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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Since room temperature varies considerably in different locations, as does water quality, each bromoilist must determine his or her own soak times.

This is because the bromoil process tends to increase contrast. The direction of my Bromoil work, however, is to break away and utilise the process with today’s imagery. Many old bromoilists state that you can use bromoik developer but their favorite is an amidol formula–of which there are many.

In I established contact with the B. David Lewis recommends an acid bath after fixing, rather than before, as was often recommended by early bromoilists. The optimum time with this bleach is 8 minutes, but don’t be afraid to continue to 10 or even 15 minutes if necessary.

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. It is very helpful to watch an experienced bromoilist ink a matrix. For bromoils I use 1: They are easy to mix because you can use the three solutions from the Trevor Jones formula, above.


In addition, almost any silver-gelatin paper with a semi-matte or matte surface can be utilized, following the procedure outlined below. I then wash the print for an hour to remove the acid. If this fixing step bromoi, omitted, the matrices will slowly turn grey when exposed to light.


For soft working developers such as R77MAnsco gromoil, Amidol, or higher dilutions of Dektol, I develop for 4 minutes. The general rule of thumb is to double that exposure to make a print suitable for bromoil.

The copper sulfate solution is the bleaching agent, while the dichromate solution is the tanning agent which hardens the gelatin.

See the Bromoil Reading Room at http: Brooil Developer given by David Lewis. As a test, I developed one print in Dektol 1: With variable contrast papers, Gene Laughter recommends using one contrast grade lower than normal for most prints.

This developer should be diluted with water for use. Given below are the major steps, in order. The fixed matrix has a slight grey-green color, caused by residual chromium oxide. It usually takes less than a minute to remove the chrome oxide color.

I have noticed that sometimes the grey-green color shows through in delicate highlights, such as are often seen in nudes, so I sometimes use an acid bath on such prints, but I do it after the print has been inked and the ink has dried.

Bromoil 101 by Gene Laughter

It resulted, a year later,in the publication of “Bromoil “, a plain English working manual and users’ guide for beginners. In reality, water temperature is more important than soak time, but for beginners I recommend room temperature for a predetermined time. Return to Articles Page.


When I did this, I learned to tell the difference between a matrix that has not been bleached enough and a matrix that has not been tanned enough. Solution 2 should be mixed fresh for each use.

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. Venn probably did more research on bleaching and tanning of bromoils than anyone else.

Gene Laughter

To start with, find the exposure that gives full detail in the most significant areas of the print. For most superhardened papers, doubling the exposure is a good place to begin.

The matrix must be surface dried after soaking and before inking. Venn Two Solution Bleach. Be careful not to crease the wet matrix, as this is very easy to do under water. The time in the stop bath is 30 seconds, with continuous agitation. I do not add any acid. Again, wash the print thoroughly to remove residual fix–at least a half-hour with several complete changes of water. These two prints inked identically–I could tell no difference between them.