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He mastered the bromoil process early on and later developed and refined his own techniques for lighting, multiple exposures and the like.

A bromoil transfer print titled by Mr. Faber “Devotion, Austria 1914” is signed by Rudolf Koppitz.

It is the general effect that interests the outsider, and he cares not whether the print is a gum, a bromoil, a bromide, a platinum, or a palladiotype.

The beauty of a bromoil print, for instance, is supreme to its devotee: is its superiority to other processes worth the time and the toil necessary to make it, which might be devoted to the study of composition, of a wider range of subject, or to the mastery of simpler processes?

As to processes that are in favor, the bromoil and the bromoil transfer still continue to attract a host of workers.