It is bromoil a blind stream of todays photography or it is a logical step after the fall of the modernism believe in brain and after horror of emptiness of the postmodern smirks? I dont know. I was taught and grown in belief in modernism. My teacher is a conceptual artist and my more admired photographer, Jozef Sudek, he is one of them who define modern photography. And it is not so hard start to feel that going on the bromoil way, the way I stepped out impulsively few months ago, is a betray. The biggest fear of every true modernist is to be accused of producing kitsch. I strongly believe, and there is less then a few I can do with it, that you can do in art what you want or need or have to, unless the producing a kitsch. Of course, the definition of what is kitsch can be crucial. But we can try to hold things simple and say, that kitsch is equivalent of fake. To make up in Photoshop a dramatic landscape from a moody shoot is a fake. Maybe no everybody would agree with the next, but in my opinion the same for make up in darkroom a perfect picture from a moody shoot, that is a fake too. It is obvious that to say that a bromoil is kitsch looks to be in line with previous steps. There is only one exception, only one way how to avoid this fear and this accusation. At first one have to produce the best silver print he can. He has to take picture of something he really loves, he is really interesting in, he is living with for days and days, something he knows and understand and he has to wait for the right time and the right light. The in the darkroom or on the computer he has to produce the print he can put on the wall, the print he can consider as a part of his portfolio, his work. It must be so good print that he has to hesitate to bleach it; he has to take it as a sacrifice. And after that he may to try to push picture father by inking it as a bromoil. Sorry to be too long but I cant say it shorter. Every reaction, opinion, comments, every impulse will be welcome.