Oil print process

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Oil print by Robert Demachy - A Crowd, 1910 The Crowd MET DT333201.jpg
Oil print by Robert DemachyA Crowd, 1910
Bromoil portrait of the Norwegian painter Andreas Jacobsen. Made by Erik Hattrem from 4x5" Kodak plus-x on Fomabrom IV123 paper Portrait of Andreas Jackobsen.jpg
Bromoil portrait of the Norwegian painter Andreas Jacobsen. Made by Erik Hattrem from 4x5" Kodak plus-x on Fomabrom IV123 paper
Bromoil print by Josef Jindrich Sechtl, 1920s Bromoil-Josef Jindrich Sechtl.jpg
Bromoil print by Josef Jindřich Šechtl, 1920s
Goldbandlilie, 1932, a 4-color bromoil-transfer by F. Rontag Goldblinie gr.jpg
Goldbandlilie, 1932, a 4-color bromoil-transfer by F. Rontag

The oil print process is a photographic printmaking process that dates to the mid-19th century. Oil prints are made on paper on which a thick gelatin layer has been sensitized to light using dichromate salts. After the paper is exposed to light through a negative, the gelatin emulsion is treated in such a way that highly exposed areas take up an oil-based paint, forming the photographic image.

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A significant drawback to the oil print process is that it requires the negative to be the same size as the final print because the medium is not sensitive enough to light to make use of an enlarger. A subtype of the oil print process, the bromoil process, was developed in the early 20th century to solve this problem.

The oil print and bromoil processes create soft images reminiscent of paint or pastels but with the distinctive indexicality of a photograph. For this reason, they were popular with the Pictorialists during the first half of the 20th century. The painterly qualities of the prints continue to appeal to artists and have recently led some contemporary art photographers to take up these processes again.

Oil print techniques

The origins of the oil print process go back to experiments by Alphonse Louis Poitevin with bichromated gelatin in the 1850s. [1]

To make an oil print, a piece of paper is coated with a thick gelatin layer containing dichromate salts that sensitize it to light. A contact print is made by laying a negative over the paper and exposing it to light, which leads to hardening of the dichromated gelatin in proportion to the amount of light that reaches the paper. After exposure, the print is soaked in water and the non-hardened areas absorb more water than the hardened parts. The sponge-dried but still moist paper is then inked with an oil-based ink, which sticks preferentially to the hardened (drier) areas. The result is a positive image in the color of the ink. As with other forms of printmaking, the ink application requires considerable skill, and no two prints are identical.

Multicolor oil prints are possible through local inking of the print, and it is also possible to create reverse prints by contact-printing the wet oil print to a piece of plain paper. Artists have also sometimes created variations by applying extra paint using brushes. In the later 19th century, it was possible to buy commercially prepared gelatin-coated paper. [1]

Bromoil process

The bromoil process is a variation on the oil print process that allows for enlargements. [2] In 1907, E. J. Wall described how it should theoretically be possible to place a negative in an enlarger to produce a larger silver bromide positive, which would then be bleached, hardened, and inked following the oil print process. [1] That same year C. Welborne Piper worked out the practical details. [1] Much as Wall envisioned it, the bromoil process starts with a normally developed print exposed onto a silver-bromide paper that is then chemically bleached, hardened, and fixed. When the still-moist print is inked, the hardest (driest) areas take up the most ink while the wettest areas become the highlights.

An issue with the bromoil process is that inadequate rinsing of the chrome salts can lead to discoloration of the prints when exposed to light over long periods of time. In addition, irregularities in the thickness of the gelatin layer can, under unfavorable conditions, lead to stresses that damage the pictorial (ink) layer.

A version of the bromoil process was developed to produce full-color prints in the 1930s before commercial color film was developed. This technique requires three matching negatives of the subject, each made on Ilford Hypersensitive Panchromatic plates and shot through a blue, green, and red filter. The developed plates are enlarged and printed onto separate pieces of bromide-silver photographic paper, which are then bleached and hardened in the usual manner. The three prints are then inked with a firm bromoil ink, yellow on the blue-filtered print, red on the green-filtered print, and blue on the red-filtered print. The three inked prints are then treated as printing plates and passed through an etching press that will transfer the ink to a new piece of paper or cloth, reversing the image in the process. Care must be taken to maintain exact registration of the three plates. [3]

See also

Related Research Articles

Photographic processing or photographic development is the chemical means by which photographic film or paper is treated after photographic exposure to produce a negative or positive image. Photographic processing transforms the latent image into a visible image, makes this permanent and renders it insensitive to light.

Photographic paper Light-sensitive paper used to make photographic prints

Photographic paper is a paper coated with a light-sensitive chemical formula, like photographic film, used for making photographic prints. When photographic paper is exposed to light, it captures a latent image that is then developed to form a visible image; with most papers the image density from exposure can be sufficient to not require further development, aside from fixing and clearing, though latent exposure is also usually present. The light-sensitive layer of the paper is called the emulsion. The most common chemistry was based on Silver halide but other alternatives have also been used.

