472 



HANDBOOK OF PHOTOGRAPHY 



its gelatin will be amply hard to withstand the later processing. If, however, the first 

 printing has been light and the later ones are to be heavy, it is well to bathe the first 

 one 5 niin. in a 5 per cent alum bath before proceeding with the further printings. 

 In this case the print must be thoroughly washed, for the alum remaining in the gelatin 

 will damage the subsequent prints. 



In multiple printing, the first print is used precisely as the transfer paper was for 

 the first printing, the additional prints being transferred to it and developed on it 

 exactly as has been described. It is, however, necessary to adopt some means for 

 registering the several printings with one another, and this is most easUy done as 

 follows: 



The mask for the negative is made, in the case of a film, of thin brown pressboard, 

 and the negative is attached to it by a touch of Duco cement at one end; it should not 

 be fastened down all around, or it will certainly buckle during printing. If a glass 

 negative is used, the mask is made of cardboard of the same thickness as the negative, 

 or slightly less, and a hole is cut in it so that the negative fits snugly in this hole. 

 Four register marks are made on this mask, as indicated in Fig. 1, and when the 



Prinfing frame- 



jV 



Mask 



Tissue 



1^ 

 '"^Regisf-rafionl- 



marks 



J^ 



Fig, 



1.' — Mask with registration 

 marks for negatives. 



carbon tissue is placed in the frame for printing, four 

 corresponding marks are made on it with a sharp 

 pencil. Then, after the print has been squeegeed to 

 the transfer paper and just before development, four 

 marks are made on the face of the transfer paper, 

 corresponding to the marks on the backing paper. 

 Development then proceeds in the usual manner. 

 The carbon tissue for the second printing is cut the 

 same size as that for the first, and when it is placed 

 in contract with the negative in the frame, four marks 

 are made on it, corresponding to those on the mask. 

 When squeegeeing this second print to the transfer 

 paper on which the first printing has already been 

 developed, these marks are placed in register with 

 the marks on the transfer paper. By this means, 

 any number of printings may be applied, with the 

 assurance that all will register with one another. It 

 will very possibly be found that the transfer paper 

 will change slightly in size with processing, but the difference is not likely to be great, 

 and since by the method indicated it will be split both ways, any failure in precision 

 is not likely to be troublesome. In general, it is possible to work by this method 

 within H' mm., a difference which is not important except in three-color work. 



This method has been used to produce prints in color, the worker masking out 

 certain areas in the various printings, so as to obtain, say, a sunset sky in red with the 

 landscape in green, or a still life of a rose with the flower red and the foliage green. 

 Inasmuch as the colors obtainable are rather definite and lacking in delicacy, the 

 results of this procedure are almost sure to be harsh and unpleasant; those that the 

 writer has seen were without exception very painful. But by using various harmon- 

 izing colors, allowing the later printings to take a tone from the earlier ones, results 

 may be obtained which are similar, though far superior, to those obtained by the 

 toning of bromide prints. Thus the writer has made a very delightful portrait by 

 using a first printing of Red Chalk, printed rather deep and transferred to a buff transfer 

 paper, with five subsequent A^ery light printings of Ivory Black. The final print 

 ranged from a buff in the extreme high lights to an exceedingly rich warm black in 

 the shadows. Of course, for this purpose a very soft negative was used. In general, 

 when multiple printing is used, its value lies in the great richness of the shadows, a 



