A good question, you sure can, adding a few drops of an essential oil will also prevent mold. My favorite way is to mix the gelatin (500ml of distilled water and 30 to 40 gr of gelatin and around 6 drops of lavender oil ). The gelatin can sit in room temperature for many months, keeping it in a fridge is even better. When I need to coat paper, I thaw a small amount of gelatin in a microwave, add the ferric ammonium citrate (powder or already mixed), lower the PH between 3 and 4, and add the color. Sensitized paper kept in the dark will also last especially if it's sealed.

In my case it's 2 minutes, the sun is much powerful. For testing use test strips or small pieces of paper to determine the right exposure.

Correct, Ferric Ammonium Citrate. Ferric ammonium oxalate can also be used.

@@saidanehabib mahalo/ thank you for your quick reply! I am very new to think process so apologies for all the questions. Are you simply rinsing the final image in regular water?

@@avalonparadea9820 You are very welcome, ask as many question as you want. It's a safe process. Correct, use regular water for rinsing. To develop use 0.3% (point three percent) hydrogen peroxide.

Thank you, I use mostly Canson XL watercolor paper 9"x12". This process works also on fabric, glass etc...

@@reusedisland1904 thank you

@@itspeache thank you

@@lisabakke9280 thank you, yes digital, regular overhead transparency printed on a Canon imageclass laser printer.

I am not sure how sensitive to UV light it is, it's worth giving a try.

You're welcome, I use Oxalic acid most of the time, Citric acid works also. The most important thing is before mixing the color is to check that the PH is between 3 and 4. Good luck and let me know if you have any questions about the process.

@@RCHRD444that's plenty, I use a canon imageClass laser printer on regular transparency. Make sure to add oxalic acid or other acid to the solution to lower the PH to around 3 to get good results.

@@saidanehabib thank you

The PH is crucial, a value between 3 and 4 would also work great. You have to the choice to use pre-mixed hide glue, as you can mix it yourself the way carpenters or piano makers do. Simple unflavored gelatin works well too. I published videos how to do it. Good luck and let me know if you have questions.

@@mohsenshayan9798 thank you, I haven't and it should work. However the exposure time might take a very long time.

Thank you so much.

Thank you so much, I develop at temperatures between 25 and 30. I believe you can develop at 34 degrees, the developing is going to be much faster and you have to inspect the exposed glass more often when it's developing in the hydrogen peroxide and in the water, when you see nice image remove de glass from the water before it melts away. Gelatin takes at least a couple of days or more to dry, use a fan to help it dry faster. You can add Potassium Alum to the gelatin mix, it helps it harden, 15 grams per liter. Let me know if you have other questions and good luck.

My goal was to try photogravure with CHIBA one day and any other process that is done with dichromates, just to show that it can work. I did an oil transfer print last week and the result was amazing. I never tried the Collotype process before, but I believe if we can harden the gelatin a bit more we'll be able to safely make successful Collotype prints.

By the way it is a great question, and lets make it the topic of the next CHIBA Oil video.

@@saidanehabib I would certainly love to see that!!!

@@saidanehabib I like very much the aesthetics of photogravures. I have seen people using dry film instead of dichromate. Collotype process on the other hand looks more doable since a printing press is not necessary.

@@nikosmamalos Hopefully this week we'll have some results. The UV enlarger helps a lot.

Salam, I got a $10 100W UV LED from ebay, they didn't mention the diffusion angle on their listing. I put a 77mm lens in front of it. You can contact me at this page and I'll give you the links of what I bought: facebook.com/groups/alternative2

Hi, You can get away without sizing, but it depends on the paper you are using, This paper is Canson XL watercolor paper and in minute 4:06 of the video I mentioned "Sized Paper". When I size I use Gamblin PVA mixed with water half and half. When you experiment use small pieces of paper first to see what is better with size or without. Let me know if you have other questions.

@@saidanehabib I understand. I've been doing some salted paper prints with excellent results on Canson also. I size my papers with thick gelatine (slight higher concentration than the usual 3%, or PVA a little over 50% of water) I like gelatin better. Since I learnt about Chiba and especially, your version, I started to rethink bromoil and gumoil. I hate to use dichromates. Tomorrow will be my debut with your version of Chiba. So witch me luck😁

@@1025cgarcia Great and good luck, the CHIBA oil is much easier you'll see, use just regular paper without sizing.

An excellent question that made me look closer to the process. In the carbon transfer we need to melt the unexposed gelatin to get rid of the unwanted pigments. In this process we want to only a good polymerization. Melting here can cause problems, having it helps the ink absorption. The exposed gelatin in the presence of the peroxide polymerizes, becomes smooth and indented, resists the inking and created the 3D look. I inverted the negative and exposed on the emulsion side. Looking at the print through the glass is amazing. Let me know if you have questions when you try it.

