The Marks of Man

very frightening, when cars are sinking in liquefaction. Annie was almost trapped in her work building bleeding people and falling walls and glass. I was just angry, spent the last two days getting into survival mode, we have a generator, lots of tinned food, a gas shower. The chickens were huddled in a corner and the dogs were rattled. Drove a very fast around the holes to get the kids, found them at school comforting other kids. Annie took hours to get home, driving around holes and wrecked buildings, and people sitting by the side of the road getting treatments. We have an artisan well so lots of water. I am eying the cows in the our field and thinking about fresh steak We have a refugee family staying in our cottage, and more coming in the next few days. Thank god we got this farm. Thanks for the thoughts we really appreciate it and feel very lucky to be alive.

GUM BICHROMATE PRINTS Historically, the gumprint is an offshoot of the old style of carbon printing. Gumprinting has survived among both technicians and artists because of the variety of possibilities in the technique and quality of the obtainable image ranging from very fine color separation to a controlled Sumi or loose painterly application. The comparative inexpensiveness of the materials, the ease in applying the colors of your choice, both generally and locally; and the ability to work into the surface of the image with other media have maintained the gum prints popularity, although it is a far more difficult process than Blue or Van Dyke printing. Materials: Any paper which will stand repeated soakings in water and has a slight tooth; coarser papers result in more break-up of the image and also tend to trap unexposed emulsion (a good grade watercolor or rag fiber etching paper - e.g., Reeves, D'Arches, Strathmore - works well). Negatives : As this is generally a co...

He was a great teacher and is fondly remembered. I sent him an email years ago and tried to contact him but he had passed away. He inspired me to move to digital technology. This is his site still supported as a Memorial. http://www.artic.edu/~fendsley/

Another great article, and the basis of my Salt printing, from Fred around 1998, old history in terms of the web. Fred Endsley COATING PAPER AND OTHER MATERIALS Application of cyanotype, Van Dyke Brown, and gum bichromatic solutions can be carried out in any way which achieves the desired result. A good quality hair brush with soft bristles may be used for an even coating, or cheaper brushes can be used to reveal the kinds of marks the brush can make. A cotton swab, or aerosol spray may be used for the kinds of marks that they will make. Paper or material can be floated directly in a tray of the solution (though this requires a lot of solution). Be careful however,when using this technique with absorbent material for it will soak up enormous amounts of solution. When coating fabrics, they can be soaked and wrung out, but please wear protective gloves. Since the paper is sensitive to light only in the coated areas, you could consider coating areas selectively, ...

Color forms the basis for some of our strongest visual impressions. It is inherent to the functioning of nature as well as man-made reality (both as physicality and concept). The interrelationship of colors allows, in part, the efficient performance of life on this planet. Stop signs are red because red stands out best against greenery (if foliage were orange, stop signs would probably be blue) and in order to survive, chameleons change color to blend with their environment. Color not only functions physically, but also conveys ideas and feelings, although in this more abstract sociological sense, color is subject to more rapid evolution. As visual artists, it is impossible not to deal somehow with color whether we are seeking it out or avoiding it. Even as exclusively black and white photographers we must understand how color creates black and white tonality, how filters work, how panchromatic film is sensitive to all color while ortho-chromatic film and printing paper ...

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" col...

Here is the original article (that I did not write by the way). The term "solarization" is often used mistakenly to describe the "Sabattier Effect". In actuality, solarization is an increase in the exposure of a film to light or radiant energy by 10 to 1000 times the normal amount of exposure (4 to 10 f/stops) which leads to the film becoming lighter rather than darker. In general, there is little or no practical use for this phenomenon in and of itself, although a strong bump in exposure does play a role in the Sabattier Effect. Solarization was mentioned by Louis Daguerre at least as early as 1831, though not by that term. The Sabattier Effect results in a partial or complete reversal of image tones on either film or paper emulsion, as well as distinctive outlines (known as Mackie lines, after Alexander Mackie who first described them) which border adjacent highlight and shadow areas. It was first discovered in 1862 by Armand Sabattier as a result o...