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sanking
1-Nov-2016, 17:58
Very proud to announce an article on my work with hand made carbon tranfer in Looking Glass Magazine #15, 2016.

http://lookingglasszine.com/

Sandy

Jim Fitzgerald
1-Nov-2016, 18:21
Sandy, great to read the article and see the wonderful work.

Willie
1-Nov-2016, 20:19
So it isn't a real magazine, just an online one?

Jim Fitzgerald
1-Nov-2016, 21:20
The magazine is online and worth the subscription. Check it out.

Andrew O'Neill
1-Nov-2016, 21:51
I read it as soon as I downloaded it. Excellent.

SMBooth
1-Nov-2016, 23:38
Just read it, great article within a great little zine. Pity the yahoo link is dead....

pierre506
3-Nov-2016, 18:39
Just met you in Nanjiang, Sandy~

通过我的 VIE-AL10 上的 Tapatalk发言

Laura_Campbell
4-Nov-2016, 12:47
Very proud to announce an article on my work with hand made carbon tranfer in Looking Glass Magazine #15, 2016.

http://lookingglasszine.com/

Sandy

Thank you for contributing to Looking Glass, Sandy! Your interview is so thoughtfully written and your work is simply gorgeous. Thank you again for sharing with us. -- xo LC

Laura_Campbell
4-Nov-2016, 12:49
A snippet from David Roberts' interview with Sandy:

David Roberts: I imagine that most artists who work with paper based prints cringe a bit when their work submits to web based digital representation. Some things are just better experienced in the flesh, as it were. What tangible, tactile qualities do carbon transfer prints have that we’re probably missing when we see your work here?

Sandy King: The obsession of our culture with digital imaging has served to engender a counter reaction that emphasizes the hand-made and the primitive for their actual physicality. It is generally understood that digital photography stripped photography of its last vestige of the “rhetoric of truth” that some once claimed for it. However, an even more serious result of digital imagery is that it privileges those qualities of the image that do not depend on the physical print (graphic arrangement, emotive elements, and the disposition of tonal values) at the expense of the actual physical nature of a print. In short, the digital image is stripped of the syntax of a print in that we are no longer able to see and appreciate certain qualities that were in the past considered important to a photograph as a work of art; its very physicality as seen in such features as the texture, sheen, and relief. And of all of the photographic processes every practiced carbon transfer is one of those with the greatest range of physical possibilities due to the fact that carbon is capable of presenting images with a wide range of image characteristics: virtually any color or tone, and on a wide variety of surfaces including paper, glass and metals.

Some of the qualities of a carbon print can be appreciated in a digital representation. When one looks at my work in this magazine it will be possible to see that the carbon process can have a very long tonal range with very deep shadows. One can also determine that the carbon process can be of any color or tone and is capable of high image quality in terms of sharpness.

Unfortunately the digital representation of carbon transfer prints cannot show one of their most unique image characteristics, surface relief. Carbon prints have a discernible relief that gives them a unique three-dimensional quality, especially prominent when the photograph is held at a slant to the light. Surface relief results from the fact that the tonalities of a carbon print are formed by a variation in the thicknesses of the pigmented gelatin left on the surface of the paper after development. This physical relief of a carbon print is a hill-and-valley pattern, the hills formed by a heavy build-up of pigmented gelatin in the shadows, the valleys consisting of the paper base of the highlights.

Laura_Campbell
4-Nov-2016, 12:52
Just read it, great article within a great little zine. Pity the yahoo link is dead....

Shane, I think one must have a Yahoo account to view the group page on Yahoo. I tried to find a work around, but was unable.

Laura_Campbell
4-Nov-2016, 13:34
So it isn't a real magazine, just an online one?

Hi Willie,

You raise an interesting question. How do we define a 'real magazine'? I define 'real' as meaningful, articulate, and thoughtful, with visually stunning content.

Sadly, printing (books and magazines) is painfully expensive -- printed magazines (to include major national publications) struggle to survive.

I'm happy to send you a complimentary issue or two so that you can get a feel for LG. We are all very proud of LG, its continued growth, and are most grateful for the community support. A Looking Glass subscriber overseas recently shared his view on LG with me: "The past two years have seen the development of possibly the most worthwhile magazine on photography to be introduced to the world since Alfred Stieglitz set up Camera Work in the early twentieth century."

You may enjoy reading LG's recent interview with Michael Kenna: http://lookingglasszine.com/2016/11/01/michael-kenna-interview/

David interviews our featured artists (David interviewed Sandy) and writes a regular column for LG. He's a brilliant writer and large format photographer. (We are so lucky to have David on board.)

David's bio:

David Roberts was born in the United States. He has earned a BA in Philosophy and an MA in Theology. He emigrated to Canada in 1986 and then to Australia in 2000. Ten years were spent living in a remote region of northern Canada doing linguistic work with a North American Native Group. His adventures include spending 9 weeks north of the Arctic Circle on a solo expedition in wilderness and making a photographic journey down the Yarra River in a canoe for a month. Since 2000 he has been exploring Australia and its people through the lenses of his cameras. David photographs things for what they are and for what else they may be - always attempting to find a deeper expression and meaning through photography. His work is held in public institutions in Australia including the National Portrait Gallery, the National Library of Australia and the State Library of Victoria among others.

Best,
Laura

Jim Fitzgerald
4-Nov-2016, 14:21
Laura and her amazing staff have taken on the enormous task of presenting a fine art magazine dedicated to a small but dedicated group of artists. We have seen in the past printed magazines fail due to lack of support mainly because of the cost of the magazine.

