This site is called “orochrome” as my aim to make colour images  based on the orotone process. My principal subjects using this technique are portraits where the colour image is built up and printed directly on the glass from a three (or four) colour carbon process and then coated with a pure gold, or electrum, surface

I can work from a colour negative (or positive) and then make colour separations, but for a more dynamic process,  I am building a multiple focal plane camera and simultaneously taking three (or 4) monochrome negatives through colour filters and then transferring, in registration,  to a glass sheet with carbon “tissues” in complimentary colours. Vivex made a similar one shot camera in the 1920s, I am working with the 6 x 7 cm format as it is more flexible.

All the techniques I work with are traditional, analogue photographic processes. I do not use any software, digital equipment or printers for this work as I feel that it deadens the result – I do take simple digital snaps to put my ideas onto this website of course.

My first orotones were made using silver based, photographic gelatine emulsions and coating this onto glass plates which I then printed on from negatives in an enlarger. I changed this to a carbon transfer process, but now often use the carbro process as it gives me more control on the size and quality of the print. I am experimenting with other processes using gum, the Fresson process has  potential.

Camel Dealer in Omdurman Camel Market

It is difficult to effectively show an orotone on a screen. The image is under the glass surface and is highly reflective, this is part of the “magic” of the orotone, it has depth and vibrancy which cannot be shown in any one photo copy  – I have made a few videos where I slowly move the image, this helps a bit, but this is not as good as holding the image or standing in front of it.

The print is under the glass surface, it is totally protected from damage and can be easily cleaned with a soft cloth – it will last forever (unless you hit it with a hammer). I protect the back of the print with a strong varnish and  frame and usually seal the orotone into the frame (I believe that Edward Curtiss did this).

My current work is to make colour separation negatives and transfer carbro prints from these using coloured “tissues” – a lot of trial and many, many errors, – I am experimenting with different colour palettes and with anamorphic lenses to get away from the entrenched conventions of perspectives and perceptions of time, dictating how we “see”.

Other techniques have a lot of interesting potential, I have recently done some work experimenting with ideas based on the “Fresson” process.