In short

PixDay 2017 will open next Thursday !

The PixDay 2017 show opens next Thursday in Paris. held at the Forum de Grenelle, in the fifteenth P...

Sylvie Meunier & Patrick Tourneboeuf launch American Dream

Sylvie Meunier and Patrick Tourneboeuf will present tomorrow Tuesday 28 March their new book Ameri...

Philip Trager et Ken Schles book signing at Rizzoli

Tomorrow Tuesday, March 28, photographes Philip Trager and Ken Schles will be at the Rizzoli booksto...
Henri Cartier-Bresson, Sur les bords de la Marne, 1938 © Fondation Henri Cartier-Bresson & Phillips
Henri Cartier-Bresson, Sur les bords de la Marne, 1938 © Fondation Henri Cartier-Bresson & Phillips

Because a platinum print is a “contact” print (one places the negative directly on the sensitized paper) and therefore limited in size, it was long confined to photographers’ personal archives for use as a tonal reference. A platinum print posesses a larger gray scale than a classic gelatin silver print. It reproduces more details and brings depth and subtlety to the image. Popular among the artists of the Photo Secession (Haviland, Kühn, Stieglitz, Steichen…), modern masters like Paul Strand or Josef Sudek, and revived in the 1980s by Irving Penn and Robert Mapplethorpe, this technique produces robust prints, the surface of which, in the absence of gelatin, does not break, and the image, fixed in platinum salts embedded in the upper layer of the paper, does not fade, even after decades of exposure to light. Considered the “Rolls Royce” of black and white prints, the platinum print is coveted by museums and collectors who seek to acquire perrenial works. Many contemporary photographers are returning to this technique for its aesthetic and archival qualities. The exhibit offers a large choice of images by confirmed and emmerging artists. Oversize platinum prints are possible through the production of internegatives, enlagements of the original negative. Today, the pioneers in this technique, using two different methods, are editors Salto (Ulbeek, Belgium) and Amanasalto (Tokyo, Japan). Several examples of their handiwork will be on view at A. Galerie.

A group show of platinum prints by :
Nick Brandt, Patrick Demarchelier, Elliott Erwitt, Kenro Izu, Steven Lyon, McDermott & McGough, Irving Penn, jean de Pomereu, Satoshi Saïkuza, Hamid Sardar-Afkhami, Mark Seliger, Takeshi Shikama and Albert Watson

Through June 6th, 2015
A. Galerie
4, rue Léonce Reynaud
75116 Paris

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Opening view at Léonce Reynaud street by Samuel Kirszenbaum

Facing the Fondation Yves Saint-Laurent, Rue Léonce Raynaud in Paris, on April 9th. Two openings, two styles.Linking them, a red line taped on the street. Number 4 in the street, the sublime subtlety of platinum prints emphasizes Takeshi Shikama's visions. Shikama came fro...