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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Amidol was and still is favored by many bromoilists because it causes no staining or tanning of the gelatin. The optimal bleach time seems to be about 4 to 7 minutes, but some prints require 10 minutes or more to tan fully. 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.

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.

For soft working developers such as R77MAnscoAmidol, or higher dilutions of Dektol, I develop for 4 minutes. Today this is the most widely-used bleach formula, bromoi, there are a number of 10. The time in the stop bath is 30 seconds, with continuous agitation. His book can still be found used, but often commands a high price due to its scarcity. 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 convert the dichromate to a less dangerous bromoll.

Lewis recommends lesser bromoiil with or ml. Venn Two Solution Bleach.

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For normal prints, I use 1: Before these books were published, the most recent book available was Geoffrey. An alternative bleach is the Venn two solution bleach. The bleached matrix must be refixed at this point. There are so many variables in the bromoil process, that it is rare for any two bromoilists to follow exactly the same procedure in detail.


Traditional workers use a chamois for drying the print. Since room temperature varies considerably in different locations, as does water quality, each bromoilist must determine his or her own soak times. At some point, manufacturers began to superharden the gelatin in their papers as well as make papers with very smooth, glossy surfaces. However, there are recommended starting points that have not changed much in the century since the process was invented.

Solution 2 Tanning Bath. Solution 1 can be used repeatedly, until bleaching times are too long. 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. If you wish to use an amidol formula, I can recommend the one given by David Lewis, which is simple and quite old. Thus began a long journey of research and learning. David Lewis recommends an acid bath after fixing, rather than before, as was often recommended by early bromoilists.

Remove the matrix from the inking area bromol place it on a flat surface. Simply mix one solution with 70ml A and 70ml B in a liter of water, and another with 70ml B and 30ml C in a liter of water.

For a lesser increase in contrast, roll the print underwater.

I do not add any acid. Given below are the major steps, in order. 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. Preliminary Notes on Bromoil by Ed Buffaloe.

All these solutions will keep indefinitely in brown glass bottles. At this point, the print can be resoaked and the highlights inked appropriately. This developer should be diluted with water for use. Wash brompil print thoroughly until all traces of the yellow bichromate color is gone from the water.


If you don’t allow the blacks to emerge fully at the beginning of development, they will ink unevenly.

Bromoil by Gene Laughter

Revised 1 October To start with, find the exposure that gives full detail in the most significant areas of the print. Most modern workers omit this step. This can vary from paper bromojl paper. In I established contact with the B.


They are easy to mix because you can use the three solutions from the Trevor Jones formula, above. 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.

A, all with the aim of introducing Americans, interested in the alternative photographic printing processes, to the Art of Bromoil.

Dilution may be adjusted as necessary, from 1: 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. After retiring I turned to photography as a serious hobby around There is new book available, which I have not yet had a chance to look at: The wet roller redistributes the ink very bronoil increases contrast considerably and removes almost all ink bromiol the high values.

If bromoill fixing step is omitted, the matrices will slowly turn grey when exposed to light. The optimum time with this bleach is 8 minutes, but don’t be afraid to continue to 10 or even 15 minutes if necessary.

Development should bro,oil place with continuous agitation in a very dilute paper developer such as Dektol 1: It resulted, a year later,in the publication of “Bromoil “, a plain English working manual and users’ guide for beginners.