My experience of the oil process

The oil process is no novelty. It was invented by Poitevin at the same period as gum bichromate , in 1855 , and revived by Mr .H.Rawlins, in 1904.A full description of the working of it is to be found in the October number of the working of the ' Amature Photographer ' (London) , of that same year. The rsults were not all that could be desired. Sinse then , Mr .Rawlins has amended and simplified his methods.
A few months ago I took the preocess up a secound time , in order to give a fairly practical account of its working condition in a book that the Paris Photo-Club has just brought out , and 
I have come to the conclusion that oil printing has come to stay , and that it is an extremely valuable addition to the actual process used by pictrial photographers.
In fact , I know of no other method that can allow such freedom of treatment . But the process doesnot seem to have been specially studied from this point of view-the main point , in my opinion-and the experiments I have been making on different papers , with different inks , and varied degrees of exposure , may interest those amongst my readers for whom values and quality of medium have some importance . On the country , from the ' straight-print ' point of view , the process will prove tedious , and quite inferior to platinum . This as a qarning . photographers are supposed to know that a thin layer of bichromated gelatine , when exposed to light , in contact with and under a glass negative , will shortly develop a brown image which , once plentifully washed and then dabbed with blotting-papper , will show a faint relief , and curious difference of surface between the exposed and protection.
These last will be damp and shiny , the others matt and relatively dry . This is the first stage of the Rawlins process . At the next one , photography steps out ; it has nothing whatever to do with the rest of theoperations , which are as follows : If a layer of greasy , coloured is spresd over the moist ones - -a positive image will result .Not a crude black-and-white images , such as one would think probable , but one with the most delicate half-tones and the most perfect modeling . Spread the gelatine over a thick sheet of glass , and you will have a collotype plate ; spread it over a sheet of paper , and you will have a Rawlins print .
It is simplicity it self . Collotype printing is used all the world over , so it is but natural that Mr .Rawlins should have chosen at first the collotype inking method - with the roller . But his thin gelatine film spread over wet and spongy paper was often more or less abraded by the repeated passage of the rubber or leather cylinder .
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