A second method of making two transfers from one bromoil is first to swell it normally, then ink up thoroughly and transfer. It is then highly swollen with ammonia and the shadows only treated with hard ink. The result of the second transfer on the first one is again full gradation in the print. This method, however, is not very advisable, as the print cannot be used again if the second transfer is not successful. It is better to adhere to the first method, and preferable to use two inks of different consistency rather than two differing degrees of relief.
If, however, the combination transfer from a single bromoil is to give the best possible gradation, the exposure and development of the bromide print must be properly done, the process being essentially that of Benndorf, referred to on [page 143].
The bromide print must be fully exposed and developed very soft; the image then seems flat, and yet every gradation of tone present in the negative is actually shown in the bromide print. If a print thus prepared is treated with inks of two consistencies, the best results are obtained.
The Value of Combination Printing.—With the aid of combination transfer it is possible to solve problems in the bromoil printing process, which were hitherto unsolvable, and Dr. Mayer correctly remarks at the end of his treatise: “The transfer process has advanced to the first place and in future in the hands of the expert, bromoil printing is likely to be considered as a process of secondary importance.”
I was early convinced that transfer would replace bromoil printing and am absolutely of the opinion that combination transfer will do its share in making my opinion universal. Still I do not believe that it is necessary to use combination printing in all cases. I would especially warn the beginner against using it exclusively; he should rather endeavor to make simple transfers starting from a perfect bromide and a perfect bromoil print, for by this means he will attain much more certainty in printing technique. Only when he has absolutely mastered this technique, should he begin experiments in combination transfer from one bromoil.
Every worker should endeavor to use the technique of combination transfer for the execution of an artistic idea, rather than for overcoming technical difficulties in single transfer.
Then it will, however, always give excellent results. Aside from the solution of such problems as views from a dark space into a brilliantly lighted distance, or pictures of falling water in conjunction with its dark surroundings, etc., it will be especially useful to the portraitist in treating his backgrounds.
Combination transfer from two originals will, however, be most valuable artistically, when there is a question of combining sharply defined parts of a picture with softer parts. Thus, for instance in a landscape, we may make a sharp print and, by the use of bolting cloth, one with soft outlines; the parts which it is desired to emphasize will be worked up on the former and artistic softening added from the latter.
Briefly, the possibilities are so many that they can hardly be indicated, not to speak of describing them in full. This is, besides, hardly necessary, for the worker who has reached full mastery of combination transfer is necessarily so far advanced artistically, that he will find out for himself all that is necessary.
Retouching and Working Up.—A good bromide print can only be prepared from a good negative. So says the expert bromide printer. The bromoil printer requires a faultless bromide print as the fundamental condition. The transferrer, finally, will not use an imperfect bromoil print for transfer.