The good oil on Bromoil – Bromoil Photography

Jane Hinwood.

ABSTRACT collections. What is a Bromoil print? Also known as an alternative process or pigment control INTRODUCTION process, the bromoil process was invented Bromoils are one of a family 'pigment in 1907 and is still practiced today by a processes'1 which enjoyed a great vogue dedicated few. It is a relatively obscure in the Pictorialist2 movement in the early process that combines photography, 1900s. As a contrast to the sharp focus of painting and printmaking. A bromoil print is contemporary photography of the time, a photograph from which the original silver pictorial photographers used the camera is removed and substituted with a pigment as an aesthetic instrument to produce in an oil base. Both black and white and images in a blend of naturalism, colour prints can be produced using this impressionism and art nouveau styles, method and the final appearance of the thus elevating photography to an art form. print will depend on how the ink is applied Pictorialism, had its origins in the UK in to the matrix. An outline of the historical 18923 and quickly became international as context of the process will be included and networks of mostly amateur photographers contemporary photographers who are became established and spread across using this process will be introduced. An North America, Asia and Australia over a explanation of the process of producing period of only a few years. Australian bromoil prints will be presented following Pictorialism started in the late 1890s4. The discussions with a contemporary movement was promoted through camera Melbourne photographer using this clubs, photographic journals, exhibitions method of printing. Reference will be and international competitions and the made to examples in Australian style itself remained popular until W W 2,

The Good Oil on Bromoil – Bromoil Photography 93 before it fell out of popularity. bleached print (or matrix as it is called) is inked up with a lithographic ink, applied Bromoil photography was invented in 1907 with a brush. The hardened gelatin will by Englishman C. Wellbourne Piper5 and absorb the oily ink, while the unhardened introduced into Australia in 1910 by John gelatin, which has absorbed water in the Kauffman6. Bromoil was one of the most soaking, will repel it. This allows ink to favoured photographic processes used by build-up proportionally in the midtones and the pictorialists. Special bromoil papers shadows, while repelling ink from the were marketed between 1920 to the highlights which have absorbed more 1930s7. This process allowed the water. Thus a unique pigment-based photographer freedom to manipulate the version of the original image is created. image beyond a purely mechanical reproduction of glass plate negatives, The bromoil process producing often quite ethereal effects, The process is well documented in texts where images looked more like etchings such as Lewis15, Nadeau16, and than photographs. To suppress detail in Crawford17 or online18, but no amount of order to achieve a more artful effect such reading will replace working with a as this, was considered avant-garde and practicing bromoilist or participating in in stark contrast to the prevailing trends of workshop to fully understand this realism and clarity. demanding and time consuming technique. A brief explanation of the WHAT IS A BROMOIL PRINT? process follows, excerpts of which have In photographic texts bromoils are referred been taken from Luis Nadeau and David to as an alternative pigment process, a Lewis’s books. dichromate process, a pigment control process and a non silver process. This is Paper not to be confused with the related bromoil Early bromide papers manufactured transfer8, the oil pigment process, which specifically for bromoils were not proceeded bromoil9; or brometching, which hardened,19 or supercoated20, but had a succeeded bromoil c.193510. soft emulsion. These papers are no longer available. It is possible to use David Lewis (1994) states ‘A bromoil print some supercoated papers according to is a silver bromide11 or chlorobromide12 experienced bromoilists such as David photograph in which the silver image is Lewis. Prints can be made on resin removed and a greasy pigment is coated or fibre-based photographic substituted… ’13 papers, preferably with a matt or slightly textured surface. A glossy paper is not A bromoil transfer is produced by putting recommended for beginners, as this an inked bromoil print through a press surface does not receive the ink well. while in contact with an art paper. The image is therefore transferred onto a new Development support. At least two pulls through the Developers free from hardeners, which will press after inking up the matrix in stages is affect the gelatin, are recommended for called a multiple transfer.14 bromoils. After development rinse the print, immediately fix in a non-hardening Put simply, to produce a bromoil, a normal fixer, such as sodium thiosulphate (hypo) enlargement is made to produce a black and then wash thoroughly and air dry. and white print. The print is then immersed in a chemical solution which Bleaching and Tanning bleaches away the silver image and tans Many different formulae for bleaching have or hardens the gelatin in proportion to the been recommended over the years21. amount of silver in the image. This leaves Bleaching removes the silver image and at a gelatin layer hardened or insoluble the same time hardens the areas of gelatin proportionally to the degree of silver that in proportion to the amount of silver was present in it. After soaking, the removed. When the process is complete

