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| 1. |  | Gene Laughter 1994 Flight Bromoil print Provided by the artist - Gene Laughter © Gene Laughter "This one small bromoil print changed my philosophy, my direction and my methodology of the bromoil process. Heretofore I had worked in only black or brown inks. I had followed exactly the procedures and the rules layed down by generations of bromoil masters. This print changed all of that. It was my first venture in inking a print in multi colors. And it was the first time I had inked a print with abandon … and with a carefree outlook and attitude. Towards the end of the process of inking this print I purposely scratched the surface of the image with rough steel wool. I flicked coffee onto the print with my fingers. I had suddenly learned that bromoil could be more than a photographic process of yesteryears. It could be an art medium!!! No longer did I feel bound by the traditional rules of bromoil. No longer did I feel the necessity to use the tools and the methods of the past. I was free at last!" (Gene Laughter, August 2006) |
| 2. |  | Gene Laughter 2006 Pork Chops Bromoil transfer 10 x 10 in Provided by the artist - Gene Laughter © Gene Laughter "Pork Chops was a frail little man and he danced on the streets of the French Quarter in New Orleans for decades. One would see him dancing before a crowd of tourists on Bourbon Street or leading the second line of a jazz funeral. He wore his familar derby hat and always carried a fancy umbrella that he jauntily thrust upwards when open or used as a cane when closed. I photographed "Pork Chops" and his fellow street dancers over a period of years and they loved to show off for the camera. This bromoil transfer required six separate press passes with different colors of lithographic inks on each pass. An Ettan etching press was used to transfer the inks from the Forte Elegance photographic paper onto Bockington water color paper. This was a one-of-a-kind print and only one transfer print was made." (Gene Laughter, August 2006) |
| 3. |  | Gene Laughter 2002 Redcar Boardwalk Bromoil print 10 x 12 in Provided by the artist - Gene Laughter © Gene Laughter "Redcar is a lovely, quaint little town on the North Sea in the north of England. It's also a bit of a surreal town I felt, a place that perhaps time had forgotten. I walked around this coastal town surveying the photo opportunities and partaking of fish 'n' chips. I had stopped to rest a bit, sitting on a bench on the boardwalk. To my left, and perhaps thirty yards away, I spotted this proper English gentleman pushing a baby stroller, or "pram" as the Brits call them. I checked my camera, set the focus and furtively waited for him to line himself up just right at the opening of the steps going down to the beach. I only had one shot, when he was properly aligned. When he reached the spot I turned snapped the picture and turned away. He never knew I had photographed him. And -- I never knew what was in the pram! Was it a baby or had he been shopping and using the param as a cart to haul his packages? I'll never know! Shot with a 35mm camera. Bromoil print brush inked on Forte Elegance paper using a pastry brush. Red and black lithographic inks were mixed. This image, I feel, is as surreal as the town of Redcar itself!" (Gene Laughter, August 2006) |
| 4. |  | Gene Laughter 2006 (print) 1973 (negative) Old Nags Head Bromoil print 7 x 9 in Provided by the artist - Gene Laughter © Gene Laughter "Nags Head on the Outer Banks of North Carolina was a quaint seaside village when I shot this image. Old weathered houses dotted the shoreline and dunes. They had made it through many nor'easters and hurricanes. There was usually a rocking chair or two on the porch and windows were left open so the sea breezes would keep folks comfortable. You would see an old rusty jeep or pickup truck parked in the yard. All of this has now changed. Most of the old cedar homes are gone. In their places are huge mansions with swimming pools and decoratior interiors. BMW's grace the driveways. It's a new world. Progress they call it. I'm so glad I shot this picture of one of the houses at old Nags Head. The bromoil process fits the feel of this image perfectly, I feel. This bromoil was brush inked on Agfa MCC 118 paper and pastry brushes were used. I layered on the colors - applying a thin layer of a color each day and allowing the color to dry overnight before applying the next color. This allows each color to "set" and keeps the colors from blending and mixing, causing them to be less brilliant." (Gene Laughter, August 2006) |
