Bromoil Printing — The Painterly Photographic Process Using Lithographic Ink

Bromoil is one of the most painterly and hands-on photographic printing processes ever devised — a technique where a silver gelatin print is bleached, tanned, and then inked by hand with lithographic ink applied with stiff brushes. The result is a print that bridges photography and painting: the photographic image provides the structure, while the brush-applied ink adds texture, emphasis, and the unmistakable mark of the human hand. Every bromoil print is unique — the inking process makes it impossible to produce identical impressions. Developed in the early 1900s and championed by Pictorialist photographers, bromoil remains one of the most challenging, most rewarding, and most beautiful photographic print processes. This guide covers the history, chemistry, inking technique, paper selection, troubleshooting, and creative potential of bromoil printing.

History and the Pictorialist Connection

Bromoil was developed by C. Welborne Piper in 1907 as an improvement on earlier oil-pigment processes. It was enthusiastically adopted by the Pictorialist movement — photographers who sought to elevate photography to fine art status by emphasising handwork, atmosphere, and artistic interpretation over mechanical reproduction. The Pictorialists loved bromoil because it placed the photographer firmly in the role of artist-printer: every decision during the inking process — how hard to press, where to apply more ink, where to withhold ink — was a creative act. The process thrived through the 1930s, declined with the rise of straight photography, and has been revived by contemporary alternative process practitioners who value its unique combination of photographic precision and hand-made beauty.

How Bromoil Works

The bromoil process exploits the relationship between gelatin hardness and ink acceptance. A silver gelatin print is bleached in a tanning bleach (typically a copper sulphate/potassium bromide formulation) that simultaneously removes the silver image and hardens (tans) the gelatin in proportion to the original silver density. Where the image was dark (dense silver), the gelatin becomes hard; where it was light (little silver), the gelatin remains soft. The print is then soaked in water. The soft, untanned gelatin absorbs water and swells; the hard, tanned gelatin resists water and remains relatively dry. Lithographic ink — an oil-based ink — is then applied with brushes. The ink adheres to the dry, tanned areas (corresponding to the dark tones of the original image) and is repelled by the swollen, water-saturated areas (corresponding to the light tones). This is the same water-rejects-oil principle used in lithographic printing.

Materials and Equipment

You need: silver gelatin photographic paper (matte or semi-matte fibre-based paper works best), photographic developer and fixer, tanning bleach (copper sulphate-based formula), lithographic ink (stiff, oil-based printing ink — Charbonnel, Graphic Chemical, or Cranfield are excellent), bromoil brushes (stiff, short-bristled brushes — traditional bromoil brushes or short-cut hog-hair oil painting brushes), a smooth glass or marble slab for ink preparation, a flat, clean surface for inking, water trays, and patience. The process demands precise chemistry and considerable manual skill — expect to spend several sessions learning the inking technique before producing satisfying prints.

Step-by-Step Process

Step one: make a silver gelatin print — slightly overexposed and slightly underdeveloped for best bromoil results (the bleach needs sufficient silver to create differential tanning). Step two: fix and wash thoroughly. Step three: bleach the print in the tanning bleach solution until the silver image has faded completely and the gelatin is differentially tanned. Rinse thoroughly. Step four: soak the bleached print in clean water for 10–30 minutes until the gelatin has fully swelled. Step five: remove the print from the water and blot the surface gently to remove excess surface water. Step six: prepare the ink — work a small amount of lithographic ink on the glass slab with a palette knife until it has a smooth, consistent consistency. Step seven: ink the print. Using the stiff brushes, stipple (dab) the ink onto the damp print surface. The ink will adhere to the tanned (hard, dry) areas and be repelled by the swollen (wet, soft) areas. Build up ink density gradually through multiple inking passes.

The Inking Technique

Inking is the heart of bromoil — and the most difficult skill to master. Use a stippling motion (vertical dabbing) rather than brush strokes. Press too hard, and ink forces into the wet areas (destroying highlights). Press too lightly, and not enough ink transfers to the tanned areas (weak shadows). The correct pressure is firm but controlled — building tone gradually over 10–30 minutes of patient inking. Start with the darkest areas and work towards the mid-tones. Avoid the lightest areas initially — they should repel ink naturally. As the paper surface begins to dry during inking, it will accept ink more readily in the mid-tones — you can control the tonal range by managing the moisture level. Re-soaking the print (briefly dipping it in water) resets the moisture and allows you to continue inking with fresh control. The inking process typically involves multiple soak-ink cycles.

Bromoil Transfer

An inked bromoil print can be transferred to another sheet of paper by pressing the inked surface against a dampened receiving paper and running both through an etching press. This transfer reverses the image (mirror image) and produces a softer, more atmospheric print on the receiving paper — while the original bromoil retains a ghost of the image. Multiple transfers can be made from a single inked bromoil, each progressively lighter. The transfer technique is called "bromoil transfer" and produces prints with a delicacy and softness that even the directly inked bromoil cannot match. The receiving paper can be any fine art paper — watercolour paper, Japanese washi, or printmaking paper — giving you creative control over the final substrate.

Paper and Ink Choices

Matte or semi-matte fibre-based papers produce the best bromoil results — the surface texture helps hold the ink, and the gelatin swelling behaviour is more predictable than on glossy or RC papers. Ilford Multigrade FB Classic (matte) and Foma Fomabrom (matte) are popular choices. The ink colour is your choice: black lithographic ink for traditional monochrome, or coloured inks (sepia, warm brown, blue, green, red) for toned effects. Different ink colours transform the mood of the image — sepia for warmth and nostalgia, blue for coolness and distance, deep brown for an old-master quality. Mixing inks produces custom colours. The ink stiffness affects the inking behaviour — stiffer ink gives more control; softer ink flows more easily but is harder to keep out of the highlights.

Troubleshooting

Ink in the highlights: the paper is too dry — re-soak it and blot more carefully before inking. Alternatively, the ink is too soft — stiffen it by working it longer on the slab or mixing with a stiffer ink. Weak shadows that will not take ink: the tanning bleach was insufficient — the gelatin is not tanned enough to reject water and accept ink. Re-bleach if possible, or start with a new print and bleach longer. Patchy, uneven inking: the brushwork is inconsistent — practise the stippling technique on test prints. Build tone slowly and evenly. Paper curling during inking: FB paper curls when unevenly wet — tape the edges to a flat board during inking, or use a heavier paper weight. Ink drying on the brushes: clean brushes frequently and keep working the ink on the slab to maintain consistency.