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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When the print is dry, it can also be etched carefully with a razor blade or with fine steel wool. See the Bromoil Reading Room at http: Do not print a black border around your prints, as this will reduce the efficacy of the bleach.

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 brokoil it is a waste of time to separate them.

First, I place it face down on a piece of blotting paper or several layers of paper towels and dry the back. In addition, almost any silver-gelatin paper with a semi-matte or matte surface can be utilized, following brmoil procedure outlined below. Solution 1 Bleaching Bath. These two prints inked identically–I could tell no difference between them.

Bromoil by Gene Laughter

For use mix 70ml A, 70ml B, and 30ml C with water to a total volume of 1 liter. The bleached matrix must be refixed at this point. David Lewis recommends an acid bath after fixing, rather than before, as was often recommended by early bromoilists. The direction of my Bromoil work, however, is to break away and utilise the process with today’s imagery.


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 form. Because the gelatin is swollen and delicate, it must not be abraded or treated roughly. For a lesser increase in contrast, roll the print underwater. Ink removal is equally important as inking.

Again, wash the print thoroughly to remove residual fix–at least a half-hour with several complete changes of water. The optimal bleach time seems to be about 4 to 7 minutes, but some prints require 10 minutes or more to tan fully.

In I established contact with the B.

Bromoil 101 by Gene Laughter

The high dilution of the developer or use of a compensating developer is necessary to keep the low values from blocking up. For normal prints, I use 1: If you don’t allow the bromojl to emerge fully at the beginning of development, they will ink unevenly.

The time in the stop bath is 30 bgomoil, with continuous agitation. Since room temperature varies considerably in different locations, as does water quality, each bromoilist must determine his or her own soak times.

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Development should take place with continuous agitation in a very dilute paper developer such as Dektol 1: In reality, water temperature is more important than soak time, but for beginners I recommend room temperature for a predetermined time. For soft working developers such as R77MAnscoAmidol, or higher dilutions of Dektol, I develop for 4 minutes.


But separating the solutions can be educational and is probably worth doing at least once.

The matrix must be surface dried after soaking and before inking. Most modern workers omit this step. 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.

At this point, the print can be bromiil and the highlights inked appropriately. There is new book available, which I have not yet had a chance to look at: I became interested in the Bromoil Process after seeing Bromoil reproductions in books and magazines. Amidol Developer given by David Lewis.

Many old bromoilists state that you can use any developer but their favorite is an amidol formula–of which bromil are many. I do not add any acid. 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. Virtually any silver gelatin paper could be utilized in the early days of bromoil, though the fast bromide papers were generally preferred.

The wet roller redistributes the ink very quickly–it increases contrast considerably and removes almost all ink from the high values. With experience, you will be able to tell when a print is not dark enough–or too dark.

The fixed matrix has a slight grey-green color, caused by residual chromium oxide.