Discussion in 'Film, developing & other non-digital stuff' started by IainK, Jan 2, 2017.

  1. One of my favourite alt processes, but incredibly time consuming:

    Make a standard darkroom print & fix/dry as normal.
    Bleach it for 10 minutes
    Fix for 5

    But results in beautifully grainy prints where the image is made up of ink, rather than silver. Dug the kit out again yesterday and with a couple of previously bleached prints firstly discovered my black ink is completely dried, so dug out the blue and the go pro to timelapse it:

    Final prints below. I'm not massively fond of the one of the foghorn, I don't think it's the best choice of negative for it but it's all good practice.

    [​IMG]Torry Coo Bromoil

    [​IMG]Riverside Drive Bromoil
  2. These are amazing, I remember watching a long video years ago when you introduced me to the process. I really love the results, but I know it's beyond me.
  3. Yeah, that would be Norman Gryspeerdt. Some of the things he could do were incredible, I'm really just a beginner. I'd certainly give it a go if I were you, you'll need fibre based paper and the chemicals are hard to come by (I had to import from the states) but to get something reasonable is not hugely difficult. The hardest thing I find is knowing when to stop. And scanning, actually. The results I've not really got spot on, in the flesh the bottom one especially is far more delicate.
  4. Hmm, fibre paper you say? I have a pile of fibre paper that came along with my enlarger. It's all outdated, so I'm sure that adds a variable, but I certainly have plenty of it for experimenting. I don't think bromoil is suitable for every picture, but I've become quite enamored of the portraits that William Mortensen and his students made, and bromoil or gum bichromate printing was a bit part of that look.

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