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You can use a matte archival spray finish.

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.

Before what?

@@jmmichael188 before starting the process,

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.

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

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

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

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

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!

I had it off to the side.

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

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

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.

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.

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

@@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.

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

@@jmmichael188 thanks once again - your wonderful!

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.

@@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?

@@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.

Gelatin sheet can last indefinitely.

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.

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

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.

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

Many thanks Jeff

Thank you!

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

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

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!

Thank you!

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.

Yep that should be fine.

Thanks

Hello Rafal! I dont know about digitl negatives but looked at 3 carbon transfer printers and found that Sandy King uses the following info to create his negatives, good luck! precisiondigitalnegatives.com

@@jmmichael188 Thank you for your answer. I have one more question. In what proportions you mix the solution of potassium dichromate with acetone? Does acetone accelerate the drying process or does it have a different purpose? I have never tried this technique. I'm just getting knowledge about it. But I must admit that the effect is magical.

Yes acetone is used to speed up drying time, also it allows the dichromate to absorb quickly into the gelatin and keeps the mixture cold as acetone evaporates very fast and causes a cooling down of the gelatin. I mix a 10% stock solution of potassium dichromate and cut it in half with acetone to get a 5% working solution.Here is another video of mine; th-cam.com/video/avx5mIRKvgc/w-d-xo.html And another that I found inspirational as I was learning the process. th-cam.com/video/EmpTgDlsr3o/w-d-xo.html Thanks! Jeff @@MrAlterNus

Thank you, Jeff. Your help is invaluable. Of course, the more I start to understand, the more questions I have. I'm afraid that I fell into a trap and I think I will try this technique :-) I managed to get some information about digital negatives. So, I think it's time to buy chemicals. Best wishes and good luck.

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: th-cam.com/video/EmpTgDlsr3o/w-d-xo.html Thanks! Jeff

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