| 5. |  | Gene Laughter 2001 End of Summer Bromoil print 7 x 9 in Provided by the artist - Gene Laughter © Gene Laughter "You can tell when the tourist season has ended at the beach by the clothes lines. During the summer season each of the cottages has bathing suits and colorful towels hanging on the outside clothes lines, waving in the breeze. When the clothes lines are bare it means that beach life has returned to a slower pace - the tourists have gone. I was attracted to this empty clothes line by the graphic nature of the scene. I liked the many converging lines and angles. Brush inked on Agfa MCC 118 paper using black, blue, yellow and brown inks." (Gene Laughter, August 2006) |
| 6. |  | Emil Schildt 2006 A kind of still Bromoil print Provided by the artist - Emil Schildt © Emil Schildt - courtesy of the artist |
| 7. |  | Emil Schildt 2006 Hope Bromoil print Provided by the artist - Emil Schildt © Emil Schildt - courtesy of the artist |
| 8. |  | Emil Schildt 2006 Icon Bromoil print Provided by the artist - Emil Schildt © Emil Schildt - courtesy of the artist |
| 9. |  | Emil Schildt 2006 The kiss of Bromoil print Provided by the artist - Emil Schildt © Emil Schildt - courtesy of the artist |
| 10. |  | Emil Schildt 2006 Prayer Bromoil print Provided by the artist - Emil Schildt © Emil Schildt - courtesy of the artist |
| 11. |  | Eliza Massey 2005 Guardians, Bahktapur, Nepal Bromoil print 5 x 7 in Provided by the artist - Eliza Massey © Eliza Massey - Courtesy of the artist |
| 12. |  | Eliza Massey 2002 Heading Out, Vinalhaven, Maine Bromoil print 6 x 9 in Provided by the artist - Eliza Massey © Eliza Massey - Courtesy of the artist |
| 13. |  | Eliza Massey 2005 The Offering, Nepal Bromoil print 6 x 9 in Provided by the artist - Eliza Massey © Eliza Massey - Courtesy of the artist |
| 14. |  | Eliza Massey 2006 Winter Stand, Quebec City Bromoil print 6 x 9 in Provided by the artist - Eliza Massey © Eliza Massey - Courtesy of the artist |
| 15. |  | Eliza Massey 2003 Wharf, Vinalhaven, Maine Bromoil print 6 x 9 in Provided by the artist - Eliza Massey © Eliza Massey - Courtesy of the artist |
| 16. |  | Joy Goldkind 2006 Adagio #1 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |
| 17. |  | Joy Goldkind 2006 Adagio #2 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |
| 18. |  | Joy Goldkind 2006 Adagio #3 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |
| 19. |  | Joy Goldkind 2006 Adagio #4 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |
| 20. |  | Joy Goldkind 2006 Adagio #5 [Adagio] Bromoil print 50.8 x 61 cm Provided by the artist - Joy Goldkind |
| 21. |  | Maija McDougal n.d. Tate Gallery Bromoil print Provided by the artist - Maija McDougal "I am often fascinated by modern architecture as one can find endless opportunities for composition. The multitude of planes and angles offer wonderful material for abstract images also abstractions. This shot was taken in London the Tate Gallery's modern extension featuring its entrance. The upwards directed lighting, on the walls and other structures, created a wealth of tonal values. To reproduce these in a bromoil print can truly test ones inking skills. " (Maija McDougal, August 2006) |
| 22. |  | Maija McDougal n.d. Palais Royal Bromoil print Provided by the artist - Maija McDougal "Perhaps this is no more than a study of linear perspective and symmetry, but for the figure in it. The human element provides a focal point of interest, like the much used "red hat" in colour photography. The shot was taken in Paris and is the only one in this set with architectural features from an earlier era." (Maija McDougal, August 2006) |
| 23. |  | Maija McDougal n.d. Glass building Bromoil print Provided by the artist - Maija McDougal "In this, purely a pattern picture, the distribution of tonal values had to be changed completely to create a strong and acceptable composition. In the original bromide print the ascending central figuration carried the deepest tonal values, then tossing them towards the edges. This just did not feel right. Using the expression "feel" rather than "look", I am implying that the forces of intuition rather than cold intellectual calculations take over and guide my eye and brushwork more often than not." (Maija McDougal, August 2006) |
| 24. |  | Maija McDougal n.d. Stairwell Bromoil print Provided by the artist - Maija McDougal "It is an image I had taken not long after I had become seriously interested in photography, in the days when the camera was pointed in any direction and every image in the viewfinder looked like a masterpiece to me. I soon learnt the truth. One was lucky if one could find one or two promising or useful images amongst the 36 exposures on the contact sheet. Several decades later I felt it was a worthy image to work on and to be included in my Fellowship panel, "On the Edge of the Abstract"." (Maija McDougal, August 2006) |
