Fr. Mark. Simplify and learn carbon transfer. Done! It just takes time and focus on learning. It may take some time but once you get going there will be no going back.
Fr. Mark. Simplify and learn carbon transfer. Done! It just takes time and focus on learning. It may take some time but once you get going there will be no going back.
Fr. Mark Oil Printing or Rawlins Oil Printing is the parent process to the Bromoil Process. There's not a lot of info out there but I'll leave you a few links that helped me. I love the process because it's extremely forgiving, and since I use wet plate negatives, my plates are never perfect. Minimal materials needed too!
http://www.bromoil.info/PDF%20BOOKS/...0Processes.pdf
http://www.bromoil.info/ARTICLES/oil...nts%20ern.html
http://www.alternativephotography.co...gment-printing
http://unblinkingeye.com/AAPG/OP/op.html
http://bostick-sullivan.invisionzone...ins-oil-print/
In camera pictorialism attempt. Shot with a Graflex Super D and a 10" Dagor lens on expired Adox 100 film.
Any help or advice?
That is GORGEOUS!Originally Posted by durr3
Photojeff: thanks for the links. I don't think I'm cut out for Bromoil/Oil Prints but I admire the people who do them! I think I'm going to stick with cyanotypes and head into Carbon printing. I need a little more sharpness and repeatability and away from the budgetary problems of using lots of Silver atoms. This is not to say that I don't admire the work and would not display some of the prints in the gallery section on my walls, I would, I just don't think I want to quite that look for all my work.
Fr. Mark, I am kind of like you, I have been really enjoying doing cyanotypes and plan on sticking with it. Not sure if the link was in with what Jeff posted, but did you read where some have taken silver gelatin printing paper, like Ilford, fixed it out, then coated it with the dichromate as instructed for oil printing - completely eliminating the process of coating the paper with gelatin, as it is already coated...I hope to give that a try.
Randy, I know that Jim Fitzgerald often uses expired, fixed-out printing paper as a final support of carbon prints. I'm not sure why you'd coat fixed out silver paper with dichromate though. But I don't completely understand the oil printing processes.
WoW, Thanks Jim
Fr. Mark the final support paper isn't treated with dichromate. The final support could be; fixed out photo paper, water color paper or even glass. If you were so inclined Jim Fitzgerald, Andrew O'neill and Borut Peterlin have amazing videos demonstrating the process. I've watched each of these an embarrassingly large number of times.
https://www.youtube.com/watch?v=EmpTgDlsr3o
https://www.youtube.com/watch?v=ssri5PlpPXU
https://www.youtube.com/watch?v=Tl5FK7PTkFw
This per A Method for Making Oil Pigment Prints By Ernest J. Theisen - "So the process goes like this: I start with perfectly good silver bromide paper and immerse it in plain fixer. I use Kodak Rapid Fixer and leave out the acid. I use two baths, three minutes in each bath. From there into a hypo clearing agent, wash and dry. I tape the dry sheet of (now) oil paper to a piece of mat board and coat it with the Bichromate solution"
Am I confused? It reads to me that Mr. Theisen fixes out bromide photo paper and then coats it with either Ammonium or Potassium Dichromate, then contact prints a large negative, washes in water and he now has his matrix for making his oil print.
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