Re: Paper for Oil Printing

[Richard Sullivan <richsul@earthlink.net>]

A month or two ago I had coated some gelatin 290 Bloom on Stonehenge 240 gm 
paper on my coating machine.

On a lark I decided to sensitize it in 5% ammonium dichromate this was just 
a best guess idea as I was going on memory. I exposed the neg and washed 
the paper for about 5 minutes. I then found an old bromoil brush and some 
Senfelders black litho ink and started pounding away.

That produced the first print of the trees in the snow. Note that these 
were test negs and not anything exceptional as I was experimenting with 
carbon tissue.

This took about an hour of pounding to produce.

The second one was overexposed and it took another hour to ink up. This was 
my first attempt at either an oil or bromoil but I've watched Gene Laughter 
ink prints at APIS.

Both prints are on a page at:

http://www.bostick-sullivan.com/carbon/OildPrints/oil_print.htm


No glycerine no fancy schmancy stuff, just gelled paper,  dichromated, 
exposed, washed and inked.

The Stoenhenge comes in 50 inch rolls so I cut it down to a 25 inch and can 
run 15 feet lengths now. I've considered making an oil paper for the market 
but thought there might not be much of a market for it. I have the two 
prints in our reception room and people are quite taken by them.

 From observation oil prints are more vibrant than bromoil. Gosh they ink 
up nice compared to what I've seen with bromoil.

Bromoil does have the advantage of not needing an enlarged negative but 
from the little experience I've had my recommendation is if you have a 
large neg go with the oil print.

--Dick Sullivan