Bromoil printing and bromoil transfer - 1

BROMOIL PRINTING
AND
BROMOIL TRANSFER

BY
DR. EMIL MAYER
PRESIDENT OF THE VIENNA CLUB OF AMATEUR PHOTOGRAPHERS

AUTHORIZED TRANSLATION
FROM THE SEVENTH GERMAN EDITION

BY
FRANK ROY FRAPRIE, S.M., F.R.P.S.
EDITOR OF AMERICAN PHOTOGRAPHY

AMERICAN PHOTOGRAPHIC PUBLISHING CO.,
BOSTON 17, MASSACHUSETTS
1923

Manufactured in the United States of America
Electrotyped and printed, March, 1923

THE PLIMPTON PRESS
NORWOOD·MASS·U·S·A

PREFACE

The bromoil process has always been one in which it has seemed difficult to attain success. Though many books and articles on the subject have been published, every writer seems to give different directions and every experimenter to have difficulty in following them. The consequence is that almost every successful experimenter with this process has developed methods of his own and has frequently been unable to impart them to others. One reason for this has been that each make of bromide paper varies in its characteristics from the others and that methods, which are successful with one, do not always succeed with another. Various bleaching solutions have been described, and, as the bleaching solution has two functions—bleaching and tanning, which progress with different speeds at different temperatures—a lack of attention on this point has doubtless been a frequent cause of unsuccess. Little attention has also been paid to the necessity for observing the temperature of the water used for soaking the print. The author of the present book has investigated these various points very carefully, and for the first time, perhaps, has brought to the attention of the photographic reader the need for an accurate knowledge of the effect of these different variables.

In the following book he describes only a single method of work, without variations until the process is learned, though he does describe various methods of work which may be used to vary results by the experienced worker. His method of instruction is logical and based on accepted educational principles. He describes one step at a time fully and carefully, explains the reasons for adopting it, and then proceeds to the next step in like manner. We feel sure that every reader, who will be reasonably careful in his methods of work and will follow these instructions literally, will learn how to make a good bromoil print. After attaining success in this way, the variations may be tried, if desired.

While the author gives instructions for testing out papers to see if they are suitable, it may be advisable to record here the results of some American and English workers. H. G. Cleveland in American Photography for February, 1923, recommends, in addition to the papers specially marked by their makers as bromoil grades, the following: Eastman Portrait Bromide; P. M. C., Nos. 7 and 8; and Wellington, Cream Crayon Smooth, Rough, or Extra Rough. He suggests that a rough test may be made of a new brand of paper by placing a small test strip in water at 120° to 140° Fahrenheit for a few minutes and then scraping the emulsion surface with a knife blade. If the coating is entirely soft and jelly-like, it will probably be suitable for the process. If it is tough and leathery, it will be unsuitable, and, if a portion of the coating is soft but the other portion tough, then it will also be unsuitable. His experience is that Wellington Bromoil paper is entirely suitable for the process. Chris J. Symes in The British Journal of Photography for December 1, 1922, recommends for bromoil the following English papers: Kodak Royal, white and toned; Vitegas, specially prepared for bromoil; Barnet Cream Crayon Natural Surface, Rough Ordinary and Tiger Tongue. For transfer, he has found the following suitable: Kodak Royal, white and toned; Kodak Velvet; Barnet Smooth Ordinary; and Barnet Semi-matt Card.

The reader who is interested in bromoil transfer, will find the directions of Mr. Guttmann on this process slightly different from those of Dr. Mayer in minor points, but the worker who is far enough advanced to essay this difficult process will be able to recognize these discrepancies and choose the process which seems more useful to himself.

Metal etcher’s presses for transfer are sold at comparatively high prices in the United States, but second hand ones may often be found in the larger cities. Small wooden mangles with maple rolls may be had at fairly low prices from dealers in laundry supplies, and have been found to be useful.

Following the style of the German original, italics have been freely used for the purpose of calling attention to the most important stages of the process, rather than for the ordinary purposes of emphasis.

Grateful acknowledgment is made to Mr. E. J. Wall for assistance in the first draft of the translation, and also in revision of the proofs.

Frank Roy Fraprie.

Boston, February, 1923.

	PAGE
Preface	[iii]
Contents	[vi]
Preliminary remarks	[1]
CHAPTER I
Production of the Bromide Print—Definition of Perfect Print—The Choice of the Paper—Development—Control of the Silver Bromide Print—Fixation	[10]
CHAPTER II
The Removal of the Silver Image—Bleaching—The Intermediate Drying	[29]
CHAPTER III
The Inking-up—The Production of the Differential Swelling—The Properties of the Relief and Its Influence on the Character of the Picture—Effect of Warm Water—Effect of Ammonia—The Utensils—Brushes—The Inks—The Support—Removal of the Water from the Surface of the Print—The Brush Work—Use of Dissolved Inks—Use of Rollers—Resoaking of the Print during the Working-up—Removal of the Ink from the Surface—Failures—Alteration of the Character of the Picture by the Inking—The Structure of the Ink—Different Methods of Working—Hard Ink Technique (Coarse-grain Prints)—Soft Ink Technique—Sketch Technique—Large Heads—Oil Painting Style—Night Pictures—Prints with White Margins—The Swelled-grain Image—Mixing the Inks—Polychrome Bromoils	[38]
CHAPTER IV
After-Treatment of the Finished Print—Defatting the Ink Film—Retouching the Print—Refatting of the Print—Application of Ink to Dry Prints	[104]
CHAPTER V
Transfer Methods—Simple Transfer—Combination Transfer with One Print-plate—Shadow Print—High Light Print—Combination Transfer from Two Prints	[115]
CHAPTER VI
Oil vs. Bromoil	[134]
CHAPTER VII
Bromoil Transfer, by Eugen Guttmann—The Bromoil Print—The Choice of the Paper—The Machine—Printing—Combination Printing with One Bromoil—The Value of Combination Printing—Retouching and Working-Up—Drying	[142]
CHAPTER VIII
The Preparation of Bromoil Inks, by Eugen Guttmann—The Varnish—Powder—Colors—Tools—Practice of Ink Grinding—Ink Mixing—Permanency—Ink Grinding Machines	[176]

PREFACE

CONTENTS