The Marks of Man

Here is another article from my old site "Shadowland". Fred Endsley CHANGING THE COLOR OF BLUEPRINTS "Probably the most significant problem in the use of the blueprint, though, is a psychological rather than a chemical one. We find that we are working against a cultural or conventional color bias: the blueprint is simply too blue. Reasonably neutral black seems to be an ideal, but another 'photographic color', Such as brown, would apparently be more acceptable than blue." - Reginald Heron, Blueprint Into Blackprint Afterimage, Dec. 1973, Volume 1, Number 3 Although the blue blueprint is the most stable and highly tonal form, there is still a groundswell away from its graphic blueness, especially among those intent upon using high-contrast, low-detail yielding transparencies. For those who find the blue distasteful, and for experimentalists, here are several processes for changing the blue into another, more "pleasing" colo

4 February 2013 Last updated at 00:54 GMT   Article written by Phil Coomes BBC Picture editor The Last Stand   The landscape around us has been shaped by successive generations, moulded to our needs be it for agricultural, economic or transport reasons. Yet within it there are traces of the past that surface from time to time, yet one past trace that I'm sure those of us who live in the British Isles have all seen are the coastal defences rapidly constructed during World War II. The remains of a network of pillboxes and gun emplacements can be found at various coastal locations around the country and a short trip across the English Channel will ensure you come face to face with the Nazi Atlantic Wall that was there to stop the Allied forces returning to mainland Europe, something it failed to achieve. These constructions may lack architectural glamour yet they are important parts of our recent history and do have a certa