This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
108. For all record work, or where an inversion of the image would be a detriment, however, the single transfer picture must be again reversed before it can be made use of. This, in turn, is accomplished by squeegeeing, under water, the finished and dried print, which is on the temporary support, to a third support, which can be specially prepared and of almost any nature. The third, or final, support as it is termed, has greater adhesive action on the tissue than the second or temporary support, and this second support-usually paper or celluloid-can be removed, leaving the finished picture right side to on the final support. This method is called "double transfer" and presents certain difficulties which are all thoroughly explained in the following instruction.
With A Large Choice Of Color, And With The Possibility Of Attaching The Tissue To Almost Any Kind Of Support-Paper, Celluloid, Japanese Tissue, Metal, Wood, Silk, Etc. a great variety of results can be obtained. Prepared transfer papers in all varieties and tints can be purchased or the worker can prepare his own supports as described herein.
Permanency. Assuming that the pigments selected by the manufacturers are chemically pure, the carbon print is absolutely permanent, as far as any print on paper can be permanent. The simplicity of the operations and the absence of any chemical in the finished print also tend to permanency of the result.
111. Control of the print is obtained by the use of this or that color of pigment and by varying the strength of the sensitizing bath. Contrasts can be reduced by transferring the print to cream colored, rough surfaced paper, etc.
112. Pictures on carbon tissue can be transferred to china, watch cases or dials, etc., affording great possibilities for decorative effects.
Poison-Caution. Where one is subject to chemical poisoning, great care should be exercised in the use of bichromate of potassium solutions. This is a poisonous salt and acts as a strong irritant when it gets under the skin. To avoid possible poisoning through the skin it is always advisable for the worker to wear a pair of rubber gloves or, at least, rubber finger stalls, when sensitizing the tissue. The bottles containing the bichromate solutions, too, should be marked "poison," to avoid accidents.
Selecting Colors Of Tissue For Special Subjects. Carbon printing is extremely fascinating work. While the process may sound lengthy, it is in reality very simple. Tissue, chemicals and the necessary apparatus do not call for any great outlay of money and the results of a carefully made carbon print are unequalled by any other process.
116. With the wide choice of colors, it is an easy matter to select one which will best suit the character of the picture or subject. For instance, pictures in which the composition depends on broad effects rather than fine detail, such as sunsets, would look well in red chalk.
117. Wave studies will take on a new aspect in marine-blue, or, better still, sea-green.
119. Sepias or warm browns are specially suited to woodland scenes.
121. Snow scenes are well interpreted in light blue, green, or even black, tones.
122. Old houses and quaint cottages appear well in sepias, while more severe architectural views, in which fine detail is required, should be printed in black and brown.
123. On the other hand, carbon tissue is not suitable for panoramic views in which there is an over-abundance of fine detail, or for scientific work, machinery, etc.
124. Printing-out paper or bromide is the best for commercial use; carbon for pictorial or portrait work. No rule, however, is without its exceptions and the skilled worker will, of course, be able to use carbon for any and all purposes.