I just made some tests with the CHEN FU papers (semi matte and glossy) and found
it rather disappointing. Maybe I did s. th. wrong, but if this paper is close to
'old' bromoil papers, I don't understand why bromoil could become so popular at
that time... Even at 122 F and strong lithographic ink I couldn't keep the
unexposed areas white. What kind of secret do the members of the bromoil circle
have to make this paper work?
With the same processing I also tried the FOTOKEMIKA bromoil paper. It was the
complete opposite material. I got a coinlike relief at 68 F allready and a very
delicate surface that was scratched at the slightest touch with my finger nail
or other papers. But although it was obviously overswollen, it could be inked up
- very carefully ;-) - and gave a good black, although a lot of highlight
texture was lost even if it was exposed to a certain grey. But the biggest
disappointment for me was: It is a resin coated paper. This may make it suitable
for bromoil transfer if it is hardened a little more, or probably perfect for
carbro, as it certainly is not supercoated, but I don't like plastic as final
support for my photographs :-(
Therefore I will continue my efforts to get a good bromoil paper made. But this
may become difficult, as Schoeller, the world's biggest manufacturer of
photographic base paper, told me today, that all baryta coated fibre base
supports today contain 6 mg or more formaldehyde per kg paper. And this will
harden the best emulsion during storage...
Klaus Pollmeier