| 25. |  | Maija McDougal n.d. Triangles Bromoil print Provided by the artist - Maija McDougal "Triangles is another subject I had used for the Fellowship panel, however, not in colour, but as a monochrome. It represents a section of a large spherical glass building in Oxford. When contemplating the use of coloured inks one is immediately confronted with the choice of them. In an abstract image, of course, it can be entirely arbitrary. The six centrally placed triangles have receives the brightest colours drawing one's eye towards them, whilst the deeper blues and greens form a framework around them. Almost the full spectrum of colours has been used. To give the image an overall unity, however, colours have been used in a muted manner. This was achieved, more or less, by deliberately carrying a colour across into the adjacent areas. To diffuse the colours even further, a stippling action with a clean brush was applied all over the print. " (Maija McDougal, August 2006) |
| 26. |  | Chuck Kimball 1992, October Tami in her Blue coat Bromoil print 4.5 x 6.5 in Provided by the artist - Chuck Kimball © Chuck Kimball - Courtesy of the artist 4.5 x 6.5 inches, edition of 4, 1993, second edition larger of 4 in 1994. "An example of a near perfect (in my mind) color transfer… all the positive elements are in this one, soft colors, diffuse subject, yet with detail, good registration, the large area of abstract leaves to let colors play as they will… proper lighting, and a very good subject, a new friend of the camera… this image came after Tami and I had been working on some monochrome figure studies in the studio, a little break and relaxation and a good example of my earlier outdoor figurative style … 35 mm color negative separated directly onto Oriental panchromatic paper, transferred to Lanaquarelle watercolor paper (a favorite), using an old Swedish mangle for the pressingà" (Chuck Kimball, August 2006) |
| 27. |  | Chuck Kimball 1994 (ca) Laura's grey shirt Bromoil print 4.5 x 7 in Provided by the artist - Chuck Kimball © Chuck Kimball - Courtesy of the artist "During the 18 or so years of photographing one of my most often seen subjects, Laura and I developed a sense about images, often thinking over and around each other, setting ideas in motion, and adjusting the images to fit… this one just "happened" one afternoon, on the way from one setup to another, and we both felt the balance. This print remains one of my favorites, thankfully surviving the fire, and has a wider range of technical correctness than most of my bromoils… again, from the 35 mm color negative, printed onto Oriental panchromatic paper and transferred (using the mangle) to Lanaquarelle watercolor paper." (Chuck Kimball, August 2006) |
| 28. |  | Chuck Kimball 1994 (ca) Laura by the teahouse, morning sun Bromoil print 5 x 8 in Provided by the artist - Chuck Kimball © Chuck Kimball - Courtesy of the artist 5 x 8 inches, edition var. of 5, ca. 1994 "One of the technically adjusted color bromoils from a series using color slide film (Ektachrome 64) processed as a negative in a non-standard way. This processing method yields a very soft color content, with some interesting color balance problems: perfect for the bromoil transfer as we can make corrections on the fly as they say… The edition of prints varies from this early morning feel to a late afternoon sun image with golden highlights… I am fond of the way the colors of the image can be left to their own devices to some extent on the edges, much as the leaves in Tami were left to wander. This quality becomes one of the great tools of this technique." (Chuck Kimball, August 2006) |
| 29. |  | Chuck Kimball 1994 (ca) Laura! Bromoil print 4 x 4. in Provided by the artist - Chuck Kimball © Chuck Kimball - Courtesy of the artist "Another image from the Ektachrome experiment, cropped for effect, and printed on a smoother paper (Rives BFK) from the separation prints. On very close examination, one can see the "dry brush" modeling of color in the skin tones, giving a luminous quality to the image. The combination of image grain and brush techniques in inking the matrices gives great control over such effects. Small images like this have been a favorite of mine for many years." (Chuck Kimball, August 2006) |
| 30. |  | Chuck Kimball 1992 (ca) Lauro's tulip Bromoil print 7.5 x 6 in Provided by the artist - Chuck Kimball © Chuck Kimball - Courtesy of the artist "Not Laura, but Lauro, a friend, fisherman, and gardener. He grows the perfect tulips and is free with them to his friends, who let them wither and fade, and then photograph them. (his two lovely daughters have been subjects for longer than Laura) This image is an indication of my current direction, revived from a period in the early 1980's where grain in color film was cool… I photographed many subjects - women, flowers, buildings, and still things - using the then popular Agfachrome RS1000. Nanessence and I used this film extensively in 1986 in a series of editorial fashion spreads and moved it to our art pieces shortly after. Sadly, this film is long gone, but, by using the graining effect of stiffer bromoil brushes and rough papers, a very similar effect can be had. Again, the freedom and variation of color in the out of focus background is quite important to me." (Chuck Kimball, August 2006) |
