Chapter II: Preface: iii

CONTENTS vi

PRELIMINARY REMARKS 1

CHAPTER I

PRODUCTION OF THE BROMIDE PRINT—Definition of Perfect Print—The
Choice of the Paper—Development—Control of the Silver Bromide
Print—Fixation 10

CHAPTER II

THE REMOVAL OF THE SILVER IMAGE—Bleaching—The Intermediate
Drying 29

CHAPTER III

THE INKING-UP—The Production of the Differential Swelling—The
Properties of the Relief and Its Influence on the
Character of the Picture—Effect of Warm Water—Effect of
Ammonia—The Utensils—Brushes—The Inks—The Support—Removal
of the Water from the Surface of the Print—The Brush
Work—Use of Dissolved Inks—Use of Rollers—Resoaking of the
Print during the Working-up—Removal of the Ink from the
Surface—Failures—Alteration of the Character of the Picture
by the Inking—The Structure of the Ink—Different Methods of
Working—Hard Ink Technique (Coarse-grain Prints)—Soft Ink
Technique—Sketch Technique—Large Heads—Oil Painting Style—Night
Pictures—Prints with White Margins—The Swelled-grain
Image—Mixing the Inks—Polychrome Bromoils 38

CHAPTER IV

AFTER-TREATMENT OF THE FINISHED PRINT—Defatting the Ink
Film—Retouching the Print—Refatting of the Print—Application of
Ink to Dry Prints 104

CHAPTER V

TRANSFER METHODS—Simple Transfer—Combination Transfer with One
Print-plate—Shadow Print—High Light Print—Combination Transfer
from Two Prints 115

CHAPTER VI

OIL VS. BROMOIL 134

CHAPTER VII

BROMOIL TRANSFER, by Eugen Guttmann—The Bromoil Print—The
Choice of the Paper—The Machine—Printing—Combination Printing
with One Bromoil—The Value of Combination Printing—Retouching
and Working-Up—Drying 142