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Sequence viewing > Index - Alternative Photo Emulsions - Resource - ©
Lloyd Godman
Alternative
Photographic Processes - (Hand
made photographic -emulsions and processes)
Processes
- Bromoil
from c.1910
Discovery
The bromoil process
is a modification of the oil process. It uses bromoil paper. The process
was discovered and made practical by C Welborne Piper. The process has
been used since around 1910, and is still practiced by a few dedicated
workers. Other processes related to Bromoil are: 1. Bromoil Transfer
Process - a means of producing multiple images from a bromoil original
2. Oleobrom Process - a process invented in the 1930s, designed to produce
results similar to bromoil, but involving fewer steps. A roller is used
instead of a brush to apply the ink to an Oleobrom image. Recent Work
A few workers are still working with the Bromoil process today. They
have formed at least on "Bromoil Circle" to discuss and show their work.
One of the prominent workers is Kirk Toft. I attended one of his Bromoil
workshops in Shipley, Yorkshire, England a few yeara ago. Process Create
the Matrix The Matrix is the name given to the print that is to be inked
in the bromoil process 1. Take a negative, preferably one that will
give a contrasty bromide print. 2. Expose onto a sheet of bromide paper.
Some brands work better than others. A tough smooth paper with thick
coating is best. Kentmere Document Art double-weight is recommended,
if available. 3. Develop slightly darker than normal, wash then transfer
to a plain hypo-fixing bath. Hardener in the fix causes problems. 4.
Wash thoroughly then dry without handling its surface. 5. Place in a
bleaching bath. Early bromoil workers recommended many different formulae
for the bleach. 6. Wash the print 7. Place in a weak sulphuric bath,
then wash again. At this stage the print should have smooth swollen
areas for the highlights and sunken matt shadow areas that will be able
take up the printing ink. This print is known as the 'matrix'. Ink the
Matrix 8. To prepare the print for inking, place it on a wet sheet of
blotter in a tray, and remove excess water from the surface with a dry
blotter. 9. If the print has been dried after fixing, soak it again
for an hour or two before inking. 10. Take and 'thin' a high quality
printing ink to soften it. The ink need not necessarily be black. 11.
Apply ink to the surface with a brush designed for the purpose, using
gentle dabbing and hopping techniques. Initially the print will be a
mass of daubs and smudges, but continued application of the brush should
reposition the ink to produce the desired result It is recommended to
use hard ink first, hardening if necessary with Arrowroot, then softer
ink later, for the highlights. 12. Hang in a dust-free atmosphere to
dry. 13. When dry, remove all fluff, dust and hairs with a soft rag
or brush. 14. Use a rubber and sharp knife to touch up. 15. Varnish
(optional) and frame (optional). The bromoil description above is based
on an abridged report in BJP of a Paper in the then current edition
of Journal of the Photographic Society of Philadelphia. [BJP: 17+ 24
Mar 1911] Result Bromoil prints capture the atmosphere of a scene in
a way that is not possible with conventional printing. They featured
widely in photographic exhibitions and journals in the 1920s and 1930s.
The process requires patience. Success is not guaranteed, but the chance
of producing a successful print should improve with practice. JM Whitehead
produced many atmospheric bromoil prints. Well over 60 of his original
works were donated to the RPS soon after his death, and are now housed
at the National Museum of Photography, Film and Television, in Bradford.
http://www.edinphoto.org.uk/1/1_early_photography_-_processes.htm
Want to learn more? - do a workshop or one on one with Lloyd Godman
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