Rawlins Oil Printing

Here's a basic overview of my process for Oil printing. The Oil process had mild success with pictoralists in the early 1900's. However, it quickly faded with the invention of the Bromoil process which was more convenient because a large negative was not needed.
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[@jaadt]

Thank you so much for sharing and inspiring. Beautiful process ☀️

[@spanishcooking9493]

Excellent video! Thanks for sharing this lovely technique. It is not very easy to find quality information about this out there. And great pictures! Loved the last one!

[@jmmichael188]

Thank you!

[@johnfurr8779]

Thanks for the video... I did some bromoil printing decades ago when I got photography degree from college. I stopped when I couldn't get the paper any longer and always meant to try to make my own paper. You've inspired me to get off my butt and try this method.

[@jmmichael188]

Hey John, you'll find that oil printing is pretty easy but does require space and patience. Check out Quinn Jacobson-The studio Q show and Borut Peterlin. They put out a lot of oil print videos. I'm not shooting anymore unfortunately, I had too many projects going and gave up my studio. Good luck with your photography. Jeff

[@johnfurr8779]

@@jmmichael188 Thanks, I'll check them both out.

[@TheCinefotografiando]

Beautiful work of yours

[@Paul1287]

Thank you for the informative and interesting video! I’m now trying my hand at Resinotypes, which have a similar gelatin matrix to the Rawlins process. Had a terrible time with paper buckling and now I see how you are pre-wetting and squeegeeing before coating: is that to avoid buckling? Also, how long before printing can one sentsitize? Does it take long for the gelatin to dry afterwards? Thank you!

[@jmmichael188]

Hello Paul! Yes pre-wet the paper for 5 minutes in cool water and squeegee it down before coating. It is to avoid buckling. Printing after sensitizing depends on a few things, humidity and temperature are the most important. BIG TIP!!! I use to have a bad streaking issue in my prints and finally found the problem. The sensitized print was not fully dry before I put it under the lights. The paper may feel dry but might not be. The best tool to use is a infrared thermometer gun, the temperature of the sensitized paper must be the same temperature as other surfaces in the room, the table it's taped down to for example. The paper will be colder from the acetone evaporating if it's not dry completely. I live in a town with 10% humidity so I can print about 20 minutes after sensitizing. The gelatin and paper dry within a day or two after inking but the ink may take weeks to dry, this depends on how thick you apply the ink. Enjoy the process!

[@momentarycyclops]

Hello, the video and your comments are a great wealth of information. Very basic question: what size negatives are typically used in this process? Based on the video I imagine using 8x10 film (at least) to be the most ideal?

[@ІгорПоляков-ф2й]

Its so sharm! thanks for it art!

[@julietaschab9296]

Hello, thank you for your video. I don't understand something about this process: how come you use a negative? that is, how come the areas where the gelatine got hardened by the dichromate are the areas absorbing pigment? And paper white areas where no gelatin got hardened are repelling ink. I always thought it was the other way around. Thank you!!

[@jmmichael188]

Gelatin paper acts the same as regular darkroom paper. The dark part on a negative produces a white part on a print. In this process the clear areas of the negative allow the light to pass through and harden the gelatin. After the exposure, when the paper is washed/soaked the highlights will swell with water based on how much light the area recieved. The paper is dried off and when oily ink is applied the swollen areas repell the ink while the hardened areas absorb ink.

[@MrAlterNus]

Hello. Sorry for my a next question. But I can't find any informations about my problem. Does the UV exposure really must last for 50 minutes? I bought a small home tanning salon. There are 10 UV lamps with a total power of 400 watts. I wonder how to adopt the approximate time of exposure.

[@jmmichael188]

You'll have to test the lights and exposure to get the correct time. But I will tell you that the faster/brighter your lights are the more flat your images will look. Just like in salt or albumen printing, stronger/contrastier images are made by placing the prints in the shade and not in direct sunlight. My light box had 12, 100 watt UV bulbs and could expose a 2.0 density wet plate negative in 4 minutes. But, the prints were flat and bland so now i have 4 bulbs (400 watt) that give me a contrasty image but much longer exposure.

[@mollypix]

Do you pre-soak (stretch) the paper before? Thanks!

[@jmmichael188]

Before what?

[@mollypix]

@@jmmichael188 before starting the process,

[@eljota66]

Hi Jeff, excellent video, thanks! My question is what would be the role of sodium sulfite in washing?

[@jmmichael188]

Sodium sulfite expedites the clearing of the dichromate stain. You don't have to use it, water only can be used. The problem with not using sodium sulfite is the print will soak for way to long and your gelatin will absorb A LOT of water. This will make inking difficult. I soak for one hour with 1% sodium sulfite and probably 4 hours without it.

[@eljota66]

@@jmmichael188 Ahh okok, thank you very much Jeff !!

[@grainphotofest72]

how much acetone did you put? or even better, what is the radio - dichromate : acetone? tnx for the great video!

[@jmmichael188]

That all depends on how you want the image to look. I like to do a 50:50 ratio but you can also do 60:40, 70:30, etc. I believe the less dichromate you use (for example 70% acetone 30% dichromate 70:30) you get a contrastier image. More dichromate less contrast.

[@grainphotofest72]

@@jmmichael188 Thank you, that is the part I missed. Regards

[@chiprenner]

great work.I think you talking during the process would be more helpful.You have got me started.

[@MsMarcow]

Thank you, but where the negative come from???

[@jmmichael188]

I had it off to the side.

[@184186]

Hi JJM... at about 7.10 in the video the prepared paper now has an image on it. Where did the image come from? Was it already in the paper prior to the preparation and laying down the gelatin over the paper? Thanks!