94 The Good Oil on Bromoil – Bromoil Photography only a pale shadow of the original image is the art paper support is clearly evident. A left. The print is washed, fixed, washed plate mark may also be present. again and dried. HISTORY OF PICTORIAL PHOTOGRAPHY IN Soaking the matrix AUSTRALIA The matrix requires a period of soaking to Pictorialism was introduced into Australia swell the gelatin. Water temperature and by John Kauffman (1868-1953). He was a soaking time will control the swelling. The well traveled amateur photographer who image will now appear in relief with the studied in Europe, where he was exposed highlights swollen and the shadows to the prevailing trend of Pictorial sunken. The ink will be taken up in the Photography. On Kauffman’s return, his sunken areas which hold the least amount interest inspired other photographers to of water. examine how they worked. The NSW Photographic Society formed in 1894, in Pigmenting particular came to actively promote After wiping off the excess surface water, Pictorialism and other amateur a stiff oil-based ink is applied with a firm photographic clubs were to follow the brush. Nadeau advocates the use of top trend. Contemporary journals also quality ‘stag-foot’ brushes made of polecat disseminated technical information, bristles, as was traditionally reviews of exhibitions and local and recommended. As this type of brush is no overseas news to stimulate readers.22 longer commercially available, contemporary bromoilists are more Today Harold Cazneaux (1878 – 1953) is relaxed about using a cheaper substitute, best known as the father of Pictorial such as an imitation badger shaving Photography in Australia and the bromoil brush! The brush type will affect the grain process was to become a Cazneaux produced. Alternatively a brayer (or roller) trademark. Cazneaux was so inspired by can be used to apply the ink, but this will the work of Kauffman that he eventually not produce the grain that you get with a left a career as a commercial brush. Inks can be made using linseed oil photographer to concentrate on Pictorial and a dry pigment, although commercially Photography. In 1916 he and a group of available lithographic inks are widely used six friends, all members of the NSW today. Most bromoils are monochromatic. Photographic Society, set up the A wide range of pigments can be used, breakaway Sydney Camera Circle although black and brown predominate. pledging to advance the art of Australian The print should be touch-dry within two Pictorial Photography and break away days. from the European style23. The founding members were, Cecil Bostock, James E THE IDENTIFICATION OF BROMOIL PRINTS Paton, W.S. White, Malcolm McKinnon AND BROMOIL TRANSFER and James Stenning. The Victorian The picture obtained in the bromoil Pictorial Workers Society was a process consists of a pigment image on a counterpart to the Sydney Camera gelatin paper. The image is on top of and Circle.24 not buried in the emulsion. The image often has a soft granular or stippled The emphasis in this paper is on those appearance, depending on the hardness Australian Pictorial Photographers who are of the ink used and the stiffness of the known to have used the bromoil process brush employed. The support papers vary and an indication of which institutions hold and may be resin coated or fibre based. A their work. properly processed print can be considered as permanent as the paper In Victoria there was L.W. Appleby (18? – support. As pigments are used, there 1951) who ran a successful commercial should be no fading evident. studio using bromoils for portraiture, J. Temple Stephens who photographed the With a bromoil transfer the ink is matt and tea trees of Phillip Island and John

