DOUBLE TRANSFER PROCESS.
As pointed out earlier in this article, the foregoing method reverses the picture unless a negative has been specially made for single transfer in the first instance. For direct prints where reversal would be objectionable, we must use the double transfer process, which is quite as easy to work as the single transfer, but involves one more operation.
The additional materials required are, Temporary Support, Final Support, Waxing Solution.
With this process the procedure is exactly the same as regards the printing and development, the only difference being that a temporary support takes the place of the single transfer paper. A flexible temporary support is manufactured specially for this purpose. If it cannot be pro cured, a sheet of finely ground opal will serve the purpose equally well, provided the print is to be finally transferred to paper or other flexible surface. Whichever is used, the surface must be first prepared with waxing solution. This is composed of : Yellow resin, - --- - - - 36 grains.
Pure bees-wax, 12 grains.
Ether, - -- ---- 2 OZS.
After melting the wax, add the resin and thoroughly mix, remove from the fire and add the Ether.
A small pool of the waxing solution must be poured in the center of the opal or flexible temporary support, and this is then rubbed all over the surface with a piece of clean flannel. Allow to stand for a few minutes and then lightly polish with another piece of flannel. Directly the smell of the Ether has gone, the support is ready for use and may be kept in this condition.
The print being developed, alumed, washed and dried, on the temporary support, is ready for the final operation. We cut a piece of the final support, a paper somewhat similar to single transfer paper, but coated with a thicker couch of more soluble gelatine, and place it in a 2 Alum Solution about an hour before required for use. The print on its temporary support is now immersed in tepid water, 7o°F.; the final support is withdrawn from the Alum Solution, lowered into the tepid water, avoiding bubbles, so that the gelatinous side comes in contact with the print. The temporary and final supports are now withdrawn from the water together, placed on the squeegeeing board, the final support being uppermost, and brought into perfect contact by the vigorous action of the squeegee. When perfectly dry, the print will leave the temporary support without difficulty, indeed if dried in a warm current of air it will probably fall off without our aid.
Where opal is used, it may be necessary to insert a knife at the edge of the print. The temporary supports are not damaged by these operations and may be used for a large number of times, if waxed after each time of using.
In conclusion, I would urge every serious photographer to master this fascinating process, for, till he has done so, he must be unaware of many of the possibilities of his art.