd is 2:1:1.

The printing-out M-W process combines the iron and precious metals in equal ratios. In other words, the amount of Fe needs to be equal to the total amount of Pt and/or Pd to make an effective final sensitizer.

2	Malde and Ware only have one formula for producing ammonium iron(III) oxalate (or so I’ve been able to find), so what is the difference (chemically) between the two iron solutions offered by inkjetmall?

Actually, you are right. There is just one formula for preparing ammonium ferric oxalate (AKA ammonium iron(III) oxalate). What we have above is a modified formula, with added ammonium nitrate serving as a humectant. The chemical difference then is that Fe1 is a 60% w/v ammonium ferric oxalate solution while Fe2 is 60% w/v ammonium ferric oxalate + 34% w/v ammonium nitrate. The Pt and Pd content, in the sensitizer, is the same for either preparation.

Here are the two formulae:
Ammonium ferric oxalate: Method 1
To make a final volume of 50 ml, 60% w/v ammonium ferric oxalate
Ammonium ferric oxalate, (NH4)3[Fe(C204)3].3H2O, 30 g
Distilled or purified water at 122°F / 50°C, 50 ml
Instructions

  1. Weigh out 30.0 g of the ammonium ferric oxalate and set it aside.
  2. Measure 30 ml of warm distilled water (104–122°F / 40–50°C) contained in a 100 ml measuring beaker,
  3. Add the ammonium ferric oxalate to this, while stirring with a clean glass rod until all the crystals have dissolved. The result is a clear bright green liquid. This should take no more than about 10 minutes.
  4. Make up to a final volume of 50 ml with distilled water.
  5. Filter the solution into its brown storage bottle.
  6. Label the bottle.
  7. If, after about 24 hours, a few white needle-like crystals (probably of ammonium oxalate) have appeared, re-filter the solution to remove them.
  8. In your notes, also include the source and batch number of the ammonium ferric oxalate.

Ammonium ferric oxalate + ammonium nitrate: Method 2
To make a final volume of 50 ml, 60% w/v ammonium ferric oxalate + 34% w/v ammonium nitrate
Ammonium ferric oxalate, (NH4)3[Fe(C204)3].3H2O, 30 g
Ammonium nitrate, NH4NO3, 17 g
Distilled or purified water at 122°F / 50°C, 50 ml
Instructions

  1. Weigh out 30.0 g of the ammonium ferric oxalate and set it aside.
  2. Weigh out 17.0 g of ammonium nitrate and set it aside.
  3. Measure 30 ml of warm distilled water (104–122°F / 40–50°C) contained in a 100 ml measuring beaker.
  4. Add the ammonium nitrate to the distilled water and stir with a clean glass rod until all the crystals have dissolved.
  5. Add the ammonium ferric oxalate to this. Stir until all the crystals have dissolved. The result is a clear bright green liquid. This should take no more than about 10 minutes.
  6. The presence of a few crystals can be ignored. Make up to a volume of 50 ml with distilled water, stirring well, and set aside in a very dark place, to cool to room temperature, for about 1–2 hours.
  7. Filter the solution into its brown storage bottle.
  8. Label the bottle.
  9. In your notes, also include the source and batch number of the ammonium ferric oxalate and ammonium nitrate.
    These solutions should be made up at least 24 hours before use, and stored in the dark at room temperature. They will keep under these conditions for at least a year.

All of the above is going to be listed, with illustrations, in the forthcoming book, Platinotype: Making Photographs in Platinum and Palladium with the Contemporary Printing-out Process [preorder here :)]

3	Closely related to question 2 is if I have the ammonium salts of Pd. and Pt. (as described by Malde and Ware) then which iron solution from IJM would one use (as opposed to ammonium iron(III) oxalate as described by Malde and Ware)?

So, I hope I have answered this question above. But just to be sure:
You can use either. OR, if you wish, both Fe1 and Fe2 in any ration, so long as the total amount of Fe is equal to the total amount of Pt/Pd. The net effect is an astonishing sliding scale of color options. All of this can become a bit mind-boggling. So, here’s a simpler approach. Prepare one bottle of Fe1:Pt:Pd, and another of Fe2:Pt:Pd, both at 2:1:1 ratios. Then, just before coating a sheet of paper, you can mix these two together in any desired combination to arrive at a print color that meets your vision! I.e. a print coated with:
Just Fe1:Pt:Pd, hydrated at 52% will have a warm red-brown tone
One part Fe1:Pt:Pd plus one part Fe2:Pt:Pd, hydrated at 52% will have a slightly warm
Just Fe2:Pt:Pd, hydrated at 52% will have a neutral tone

I hope all of this helps! Thanks, and happy printing!
Pradip

Thank you Pradip for your thorough answers!

I pre-ordered the book yesterday, :-). Looking forward to it! Now if there were only a way to get it before the December release date, ;-)!

regards.
Michael

I should also add that I am also very interested in using this process for obtaining split tone Pt./Pd. prints. I’ve been experimenting with gum over Pd. process to this end but have been unsatisfied with the results to date.

Thanks, Michael! I wish I could speed the production process up – you are not the only one who is chomping at the bit - chuckle. But just FYI, the book is with the copyeditor, and we should be done with the first proofs around mid-September. If all goes well, it will go into production soon after and hit the shelves in the third week of December. Meanwhile, if there are any questions you have, I will do my best to help out. Just keep in mind that my response times will be slow. Finishing these final stages of the book, plus getting ready for another publishing project, and preparing for an intense semester of en-face with remote teaching is going to make for some heavy jelly, as they say. :slight_smile:

Hi Michael - three things control this:

  1. Palladium - a greater proportion of this in the sensitizer will increase likelihood of split-tone
  2. Paper - different papers render different degrees of split. You’ll have to experiment, but try the current stocks of Fabriano 5, treated in sulfamic to decalcify it. Revere Platinum is a gold standard too. Just let me know which paper you want to work with and I’ll send more instructions.
  3. Hydration - very important. The extremes will work better, but I prefer the 80% area.

Hi Pradip,

Definitely some heavy jelly, :-)!! Good luck with all that!

Revere Platinum is my go to paper. And I was actually thinking about doing the split tone with separate negatives, registration, and two coatings/ exposures (sort of what Irving Penn was achieving with his multi-coating approach). And thinking that with the hue control possibilities I have with the combination of chemistry and humidity I could achieve what I’ve had in my minds eye (or was able to get with a modified version of piezography SPED inks). Obviously this approach presents a unique challenge in testing for max density with min exposure; and subsequent linearization, :-)!

Michael - as you probably know, Revere Platinum is a 100% cotton paper, with an internal sizing agent, a smooth hot-pressed surface, and no buffering agent. It comes in one weight and two sheet sizes. Both sides are very similar, and yield good results. It is best to use a combination of Tween and glycerin when coating this paper. It has good wet strength and dimensional stability too, both of which will help as you consider working with multiple coat-expose-process-dry-coat cycles. I recommend that you always have this paper at a water content/by weight of at least 8-10 % . This can be achieved by giving it a pre-coat hydration (in ambience of at least 55% RH / 20°C or equivalent) for an hour or so. Some people leave their paper out overnight, then coat in the following day. There are many approaches to achieve this.
Then, when coating, add Tween 15% v/v and glycerin 15% v/v to the sensitizer. Use 0.05 ml (one drop) of each per 1.25 ml ± 0.25 ml of sensitizer. Working with these small quantities is hard, so there is some wiggle room here. You should do the pre-coat hydration and add Tween and glycerin for each coat-exposure cycle.