The Good Oil on Bromoil – Bromoil Photography 95 Bertram Eaton (1881 – 1967) who popularity of groups such as the Bromoil photographed coastal scenes and Circle of Great Britain31, the New landscapes (NLA, SLV). A collection of Pictorialist Society in the USA32 and the bromoils by J. B. Eaton has recently come International Society of Bromoilists33 on to light in the La Trobe Picture Collection the internet, who have brought together at the SLV. Cato (1955)25 goes into some contemporary photographers who are detail on the technique of this particular willing to share their experiences in order photographer and notes that Eaton made to promote the art of bromoil. his exposure through a sheet of sand blasted plate glass which he placed on top WEB SITES of the bromide paper when printing Cec Brown, Australian Bromoilist imparting graininess not unlike a http://www.nrg.com.au/~soggydog/ mezzotint. Bromoil and Oil Pigment Printing by Terry King Other Australian amateur photographers www. Hands-on-pictures.com/Bromoil2WP.htm using the bromoil and bromoil transfer Bromoil Printing by Ralph A. Davis 1964 processes included, Stanley Eutrope www.psa-photo.org/bromoil.htm (1891), Peter Lawrence (1882 – 1970) worked with Harold Cazneax, Norman C. Bromoil – Early Photographic Processes Deck (1882 - 1980) who specialised in www.edinphoto.org.uk coastal scenery (AGNSW, NGA, NLA), Monte Luke (1885 – 1962) who The Bromoil Page by Per Volledal specialised in society portraits, advertising http://home.powertech.no/pervo/bromoil.htm and landscapes (NLA), Henri Mallard (1884 – 1948) photographed the building Bromoil – Alternative Processes www.silverprint.co.uk/altproc6.html of the Sydney Harbour Bridge (NLA, ACP), W.H. Moffitt (1880 – 1948) farming The International Society of Bromoilists (UK) landscape (AGNSW, NLA), George J. http://alt-photo.com/alt- Morris (1884 – 1959) produced the largest photo/bromoil/index.html bromoil transfers ever seen (NGA, bromoil brush set), F Vaudry Robinson (active What is a Bromoil? by Gene Laughter 1920s) produced both monochrome and http://alt-photo.com/alt- colour bromoils, L. Hey Sharp (1885 – photo/bromoil/HISTORY/ 1965) lectured in the bromoil process (NGA, SLNSW, Macleay Museum), R.V. A Method for Making Oil Pigment Prints by Ernest J. Theisen Simpson (d.1967), Arthur Smith (d.1945) http://alt-photo.com/alt- (AGNSW), Dr. Julian Smith (1873 – 1947), photo/bromoil/ARTICLES/ all of whom used the bromoil technique on and off. Their work appeared regularly in www.bromoil.com/process.htm the local exhibitions and overseas salons in the 1920 – 30s. The artist Lionel The Bromoil Process by Norman Gryspeerdt Lindsay is also known to have used the http://www.gryspeerdt.co.uk/process.htm bromoil process as early as 191126. Luis Nadeau web site For an in depth history of the Pictorial http://www.photoconservation.com/ Movement in Australia, see Newton 27 28 Austin Alternative Process Group, USA. (1979) and Willis (1988) . For further http://unblinkingeye.com/AAPG/index.html biographical information see Newton 29 (1980) and the Lebovic catalogue Bromoil reading room (1998)30. http://alt-photo.com/alt- photo/bromoil/reading% 20room.html CONCLUSION ENDNOTES Today, far from becoming obscure, the 1 bromoil process is enjoying a resurgence the pigment processes were: gum bichromate, in interest. Evidence of this is the bromoil , and carbon/carbro processes.

