I got a few decent bromoil brushes recently, and decided to have one more go at bromoil printing. Many people with whom I have discussed the bromoil can’t see the point in it… why bleach away the print and try to get it back with messy inks? Again, this is one of those things to be appreciated only when you are holding a finished print in your hand — the electronic media can reproduce only part of the viewing experience. To be able to feel the “body and soul”, you must get hold of the real thing.
I finally was able to hunt down Gene Laughter’s Bromoil 101 — a working manual for the bromoil printer. The little book really is stuffed with information, it is a valuable guide for a modern bromoilist. I used some of the tips and tricks offered there, e.g. trimming my bromoil brushes and mixing some dry pigments with my inks.
A low contrast bromide print on Bromoprint paper, to be used as a matrix for bromoil.
I also had a chance to use somewhat mysterious Bromoprint paper, ordered from Fotoimpex, Berlin, Germany. I have no info about the manufacturer (maybe Adox? — at least they have a paper called that too), it came in a blank package with no sigle word on it… Anyway it should be a non supercoted paper, and it did produce nice prints and was easy to ink.
A soaking and inking test on Bromoprint paper. The matrix was soaked for 5, 10 and 15 minutes, and then made a quick initial inking on each of the test strips. Soaking of 8 minutes was chosen as the final time.
Jalo Porkkala: Tree Eight, bromoil.
Bromoprint paper, inking with Senefelder’s Crayon Black.
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