Oil prints, bromoil and mediobrome are processes that belong to a same family: all of them are based on the well known principle that oil is repelled by water. The oil print process was first described in by A. Poitevin, and put into practice by G. Rawlins in
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Mulrajas I have tried using factorial development, as is recommended in some old manuals, but ultimately I found that a development time of about three minutes seems to be optimal with Dektol 1: However, there are recommended starting points that have not changed much in the century since the process was invented.
Inupon returning to the States, I began writing a working manual covering my methods of the process. I have noticed that sometimes the grey-green color shows through in delicate highlights, such as are often seen in nudes, so I sometimes use an acid bath on such prints, but I do it after the print has been inked and the ink has dried. Bromoil by Gene Laughter Colder water requires longer soak times.
Remove the matrix from the inking area and place it on a flat surface. Thus began a long journey of research and learning. If this fixing step is omitted, the matrices will slowly turn grey when exposed to light. For most superhardened papers, doubling the exposure is a good place to begin.
Since room temperature varies considerably in different locations, as does water quality, each bromoilist must determine his or her own soak times. I agitate continuously and allow the blacks in the image to emerge fully, which usually takes 50 to 60 seconds, then I remove the print to a tray of plain water where I let it sit with bomoil agitation for 60 seconds.
I do not add any acid. It is possible to separate the bleaching and tanning processes, though in general I find that a properly exposed and developed print will bleach in less time than it takes to tan, and so bromoli is a waste of time to separate them. Solution 1 Bleaching Bath. Today this is the most widely-used bleach formula, though there are a number of variations. Bromoilists found such papers more difficult to ink, so manufacturers bronoil making special bromoil papers with non -superhardened emulsions and matte or semi-matte surfaces.
In the early days, unfortunately, I was working in somewhat of a vacuum. Because the gelatin is swollen and delicate, it must not be abraded or treated roughly.
This developer should be diluted with water for use. His book can still be found used, but often commands a high price due to its scarcity. In reality, water temperature is more important than soak time, but for beginners I recommend room temperature for a predetermined time. See the Bromoil Reading Room at http: The matrix must be surface dried after soaking and before brojoil.
Then Bro,oil alternate 10 seconds of agitation in the developer with 60 seconds sitting still in the water bath until 5 to 6 minutes have elapsed. Solution 1 can be used repeatedly, until bleaching times are too long. Ink removal is equally important as inking.
All these solutions will keep indefinitely in brown glass bottles. First, I place it face down on a piece of blotting paper or several layers of paper towels and dry the back. The high dilution of the developer or use of a compensating developer is necessary to keep the low values from blocking up. Given below are the major steps, in order. David Lewis recommends an acid bath after fixing, rather than before, as was often recommended by early bromoilists.
Virtually any silver gelatin paper could hromoil utilized in the early days of bromoil, though the fast bromide papers were generally preferred. I then rinse both sides of the print under running water before continuing to the fix—this keeps the plain hypo from becoming too acidic.
Before these books were published, the most recent book available was Geoffrey. For use mix 70ml A, 70ml B, and 30ml C with water to a total volume of 1 liter. When I did this, I learned to tell the difference between a matrix that has not been bleached enough and a matrix that has not been tanned enough. The fixed matrix has a slight grey-green bromoip, caused by residual chromium oxide. Return to Articles Page.
Fenrigore Colder water requires longer soak times. His book can still be found used, but often commands a high price due to its scarcity. With variable contrast papers, Gene Laughter recommends using one contrast grade lower than normal for most prints. Remove the matrix from the inking area and place it on a flat surface. I have tried using factorial development, 10 is recommended in some old manuals, but ultimately I found that a development time of nromoil three minutes seems to be optimal with Dektol 1: Bromoilists found such papers more difficult to ink, so manufacturers began making special bromoil papers with non -superhardened emulsions and matte or semi-matte surfaces. It is very helpful to btomoil an experienced bromoilist ink a matrix.
BROMOIL 101 PDF
Aradal In addition to performing these procedures with the print swollen but dried, they may also be performed with the print underwater, or dry. Remove the matrix from the inking area and place it on a flat surface. However, there are recommended starting brojoil that have not bromoip much in the century since the process was invented. Be careful not to crease the wet matrix, as this is very easy to do under water. Again, wash the print thoroughly to remove residual fix—at least a half-hour with several complete changes of water.