96 The Good Oil on Bromoil – Bromoil Photography 2Exponents of art photography became known 25 Cato, Jack. 1955, The Story of the Camera as Pictorialists. in Australia, IAP, Melbourne, Australia. 3Newton, Gael. 1980, Silver and Grey, Fifty 26 Newton, Gael. 1988, Shades of Light, Years of Australian Photography, 1900 - 1950, Collins, Australia. Angus and Robertson, Australia. 27 Newton, Gael. 1979, Australian Pictorial 4 ibid Photography, Art Gallery of New South Wales, 5 Nadeau, Luis 1985, History and Practice of Sydney, Australia. Catalogue. Oil and Bromoil Printing, Atelier Luis Nadeau, 28 Willis, Anne-Maree. 1988, Picturing New Brunswick, Canada. p. 4. Australia, A History of Photography, Angus and 6 Newton, Gael. 1980, Silver and Grey, Fifty Robertson, Australia. pp. 131 – 146. years of Australian Photography, 1900 - 1950, 29 Newton Gael. 1980. op cit. Angus and Robertson, Australia. 30 1989. Masterpieces of Australian 71989 Masterpieces of Australian Photography, Photography, op cit. Josef Lebovic Gallery, Sydney, Australia. 31 p.198. http://www.gryspeerdt.co.uk/bromoil_circle.htm 8Lewis, David W. 1994, The Art of Bromoil and 32 http://www.etheisen.com/bio.html Transfer, David W Lewis, Ontario, Canada. pp. 33http://alt-photo.com/alt- 85 – 94. photo/bromoil/index.htm 9http://unblinkingeye.com/AAPG/OP/op.html 10 http://www.edinphoto.org.uk/1/1_early_photo ACKNOWLEDGEMENTS graphy_-_processes_-_brometching.htm I would like to acknowledge the help of Ellie 11a definition of bromide paper can be found at Young, Director of Gold Street Studios, http://photography.about.com/library/glossary/b Collingwood, Melbourne, in introducing me to ldef_bromide.htm Chris Lim, a practicing Melbourne bromoilist 12a definition of chlorobromide papers can be who has been generous in her time in found at explaining the bromoil process to me. http://photography.about.com/library/glossary/b ldef_chlorobromide.htm AUTHOR BIOGRAPHY 13 Lewis, David W. 1994, op cit. p.15. Jane Hinwood graduated with a B App Sc 14 Lewis, David W. 1994, op cit. p.95. (Conservation), Canberra in 1990. Since then 15 Lewis, David W. 1994, op cit. she has worked at the Powerhouse Museum, 16 Nadeau, Luis. 1985, op cit. Sydney; the Conservation Centre for Art and 17 Crawford, William. 1979, The Keepers of Historic Artifacts in Philadelphia as an Light, Morgan and Morgan, Dobbs Ferry, New advanced intern, USA; Switzerland in private York, USA. practice and London at the Royal Academy of 18www.edinphoto.org.uk/ Art and English Heritage. In Melbourne she 1/1_early_photography_-_processes_- has carried out contracts at Museum Victoria _bromoil.htm, and The Ian Potter Art Conservation Centre http://www.gryspeerdt.co.uk/process.htm, before joining the State Library of Victoria in http://www.alternativephotography.com/bromoil 2000. s.html, http://www.bromoil.com/ are a few examples of what is available online. Jane Hinwood 19 Hardening agents added to the emulsion Photographic Conservator inhibit the swelling of the gelatin. A soft Collection Preservation and Access Division swellable gelatin is necessary in the bromoil State Library of Victoria process. 328 Swanston Street 20 Supercoating is the addition of a hardened Melbourne 3000 gelatin layer over the emulsion to prevent Australia abrasion. T: + 61 3 8664 7354 21 See the bromoil reading room site which F: + 61 3 9639 6559 includes text from old and out of print books on http://www.statelibrary.vic.gov.au bromoil photography at http://alt-photo.com/alt- photo/bromoil/reading%20room.html 22 Willis, Anne-Maree. 1988, Picturing Australia, A History of Photography, Angus and Robertson, Australia. pp.131 – 132. 23 Newton, Gael. 1980. The European style was seen to be dull and did not reflect the bright light prevalent in Australian conditions. 24 ibid

The Good Oil on Bromoil – Bromoil Photography 97