@@saidanehabib Thanks for answering my question. Much appreciated.

@@RaghavendraUdupa Anytime, thanks.

Merci Alain c'est gentil de votre part. Je suis juste un bricoleur qui espere devenir un artiste un jour. Je suis a la requete de faire un systeme pour mieux presenter nos traveaux photographiques par apres.Cet agrandisseur de $50 me permettra de laisser les negatifs numeriques de cote' et me donnera la possibilitee d'agrandir l'image tant que je veux avec des meilleurs resultats. Reagrdez ma derniere video avec de la peinture a l'huile sur verre en utilisant cet agrandisseur. Mon plan et d'ameliorer une technique ou deux et puis allez photographier le desert du Sahara et puis faire des tableaux. Laissez moi savoir si vous avez des questions. Bon weekend.

@@saidanehabib merci pour votre réponse, en France il y a un proverbe qui dit que l'on "préfère les ingénieux aux ingénieurs" en tout cas bravo! Pour l'agrandisseur je ne suis pas très fort en électronique et un de mes amis va commencer à s'inspirer de vos recommandations pour en fabriquer un. Continuez votre précieux travail et Peace ! By the Way you are an artist!

@@AlainDakar De rien mon ami et mille merci de nouveau. En Tunisie on dit: demande l'avis de quelqun avec experience et ne demande pas celui du docteur. Je ne suis pas un electricien non plus, il faut un peu de courage et il faut foncer. Vous pouvez me contancter directement sur facebook, je vous passerais d'ou commender le materiel et je vous aiderez pour mettre tout ensemble. Si vous avez deja un vieux agrandisseur le materiel est vers les 50 euros. Un jour on fera un agrandisseur numerique. Bonne journee et bonne chance.

@@saidanehabib merci Habib pour votre soutien ! J'ai un Krokus dans un coin et je vais le transformer

@@AlainDakar Bon courage, c'est un bon petit project qui vaut le coup.

@@utekopka7920 it's a great pleasure, thank you.

@@Andre-j3m you're very welcome

It's even more impressive when you look at it in person.

Thank you so much.

Thank you so much.

You're very welcome. The results are amazing, somehow the phone camera couldn't focus while filming. The print looks better and better as it dries.

@@piet-wj9pd you're very welcome

Thank you so much, I totally agree, gloves are a must and it was a mistake. This is just a proof of concept to show that a UV enlarger can be used in alternative photography. Unlike European countries, there less restrictions in the US. I seldomly use dichromates and I don't encourage people to use them, the reason why I did lots of research and experiments used Ferric Ammonium Citrate instead like in the CHIBA process videos.

@@saidanehabib Thanks for your reply, I'm looking for a safe alternative to Dichromate, so I'll run to check out your experiences! :) Have a nice day!

It did surprise me at first. It's like taking a photograph on film. if we can focus properly, use an uncoated lens and a smooth sensitized paper like an inkjet photo paper in this case Epson, we can create amazing sharp and very high resolution photos. Since UV light back focuses, to get a good focus, a fluorescent coated paper can help prefocusing correctly before exposure.

Thank you, that is a good idea, I'll make another video with more details.

Merci beaucoup, this thickness of the magnetic tape is 1.4 mm. Use around 50 ml of the glop mix for an 8x10'' sheet. Best wishes and good luck from Texas.

I believe this method is cleaner and faster. I couldn't get clean in camera cyanotypes with Mike Ware's formula, if left for a while, the emulsion darkens even in the presence of air alone. Good luck and let us know if it does work for you.

You're very welcome. With the Canson paper I'm using the peroxide didn't make a difference. Increasing the blue can be achieved by exposing a few minutes longer. UV enlarging safely is impressing. Let me know if you have any questions.

Thank you, enlargers can be found for cheap, get one that utilizes a condenser, I haven't tried the ones with translucent screens yet. Hopefully we'll build an enlarger from scratch in the future.

@@aomanchutube thank you, paper works especially if you make it expandable as bellows so it wouldn't rip easily. I started working on a DLP projector, I removed the UV filter but wasn't careful removing the color wheel which made the projector stop working. I believe you wouldn't need a fresnel lens, my thoughts were to use just the LED. I'll do a digital build from scratch in the future. Good luck and let us know how it goes.

@@piet-wj9pd you're very welcome.

@@piet-wj9pd you're very welcome

Thank you so much, the results are amazing especially when you see them in person.

Merci beaucoup.