[@jmmichael188]

That is the negative sandwiched against the dry sensitized paper ready for exposure.

[@enkin1975]

Hi Jeff. How long can the gelatin sheets last (without being sensitized)?

[@jmmichael188]

Gelatin sheet can last indefinitely.

[@Binathanael]

Amazing video, thank you for sharing ! I had a question, what is the composition of your gelatine mix you apply in the beginning ?

[@jmmichael188]

Hello Gilles. The gelatin is; 250 bloom gelatin at 8%. So 80ml dry gelatin mixed into 1000ml cool distilled water. Allow gelatin to swell for 1/2 hour than melt in hot water. Do not allow gelatin to exceed 120 degrees fahrenheit. After gelatin has melted add 40ml isopropyl alcohol to remove micro bubbles and leave the gelatin alone for 24 hours. Filter the gelatin before use. Check out for gelatin info: kzbin.info/www/bejne/e57ThZp6odiladE Thanks! Jeff

[@Binathanael]

@@jmmichael188 Thank you very much for your answer ! Amazing, can't wait to experiment with this !

[@jo-annecripps5278]

Hi Jeff, this is a wonderful video and I have a question. Do you let the matrix completely dry overnight and then resoak the next day prior to inking ? Or do you ink straight away?

[@jmmichael188]

I ink the prints right away. Some say the ink dries quicker when you allow the matrix to dry for a night but I haven't noticed much of a difference.

[@jo-annecripps5278]

@@jmmichael188 thanks Jeff. I have learnt so much from your videos. Had a success yesterday which is exciting.

[@jmmichael188]

@@jo-annecripps5278 That's awesome!! Keep it up. Also, check out Quinn Jacobson (studioQ) he's a buddy of mine that teaches oil printing and has youtube videos.

[@jmmichael188]

quinnjacobsonphoto.squarespace.com/blog/2020/4/8/rawlins-oil-printing-part-1.html

[@jo-annecripps5278]

@@jmmichael188 thanks once again - your wonderful!

[@AxisFilmsProductions]

Thanks for sharing! Do you have a website or Instagram where I can see more of your work?

[@jmmichael188]

instagram.com/blackarcherphoto/ A few more pics but all old. Unfortunately I got out of photography a few years ago.

[@lauramiller6609]

Lovely video can you tell me how much Acetone you used please?

[@jmmichael188]

My stock solution of potassium dichromate is 10%. I sensitize the paper at a 5% solution of dichromate so I cut the stock solution in half with acetone. With this image I used 8ml of 10% dichromate and 8ml acetone to get 16ml working solution at 5%. I hope this helps!

[@analogueandy8x10]

Use gloves when handling dichromates. Excellent video. Thank you.

[@jmmichael188]

Thank you Andy! Yes, I always wear gloves but a pain when also trying to shoot video.

[@ryangillespie3849]

Beautiful prints! What kind of brush are you using there towards the end? Long wood handle?

[@jmmichael188]

Thank you Ryan! Here is the brush I use; www.bostick-sullivan.com/cart/67.html?category_id=40

[@fredlada1634]

All this pain for crap images… Needless to say someone playing with potassium dichromate without gloves is simply out of his mind, this thing is well known to be carcinogenic and extremely toxic. Don’t harm yourself over the making of vain idols…. I’m honest in everything I do and say, and these images are not worth the time of that process.

[@luigiulisseiovane]

Hi Jeff, what do you think about diazidostilbene "DAS" instead of dichromate?

[@jmmichael188]

I've never heard of diazidostilbene. Give it a shot and see what happens.

[@eightyeightdays]

DAS works as an alternative sensitiser for gelatine based processes like carbon printing, so it definitely works for oil printing. I'm actually using DAS for collotype, which is basically just a rawlins oil print transferred to fresh paper.

[@TERRYBIGGENDEN]

Dedicated and painstaking work. beautiful results. This is a beautifully made clip and very inspiring. Thanks. :-)

[@jmmichael188]

Thank you!

[@mollypix]

do you know if LED UV bulbs will work? or can you post a link to bulbs you know will work, Many thanks

[@jmmichael188]

www.1000bulbs.com/product/62709/FC42-MS65.html Bulbs that are 6500k work fine, no need for UV bulbs. I'd use 4-6 of these bulbs to print with. Don't use too many lights or the print will get tonally flat. Less is more.

[@argentum_on_glass]

May i ask what you use in this Tin... the black... i guess this is is oil color? where to get it ...? I'm all new to this . thanks

[@jmmichael188]

I use lithographic ink from the Graphic Chemical Company but almost any lithographic ink will work.

[@argentum_on_glass]

Many thanks Jeff

[@spencerelias9946]

Awesome work! Is it possible to use mineral spirits with the dichromate instead of acetone?

[@jmmichael188]

I wouldn't recommend it but you can test it and let me know. Acetone is used because it evaporates very quickly and cools down the gelatin.

[@spencerelias9946]

@@jmmichael188 mineral spirits don't mix with the dichromate solution at all! it was like oil and water. I used acetone, but the dry time after that is still 3 hours more or less. I put it back in the clamps so it dries flat. also, when applying the dichromate/acetone solution, I need to work it around a bit to get it even over the gelatin. the solution will separate over the paper, making little circles of uncovered gelatin paper that I need to keep on going over with the sponge brush. could it be the gelatin I'm using?

[@jmmichael188]

@@spencerelias9946 3 hours dry time! What is the humidity of your darkroom? You may need a dehumidifier to bring that time down. Keep brushing in the dichromate if you see circles in the gelatin, it happens all the time. Brush gently though.