Re: Analyzing Namias's Approach to Using Rosin
John, although the Resinotype offers faster results than Bromoil I wonder if there are any other advantages in going away from using greasy inks to dry powder.although oil/bromoil may be turned opaque, I believe that you must not think in term of advantages but instead in term of different look. In my opinion the velvety look of the shadows, contrasting with the shining of the highlights, is the main difference that one see between an oil print and a resinotype. A friend of mine made a resinotype of a woman dressing a silk shirt whose pleats had an interesting tridimensional look due to this rough/smooth contrast. Before rendering the Venice courtyards in resinotype, I tried bromoil prints with green ink, but I was not satisfied by the result. What I wonted, was to give the sensation of the humid shadows and the cold light. Resinotype, though in my prints there is much more work than in a straight dusting on, has been the way to achieve it. But I have climbed also different routes (see my portfolio "Resinotype tests"). [...] Oil Printing which seems nearer to Resinotype, offering a greater choice of paper supports and less preparation was for Namias obviously a step towards Resinotype.Oilprint, bromoil, resinotype and carbro must be considered also in the frame of the evolution of the negatives. As in 1910-20 there was happening the surpass of the small format "plastic" negatives to the large format glass ones, bromoil, resinotype and carbro were taking advantage from the direct enlargement on photographic paper in contrast to oil and carbon print. Alberto
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