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> Bromoil Printing, first and further steps |
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#1
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Bromoil Printing, first and further steps
It took a while to seek and hopefully find useful products which will suit the Bromoil process, but meanwhile everything is ready for the start.
For the beginning, and hopefully beeing on the safe side, I choosed to buy developer and bleach from our druid Mr. Moersch. Later I will mix everything by myself, selfcoating my preferred paper included but first I want to eliminate too much unknown variables. I have bought a bunch of blank papers, namely from Zerkall, Hahnemühle and Fabriano. It's a lot of fun to handle sheets of 53x78cm Bütten paper which looks very art-ish :-) At least I have bought some lithographic ink, some bdifferent brushes. For those having interest in Bromoil printing I have to state that my wide spreaded "starter kit" has robbed some 100 Euro. |
#2
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Yesterday I started my first experiments with a tryout of Foma papers which may work or not.
If not working as desired I immediately will switch to use my glob, also a Foma product. The good thing is that over the last decade I have learned from Master Emil Schild that Zerkall and Foma's liqid emulsion will work like "born for making Bromoil prints"; if Foma paper fails for Bromoil printing I could continue with some more success ( of course I have to learn coating, too!). What I have read is that the first step in Bromoil printing is to make a normal print without harsh contrast, but it is not allowed either to use acid (stop bath) or hardener (fix). What a wonder - immediately my first problem arises: Stopping the development in pure water doesn't work to me - in spite of using two trays for stopping (first a fast rinse, second a further stop) my prints came out much darker than wanted. Tomorrow I will give less light to the paper and/or developing to the end. I am not seeking a perfect print as a starter but I need a print with dark, middle and bright tones for checking out what will happen with the following Matrix (relief) process and later with my ink to the tones and the different papers... |
#3
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Best of luck with your bromoil. Like most alternative processes I suspect that it is not as easy as it appears on videos
Mike |
#4
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Thanks, Mike,
I am sure but fearless - it will need some month to learn the first steps. Reginald |
#6
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Hi Reginald,
I am a Bromilist and I second Barry's advice to get in touch with the Bromoil Circle GB (Brian). They also have a good website which is worth a look. If you are using a stock neg that was not made for bromoils avoid a contrasty one -flat ones tend to work best. Aso a good startng point for the matrix exposure would be +2-3 stops more than would be needed normally. There has been a lot said about acid stop baths but I find plain water works best - just change it often. Best of luck and if you have any problems just ask. Neil.
__________________
"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#7
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Thanks for the tip, Barry.
I have not heard before about this circle and I will have a look now. Do you have an idea why my thread is visible twice today? Cheers, Reginald |
#8
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Hi Neil,
great thanks for helping out. "" ..a good startng point for the matrix exposure would be +2-3 stops more than would be needed normally. "" Could you please bring in some background informations? I always have to know "why". I haven't any specialized Bromoil negs, so I have to grap old stuff and probably to make new ones exclusively designed for Bromoil printing.. I have read different advices which describes all possible variables from hot to cold water, flat or normal negatives, using or not using sulfur additives, more time/less time and so on. I decided first to start with Emil Schildt's advices ( soft negatives and more exposure/short development - as said by Neil) and fiddling around a bit with ready-coated paper. Today I made some brighter prints ( let's say somehow normal prints now) on fix graded Fomabrom and also with Foma Retrobrom, both with matte surfaces. I have had success with changing my both stop baths with always fresh water and wiping the prints with my hands which seems to stop increasing development. By the way - Retrobrom needs the doubled time and comes out greenish but more soft than Fomabrom. Tomorrow is the great day of producing first Matrixes which on the other hand may end in a long evening with a lot of pints but no Matrixes in hand Best, Reginald |
#9
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Looks like duplicate threads started at two slightly different times.
And of course, two slightly different sets of responding posts. As a moderator on another site, this sort of makes me feel at home Good luck with your Bromoil work - I've often admired the results, while never attempting the process myself. |
#10
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Quote:
Reginald, The x2 to 3 extra exposure provides something to bleach back and which in turn etches the paper so that it can receive the ink. A normally expsosed print, if used as a Matrix, would be very hard to ink. Have fun with your Matrix making. Neil.
__________________
"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
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