Bromoil A Plain English Working Manual and User’s Guide for Beginners in the Bromoil Process. Front Cover. Gene Laughter. G. Laughter, -. I just double checked my copy, it is a signed copy, but it has been signed using my name. It is also in mint condition. I also have a dvd from. OIL PRINTS AND BROMOIL. Oil prints, bromoil and mediobrome are processes that belong to a same family: all of them . Bromoil , Gene Laughter,

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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. Whalley’s Bromoil and Transferpublished in Be careful not to crease the wet matrix, as this is very easy to do under water.

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. Development should take place with continuous agitation in a very dilute paper developer such as Dektol 1: Mix the used tanning solution with used fix or used hypo clearing agent and a little sodium sulfite or sodium bisulfite before pouring down the drain–this helps brojoil the dichromate to a less dangerous form.

Virtually any silver gelatin paper could be utilized in the bfomoil days of bromoil, though the fast bromide papers were generally preferred. Preliminary Notes on Bromoil by Ed Buffaloe. As a test, I developed one print in Dektol 1: I have noticed that sometimes the grey-green color shows through in delicate highlights, such as are often seen in nudes, so Bronoil sometimes use an acid bath on such prints, but I do it after the print has been inked and the ink has dried.


Traditional workers use a chamois for drying the print. Solution 2 should be mixed fresh for each use. 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 use of distilled water obviates the need for an acid to clear precipitate, vromoil David Lewis indicates that a drop or two of strong sulphuric acid will speed the bleaching process.

brmoil Most modern workers omit this step. The swollen gelatin feels slippery, bromoll the hardened gelatin feels rough. Today this is the most widely-used bleach formula, though there are a number of variations.

If this fixing step is omitted, the matrices will slowly turn grey when exposed to light. After retiring I turned to photography as a serious hobby around If you wish to use an amidol formula, I can recommend the one given by David Lewis, which is simple and quite old.

Lewis recommends lesser dilutions with or ml.

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I became interested in the Bromoil Process after seeing Bromoil reproductions in books and magazines. An alternative bleach is the Venn two solution bleach.

It usually takes less than a minute to remove the chrome oxide color. When the print is dry, it can also be etched carefully with a razor blade or with fine steel wool. This developer should be diluted with water for use.

Gene Laughter

Then I alternate 10 seconds of agitation in the developer with 60 seconds sitting still in the water bath until 5 to 6 minutes have elapsed. There must not be any surface moisture on the back of the print, or it will cause uneven inking as the matrix dries. 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 it is a waste of time to separate them.


With experience, you will be able to tell when a print is not dark enough–or too dark. But separating the solutions can be educational and is probably worth doing at least brpmoil.

For use mix 70ml A, 70ml B, and 30ml C with water to a total volume of 1 liter. Venn Two Solution Bleach. Return to Articles Page. At this point, the print can be resoaked and the highlights inked appropriately.


Again, wash the print rbomoil to remove residual fix–at least a half-hour with several complete changes of water.

One liter of working 1011 will bleach ten 8×10 prints or five 11×14 prints. In addition, almost any silver-gelatin paper with a semi-matte or matte surface can be utilized, following the procedure outlined below. For most superhardened papers, doubling the exposure is a good place to begin. The matrix must be surface dried after soaking and before inking.

Solution 1 Bleaching Bath. The optimum time with this bleach is 8 minutes, but don’t be afraid to continue to 10 or even 15 minutes if necessary. All these solutions will keep indefinitely in brown glass bottles. More than one writer on bromoil has stated that the acid bath allows the matrix to accept ink more easily–however, my own experience is exactly the opposite– the acid bath softens the gelatin so much that I bromojl the matrix very difficult to ink.

Solution 2 Tanning Bath.

Dilution may be adjusted as necessary, from 1: In I established contact with the B.