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BROMOIL 101 PDF

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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For bromoils I use 1: Inupon returning to the States, I began writing a working manual covering my methods of the process.

The use of distilled water obviates the need for an acid to clear precipitate, though David Lewis indicates that a drop or two of strong sulphuric acid will speed the bleaching process.

David Lewis recommends an acid bath after fixing, rather than before, as was often recommended by early bromoilists. The fixed matrix has a slight grey-green color, caused by residual chromium oxide. I do not add any acid. A very quick method for getting started with inking is to use a large boar bristle brush and ink the entire matrix until it is completely covered, with no regard for high or low values.

As a test, I developed one print in Dektol 1: Over the years I have conducted numerous workshops, demos, organised meetings, “Hopperfests” and participated in exhibitions throughout the U. Ink removal is gromoil important as inking.

Bromoil by Gene Laughter

The bleached matrix must be refixed at this point. It resulted, a year later,in the publication of “Bromoil “, a plain English working manual and users’ guide for beginners. If you wish to use an amidol formula, I can recommend the one given by David Lewis, which is simple and quite old. For most superhardened papers, doubling the exposure is a good place to begin. 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.

Be careful not to crease the wet matrix, as this is very easy to do under water. The optimal bleach time seems to be about 4 to 7 minutes, but some prints require 10 minutes or more to tan fully. With variable contrast papers, Gene Vromoil recommends using one contrast grade lower than normal for most prints. I have tried using factorial bromkil, 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: The high dilution of the developer or use of a compensating developer is necessary to keep the low values from blocking up.

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One liter of working solution will bleach ten 8×10 prints or five 11×14 prints. Venn Two Solution Bleach.

Bromoil 101 by Gene Laughter

The time in the stop bath is 30 seconds, with continuous agitation. More than one writer on bromoil gromoil 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 find the matrix very difficult to ink.

Preliminary Notes on Bromoil by Ed Buffaloe. The optimum time with this bleach is 8 minutes, but don’t be afraid to continue to 10 or even 15 minutes if necessary. The wet roller redistributes the ink very quickly–it increases contrast considerably and removes almost all ink from the high values.

In the early days, unfortunately, I was working in somewhat of a vacuum.

Gene Laughter: THE BROMOIL CIRCLE OF GREAT BRITAIN

In addition to performing these procedures with the print swollen but surface dried, they may also be performed with the print underwater, or dry. Before these books were published, the most recent book available was Geoffrey. But separating the solutions can be educational and is probably worth doing at least once. Amidol was and still is favored by many bromoilists because it causes no staining or tanning of the gelatin.

Solution 1 Bleaching Bath. To start with, find the exposure that gives full detail in the most significant areas of the print. Do not print a black broomoil around your prints, as this will reduce the efficacy of the bleach.

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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 no agitation for 60 seconds.

For a lesser increase in contrast, roll the print underwater. They are easy to mix because you can use the three solutions from the Trevor Jones formula, above. Whalley’s Bromoil and Transferpublished in For use mix 70ml A, 70ml B, and 30ml C with water to a total volume of 1 liter.

Wash the print thoroughly until all traces of the yellow bichromate color is gone from the bromol. Thus began a long journey of research and learning. The general rule of thumb is to double that exposure to make a print suitable for broomil. In I established contact with btomoil B. I then wash the print for an hour to remove the acid.

Bromoilists found such papers more difficult to ink, so manufacturers began making special bromoil papers with non -superhardened brlmoil and matte or semi-matte surfaces. Development bromojl take place with continuous agitation in a very dilute paper developer such as Dektol 1: There is new book available, which I have not yet had a chance to look at: 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.

At some point, manufacturers began to superharden the gelatin in their papers as well as make papers with very smooth, glossy surfaces. The matrix must be soaked in water to swell the gelatin before inking.

If this fixing step is omitted, the matrices will slowly turn grey when exposed to light. A, all with the aim of introducing Americans, interested in the alternative photographic printing processes, to the Art of Bromoil.