Beginning to get my act together on bromoils, although I would still like a bit more finesse. Here is Lincoln Cathedral, one of my favourite cathedrals in England.
Category: Bromoil (Page 1 of 2)
How do I make smooth, flat, thin, even and bubble-free gelatin coatings on water-colour paper? Anwering this is crucial if I’m to make good Bromoil, Oil, Carbon Transfer and hand-made silver gelatin emulsion prints …
Continue readingThis post is one in a series called ‘behind the scenes’. The series describe how I visualise images and then the difficulties of putting these visualisations into effect as pictures.
Last year, just before the first COVID lock-down in England, I went walking in Sussex with my daughter. One of the towns we visited was Rye in East Sussex. I was curious how it might have changed since my last visit some 45 years ago.
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I have been playing with this particular scene using Bromoil to get an understanding of the different looks that I can create …
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Quite a while ago I attempted a Bromoil portrait which ended up heavy-handed. I have now managed a more delicate picture …
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A while back I acquired 15 sheets of Finesse bromoil paper. This post looks at how I handled it for Bromoil.
Continue readingThe underlying spirit of this blog is to share my failures in the hope that other photo-cognescenti can avoid some pitfalls. I have spent quite a few hours trying to learn the Bromoil process and I think I am now making a little progress, although there is still some way to go … Here I share my experiments with bromoil printing using Foma emulsion.
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After my initial foray into Bromoil I decided to switch papers from Slavich Unibrom to Fomabrom Variant 113 to see whether it inked more easily. This post describes how I got on …
Continue readingAt a recent exhibition of Rembrandt’s printmaking techniques I was struck by the similarities between Etching, Bromoil and Paper Negative printing. All show the hand of the artist. All share a certain sensibility.
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Bromoil was made for us neo-pictorialists. The long attention to a single image perhaps stretching to several days; the impressionistic rendering of a scene; the knowledge that what you do is connected to the many pioneers of photography such as Alfonso Louis Poitevan, John Pouncey and G. H. Rawlins to mention only a few; these reasons are sufficient to want to keep this old photographic process alive.
But it’s not easy … Continuing the spirit of this web-site, I share my mistakes.
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Abandoned farm house, North Dakota, lith printed on Foma paper
