Still Life 1126B
Still Life 1126B
Still Life 1126B

Kenro Izu

Still Life 1126B


Original Platinum-Cyanotype Photograph

Image dimensions: 14" x 20"
Mounted dimensions: 22" x 28"

Pristine condition

certified authentic
Add to Collection — $8,000
Still Life 1126B
Still Life 1126B
Still Life 1126B



14×20 inch Platinum-Cyanotype photograph by Kenro Izu, “Still Life 1126B.” Individually handmade by Kenro Izu from custom 14×20 format Fuji Acros sheet film and signed in pencil along lower edge. Mounted on 22×28 inch cotton rag museum board with artist’s stamp, title, date and edition number on verso.

Published Plate 119 in Kenro Izu’s monograph, Seduction (Damiani, 2017).

The artist paints the surface-emulsion of each photograph by hand and therefore, the brush strokes and tonal range is unique to each work in the edition of 20.


The HD Video of the actual work in question has been provided as a visual condition report. If you would like a written condition report in addition to the HD video, please


When is comes to craft, Kenro Izu is a true master of the Platinum-Palladium and Cyanotype alternative processes. The first photographer to ever tell our gallery director – “8×10 format is too small!” – Izu works with a modified 11×14 Deardorff view camera that has been customized to fit 14×20. Most of his still life images were made using custom 14×20 format Kodak Plus X sheet film; however, when Kodak stopped making film, he began working with Fuji Acros and has been ever since.

kenro izu holding 14x20 inch sheet film



The platinum process is based on the characteristics of light-sensitive iron salts, which react with platinum salts to form platinum metal. Palladium is a very rare metal and is slightly whiter in appearance than platinum and white gold. A sheet of paper is coated with a solution of these salts to make it sensitive to light. Once dry, the sensitized paper is exposed to light through a negative, developed in a chemical solution, cleared, and washed. The final photograph’s hue may range from charcoal gray to sepia depending on the chemical properties of the sensitizer and developer. Various image hues can also be achieved by adjusting the moisture content of the sensitized paper and/or the temperature at which a photograph is developed. Further chemical additions to the sensitizer and/or developer provide seemingly endless options for fine-tuning the appearance of the photograph. After the layer of Platinum-Palladium is processed, the artist then applies a second layer of Cyanotype emulsion, which is created by combining ferric ammonium citrate potassium ferricyanide to make an iron-rich sensitizer solution. The negative is then aligned perfectly to the previous exposure and exposed to UV light again, which creates ferric ferrocyanide, also known as Prussian Blue. The artist will repeat this process up to 4 times to create some of the richest and deepest blues ever created, far surpassing the tonality of cyanotype alone.