I'm using a 3000lm DLP digital projector. It can easily do a 12x14 in less than 10 minutes. But you gotta use the "New Cyanotype" formula which is pretty simple to make actually if you look at Mike Ware's site. But anyway, I am using the projector as is with no modifications. In parallel I'm trying to convert it to UV just so I can maybe make it easier to focus on the correct wavelength? So I basically have the same set of items he has on this video. I'll remove everything from the projectors's optical path from the lamp and replace it with just the LED. That big LED lens is very thick I think it's not actually necessary if you make a light tube. I'm making mine from aluminum. I bought some mother's polishing compound and you can make aluminum mirrors with it. So just make a little rectangular tube with inner mirror surface. That should reflect 90% of UV light. It will form a homogeneous but expanding beam that you can then point at the DLP dmd chip. The chip acts like a mirror, but probably a little more lossy. But I figure this, a DLP projector is not supposed to blind people with UV light. So an actual UV light LED probably emits much more UV light? In fact I did a test of this. I turned on my 380nm LED and placed a cyanotype sensitized paper on it. Within 2 seconds the spot immediately close to the LED turned Prussian white. Not sort of light blue. I mean white. I thought maybe the chemistry has burnt off because I saw some vapour coming off of it (using welding helmet as PPE). But no, after about a week of keeping the paper face down on my desk it turned blue again, deep blue. It has some slightly different color because I think the rest of the paper is still not exposed. I was experimenting and it turned blue, but probably still sensitive to UV is what I mean. Ultimate goal is to do Carbon transfer with it. I also tried a 1000 lumens LED projector and it worked too. I made my first image from it actually. It was a 3x4 image. So yeah those things are actually usable for exposing prints.

Thank you so much, no need to wait you can go ahead and try your projector by using the fast cyanotype formula. Raise the PH of the citrate to a value of 2 to 3, coat your paper, and expose for around that range of time. You should be able to produce a 4x5 inch image in 5 minutes. After the exposure spray the ferrycyanide, the results are amazing. I believe there is enough UV light that passes through the glass to produce beautiful photos in a very acceptable time. Greetings from a Tunisian in Texas, Habib.

@@aomanchutube The DLP projector are powerful especially when you remove the UV filter and the color wheel. I have a few laying around to play with but never found the time. The 100W UV chip LED can be used for both analog and digital, the new formula is nice and works, but I find it messy, sensitized paper turns blue fast in contact of just the air. Sensitizing paper with just the citrate, exposing and then developing with the ferrycyanide give beautiful clean photos in an analog enlarger.

@@saidanehabib Thanks. I will try it! What size of negative did you use?

@@christophguettel1486 This sample is from a 6x4.5 cm, the one will build later on will take large format if we need to.

India ink works well with chiba carbon transfer but not with regular chiba, it doesn't like an acidic environment I guess. Pigments, charcoal, and watercolor tubes not to include acrylic work well in the chiba system.

@@saidanehabib Thanks for your reply. I will try your formula with watercolor pigments or carbon.

@@johnjpenner8527 You're welcome, I usually mix my pigments like lamp black (I ordered some from the UK through ebay), or homemade charcoal and others with some isopropyl alcohol, gum Arabic and a bit of of honey using a mortal and pestle till I get a nice consistent thick paste. Watercolors straight from tubes work well. Good luck and let me know if you have any questions.

@@saidanehabib Thanks again for your suggestions regarding making my own pigment. I happen to have all those ingredients on hand so will give it a try.

@@johnjpenner8527 you're very welcome, I forgot to mention the use of distilled water with the mix to make the grinding easier. Once done and satisfied I usually store the paste into 35 mm film canisters and place some in the fridge for a very long time storage. Good luck.

Thank you, a very good question. The only thing I can think of is that the presence of potassium ferricyanide acts as a filter and delays the speed of the absorption of the UV light to transform the ferric ammonium citrate. But I could be wrong.

Hi, a great question. Those transparencies are from a $79 Canon imageCLASS MF3240 Monochrome Laser printer that I got from Fry's over a decade ago. I replaced it with another imageCLASS model MF262DW II from Amazon, unfortunately the LCD screen went dead after the warranty expired. Other monochrome laser printer like Brother didn't work well with transparencies, they tend to leave visible lines under the effect of the rollers when printing. I suggest you try to find an older model of the canon ImageClass series since they already have the option to print on regular transparencies or a newer ImageClass model that you can afford and select the image quality for both when printing. The transparencies I am using are the cheapest overhead transparencies I could find, they are like $5 a box of 100. Good luck and let me know if have other questions.

Thank you, the process is similar to the gum dichromate/bichromate but safer.