Gelatin silver process Photographic process

The gelatin silver process is the most commonly used chemical process in black-and-white photography, and is the fundamental chemical process for modern analog color photography. As such, films and printing papers available for analog photography rarely rely on any other chemical process to record an image. A suspension of silver salts in gelatin is coated onto a support such as glass, flexible plastic or film, baryta paper, or resin-coated paper. These light-sensitive materials are stable under normal keeping conditions and are able to be exposed and processed even many years after their manufacture. This was an improvement on the collodion wet-plate process dominant from the 1850s–1880s, which had to be exposed and developed immediately after coating.

Enlarger

An enlarger is a specialized transparency projector used to produce photographic prints from film or glass negatives, or from transparencies.

Photographic printing is the process of producing a final image on paper for viewing, using chemically sensitized paper. The paper is exposed to a photographic negative, a positive transparency , or a digital image file projected using an enlarger or digital exposure unit such as a LightJet printer. Alternatively, the negative or transparency may be placed atop the paper and directly exposed, creating a contact print. Digital photographs are commonly printed on plain paper, for example by a color printer, but this is not considered "photographic printing".

Photogravure

Photogravure is an intaglio printmaking or photo-mechanical process whereby a copper plate is grained and then coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high quality intaglio plate that can reproduce detailed continuous tones of a photograph.

Sun printing

Sun printing may refer to various printing techniques which use sunlight as a developing or fixative agent.

Alternative process

The term alternative process refers to any non-traditional or non-commercial photographic printing process. Currently the standard analog photographic printing process is the gelatin silver process, and standard digital processes include the pigment print, and digital laser exposures on traditional color photographic paper.

Carbon print Photographic print made by the carbon process, which uses carbon pigment and gelatin to transfer images to a paper support

A carbon print is a photographic print with an image consisting of pigmented gelatin, rather than of silver or other metallic particles suspended in a uniform layer of gelatin, as in typical black-and-white prints, or of chromogenic dyes, as in typical photographic color prints.

Gum printing is a way of making photographic reproductions without the use of silver halides. The process uses salts of dichromate in common with a number of other related processes such as sun printing.

Gum bichromate

Gum bichromate is a 19th-century photographic printing process based on the light sensitivity of dichromates. It is capable of rendering painterly images from photographic negatives. Gum printing is traditionally a multi-layered printing process, but satisfactory results may be obtained from a single pass. Any color can be used for gum printing, so natural-color photographs are also possible by using this technique in layers.

A chromogenic print, also known as a C-print or C-type print, a silver halide print, or a dye coupler print, is a photographic print made from a color negative, transparency or digital image, and developed using a chromogenic process. They are composed of three layers of gelatin, each containing an emulsion of silver halide, which is used as a light-sensitive material, and a different dye coupler of subtractive color which together, when developed, form a full-color image.

Collotype

Collotype is a dichromate-based photographic process invented by Alphonse Poitevin in 1855 to print images in a wide variety of tones without the need for halftone screens. The majority of collotypes were produced between the 1870s and 1920s.

Woodburytype

A Woodburytype is both a printing process and the print that it produces. In technical terms, the process is a photomechanical rather than a photographic one, because sensitivity to light plays no role in the actual printing. The process produces very high quality continuous tone images in monochrome, with surfaces that show a slight relief effect. Essentially, a Woodburytype is a mold produced copy of an original photographic negative with a tonal range similar to a Carbon print.

Photographic emulsion is a light-sensitive colloid used in film-based photography. Most commonly, in silver-gelatin photography, it consists of silver halide crystals dispersed in gelatin. The emulsion is usually coated onto a substrate of glass, films, paper, or fabric.

Dye transfer is a continuous-tone color photographic printing process. It was used to print Technicolor films, as well as to produce paper colour prints used in advertising, or large transparencies for display.

Photographic film Film used by film (analog) cameras

Photographic film is a strip or sheet of transparent film base coated on one side with a gelatin emulsion containing microscopically small light-sensitive silver halide crystals. The sizes and other characteristics of the crystals determine the sensitivity, contrast, and resolution of the film.

Art photography print types refers to the process and paper of how the photograph is printed and developed.

A contact copier, is a device used to copy an image by illuminating a film negative with the image in direct contact with a photosensitive surface. The more common processes are negative, where clear areas in the original produce an opaque or hardened photosensitive surface, but positive processes are available. The light source is usually an actínic bulb internal or external to the device

References

  1. 1 2 3 4 "Pigment Printing Processes". Early Photography website.
  2. "Oil Printing: Updating a Classic Process"
  3. ""Making a Bromoil Print"". Archived from the original on 2011-05-14. Retrieved 2016-05-14.

Further reading