Joan Myers began experimenting with hand-coated processes in the 1970's, playing with gum bichromate and carbon printing, before settling on the platinum-palladium process.
Myers shoots in 4 x 5 or medium format and then enlarges the negative. Next, she mixes up her platinum-palladium emulsion, brushes it on all-rag drawing paper, dries it, exposes, and then develops. When the print is dry she often adds pastel or a watercolor wash.
Platinum-palladium printing has a tactile feel similar to the landscape. Unlike conventional silver prints, the image is not floating in a gelatin layer on top of the paper. With platinum, the image becomes part of the fine drawing paper on which it is printed.

These images are now available as ink on archival papers and no longer as platinum-palladium.