Abstract
ABOUT five years ago Mr. G. E. H. Rawlins introduced, as a practical method of making photographs, a process described fifty years previously by Poitevin. Paper coated with gelatin is sensitised by soaking it in a solution of potassium bichromate, dried, and exposed under a negative. Where light has acted the gelatin is rendered less able to absorb water, so that if the print is moistened, and a roller charged with a greasy ink is passed over it, the ink is taken up by the print more readily where the light has produced the most change and the water has been the least absorbed. The use of rollers for the application of the ink soon gave way in favour of brushes. This process commended itself to many photographers, especially those who desired to “control” their prints, that is, to produce what they desired rather than what they were able to secure by photographic methods, for it is possible to put on much or little ink, and to reduce or increase the quantity in the various parts of the print as the taste of the worker may dictate. Obviously a wide choice of colours is available, and the method has the advantage of giving the peculiar richness and depth of tone associated with oil colours.
Article PDF
Rights and permissions
About this article
Cite this article
The “Bromoil” Process . Nature 80, 324–325 (1909). https://doi.org/10.1038/080324a0
Issue Date:
DOI: https://doi.org/10.1038/080324a0