| 31. |  | Peter Liepke 2003 After the Game [Children] Bromoil print 9 x 6 in Provided by the artist - Peter Liepke © Peter Liepke - Courtesy of the artist |
| 32. |  | Peter Liepke 2005 Father and Son [Children] Bromoil print 8 x 6.5 in Provided by the artist - Peter Liepke © Peter Liepke - Courtesy of the artist |
| 33. |  | Peter Liepke 2003 Saturday Afternoon [Children] Bromoil print 7.5 x 5.5 in Provided by the artist - Peter Liepke © Peter Liepke - Courtesy of the artist |
| 34. |  | Peter Liepke 2003 Spanish Harlem Girl [Children] Bromoil print 8 x 6 in Provided by the artist - Peter Liepke © Peter Liepke - Courtesy of the artist |
| 35. |  | Peter Liepke 2003 Spring Dance [Children] Bromoil print 9 x 6 in Provided by the artist - Peter Liepke © Peter Liepke - Courtesy of the artist |
| 36. |  | Henk Thijs 2000 Amsterdam Harbor Bromoil print, on aluminium 40 x 50 cm Provided by the artist - Henk Thijs Bromoil made on aluminium prepared with Liquid Light emulsion "The aluminium gives an extra impact to the world of a harbor." (Henk Thijs) |
| 37. |  | Henk Thijs 1990 Paris bridge Oil print. paper negative Provided by the artist - Henk Thijs Oilprint - papernegatif - on 350 grs Fabriano no 5 paper "I was stucked by the dancing of the light on the rear windows of the cars and the 'dance' of the pedestrians." (Henk Thijs) |
| 38. |  | Henk Thijs 2000 Heerlen, Two horses in the rain Bromoil print Provided by the artist - Henk Thijs Bromoil print on Kentmere Doc Art paper "A moaning horse in the rain; a small gipsy camp, raining for days, no grass at all , only mud, no shelter.'" (Henk Thijs) |
| 39. |  | Henk Thijs 1991 Paris metro Oil print Provided by the artist - Henk Thijs Oilprint on 350 grs Fabriano Paper " Typical a bit desolate atmosphere in the metro, an extra was the 'jazz, big brother watching you'" (Henk Thijs) |
| 40. |  | Henk Thijs 1987, January Luxembourg Oil print Provided by the artist - Henk Thijs Oilprint on 350 grs Fabriano no 5 "Looking out of the window of my hotel room on an early morning in January. It was with the bromoil process that I was able to print a satisfactory image." (Henk Thijs) |
| 41. |  | Cec Bown 2003 Eilean Donan Castle Bromoil print 10 x 6 in Provided by the artist - Cec Bown |
| 42. |  | Cec Bown 2001 Ironbridge Bromoil print 10 x 8 in Provided by the artist - Cec Bown |
| 43. |  | Cec Bown 2002 Memories Bromoil print 10 x 8 in Provided by the artist - Cec Bown |
| 44. |  | Cec Bown 2003 Plockton Stores Bromoil print 10 x 8 in Provided by the artist - Cec Bown |
| 45. |  | Cec Bown 2003 The Paddock Gate Bromoil print 10 x 7 in Provided by the artist - Cec Bown |
| 46. |  | René Smets 2004 Yonge vissers Bromoil print Provided by the artist - René Smets © René Smets |
| 47. |  | René Smets 2000 Kapel Bromoil print Provided by the artist - René Smets © René Smets |
| 48. |  | René Smets 2001 Na de oogst Bromoil print Provided by the artist - René Smets © René Smets |
| 49. |  | René Smets 1985 Spookhuisje Bromoil print Provided by the artist - René Smets © René Smets |
| 50. |  | René Smets n.d. Lichtspel Bromoil print Provided by the artist - René Smets © René Smets |
| 51. |  | Kevin Dingman 2002 What Remains Bromoil print 9 x 7 in Provided by the artist - Kevin Dingman Courtesy of the artist Inked in Hard Black & Brown |
| 52. |  | Kevin Dingman 2002 Dillard Loft Bromoil print 9 x 7 in Provided by the artist - Kevin Dingman Courtesy of the artist Inked in Hard Black & Brown |
| 53. |  | Kevin Dingman 2002 Stonewall Bromoil transfer 9 x 7 in Provided by the artist - Kevin Dingman Courtesy of the artist Inked in Hard Black & Brown |
| 54. |  | Kevin Dingman 2000 Highway 57 Bromoil transfer 7 x 3 3/4 in Provided by the artist - Kevin Dingman Courtesy of the artist Inked in Hard Black & Blue |
| 55. |  | Kevin Dingman 2002 Paris Barn Bromoil print 9 x 7 in Provided by the artist - Kevin Dingman Courtesy of the artist Inked in Hard Black & Brown |
| 56. |  | Siegfried Utzig 2001 Dettifoss Bromoil print Provided by the artist - Siegfried Utzig © Jerry Spagnoli |
| 57. |  | Siegfried Utzig 2001 Selfoss Bromoil print Provided by the artist - Siegfried Utzig © Jerry Spagnoli |
| 58. |  | Siegfried Utzig 2001 Skaftafjellsjökull Bromoil print Provided by the artist - Siegfried Utzig © Jerry Spagnoli |
| 59. |  | Siegfried Utzig 2001 Jökullsarlon I Bromoil print Provided by the artist - Siegfried Utzig © Jerry Spagnoli |
| 60. |  | Siegfried Utzig 2001 Jökullsarlon XII Bromoil print Provided by the artist - Siegfried Utzig © Jerry Spagnoli |