If you want to make Rawlins Oil Prints, you’ve got to sort out the equipment and find a strategy that works. Like all historic photographic processes, you need to find your own way of doing things. The cleaner and the more organized you are will give you better results.
Part of the printing process involves preparing the paper. Here, I’m using Arches Oil paper (300 gsm or 140 lbs.). It’s a great paper for oil printing. I also like Hahnemühle Platinum Rag and Revere Platinum. All great papers for this process.
The process of getting gelatin on the paper can be accomplished in a couple of different ways. I prefer this method. You can use a cookie sheet and submerge the paper let it dry and submerge again. I don’t care for that for several reasons, the biggest is getting gelatin on the back of the paper. Also, I like a “thick” concentrated layer to work with.
You also need to figure out how to prevent the paper from curling up into a tube when it’s dried. I made the wooden cut-out frames and clamp the corners. I’ve developed a new way of doing this that I will show in another blog. I’m waiting on some materials to make it happen. This is a big deal. The paper is impossible to sensitize if you can’t lay it flat.
My ultimate goal is to be able to prepare 10 sheets of paper at a time. That would give me enough to work with for about 2 weeks. I’m trying to make 15 - 20 prints per month. I will edit the images at the end of the year. I’m planning two years’ worth of work. Big goals! Let’s see what happens!
These are wonderful magnets. It took me three years to finally find ones that really work well. These do!
Freshly poured gelatin setting up on the pouring table.
You can see how thick the gelatin is - even and clean!
It will take some practice to get this right. A lot of it has to do with your workflow and equipment.
Two sheets of gelatinized paper drying. They will be ready to sensitize tomorrow.