I've never taken anything on like this but I have to think that all of the aspects of printing along with the costs must be prohibitive.

I'd love to see LG in print as well and if I want a copy printed I'll do it myself. It is just what we will have to do. Like it or not most everything is online now. I'm happy to have gotten it while on our month long road trip. Now I just wish the laundromat that we are at now would take quarters! How things change.

Keep up the great work LC!

sanking
13-Nov-2016, 01:57
Just met you in Nanjiang, Sandy~

通过我的 VIE-AL10 上的 Tapatalk发言


Hi Pierre,

It was a pleasure to meet you. I enjoyed looking at your work and the equipment.

After the symposium in Nanjing my friend Sam Wang and I traveled to Zhangjiajie with Chen Hua where we stayed for nine days. Fantastic landscape, but unfortunately it rained every day, with heavy fog, so there were limited opportunities to photograph. After returning to Nanjing for a couple of days we traveled to the north and visited a paper factory in Baoding as guests of the owner, who as you might recall was at the symposium. Just returned from China to the US day before yesterday.

Are you interested in carbon transfer? If so, I may return to China in the spring to do a carbon workshop in Hangzhou.

Best,

Sandy

neil poulsen
13-Nov-2016, 07:12
So it isn't a real magazine, just an online one?

I'm not sure what you mean by this.:confused:

Given our internet environment, since when does the trappings of paper, brick and mortar, etc., etc., necessarily make a magazine better than any other. In fact, I think that counterexamples abound.:)

I would suggest that we judge magazines by their merits, versus by their material makeup.

Willie
13-Nov-2016, 07:31
Sorry Neil. If I can't carry it with me, roll it up to swat a horsefly, sit under the tree and read it I don't consider it a real magazine.
Digital stuff is throwaway material as it is a computer glitch away from disappearing while I'm trying to read it. Can't sit back while the power is out and enjoy an article. Quality in viewing is dependent on my monitor, not on the print as it shows on paper.

LensWork - that is one I enjoy while I still have the option of getting additional material to play on this computer if I want. If you want it real you commit it to real publication as LensWork does.

Andrew O'Neill
13-Nov-2016, 20:57
Well, you could print it out...
I subscribed to LW for a long time. Had to give it up last Spring, due to a weak Canuck buck. I find LG just, if not more, stimulating.

Jim Fitzgerald
14-Nov-2016, 08:27
Print it yourself. That is what I did when I was in the real magazine.

Laura_Campbell
14-Nov-2016, 19:41
Every week 500,000 trees are killed so that we can read the Sunday newspaper. (That's real.) Killing a tree has global effects. No trees -- no humans. I don't want to kill trees.

Steve Sherman
14-Nov-2016, 19:45
Congrats Sandy, I'm sure the article will become a resource for all who practice the Carbon Process !!

Cheers

Willie
15-Nov-2016, 00:30
Every week 500,000 trees are killed so that we can read the Sunday newspaper. (That's real.) Killing a tree has global effects. No trees -- no humans. I don't want to kill trees.

How much mining and industrial processing and pollution is there to make all the computer and electrical stuff needed to see this online? Not to mention the city dumps filled with old computer crap thrown away.

Trees are a renewable resource.

Laura_Campbell
17-Nov-2016, 13:02
How much mining and industrial processing and pollution is there to make all the computer and electrical stuff needed to see this online? Not to mention the city dumps filled with old computer crap thrown away.

Trees are a renewable resource.

Willie,

If you'd like to begin a new thread to continue your discussion about printed mags vs digital ones, feel free to begin a new thread.

This thread is Sandy's -- we're proud of his participation and grateful he contributed to LG. I'd love to see the focus of this thread redirected to Sandy and his important work.

Pere Casals
17-Nov-2016, 15:17
Very proud to announce an article on my work with hand made carbon tranfer in Looking Glass Magazine #15, 2016.

http://lookingglasszine.com/

Sandy

Congratulations !!!

This may may be another essential reading from you.

I'd add that in Spain you are considered the author who made the most valued study of pictorialism in this country



"La situación en España es similar, como indica S. Carl King, quien ha realizado el
principal estudio sobre el pictorialismo en nuestro país: "


“El estudio del movimiento pictorialista se enfrenta en España a una
considerable oposición ideológica, actitud que hunde sus raíces en
dos reacciones sociales relacionadas: un desprecio proletario por los
orígenes burgueses del pictorialismo y un sentimiento de
distanciamiento respecto a muchos de los principales exponentes del
movimiento por razones sociales y políticas. Esta reacción halla cierta
justificación en el hecho de que la mayor parte de los pictorialistas de
Europa occidental y Estados Unidos fueron hombres y mujeres bien
formados, pertenecientes a las clases media y alta. Los clubs
fotográficos de los que surgieron los diversos movimientos
secesionistas del pictorialismo fueron, ante todo y sobre todo,
instituciones que acogían a una afiliación intelectual y socialmente
coherente.”1

dpn
17-Nov-2016, 16:05
Just downloaded my copy, and looking forward to reading it!

sanking
18-Nov-2016, 15:37
I'd add that in Spain you are considered the author who made the most valued study of pictorialism in this country




Hi Pere,


It is very kind of you to mention my role in research and publication in the area of Spanish Pictorialism.

Thanks.

Sandy

Pere Casals
19-Nov-2016, 06:48
Hi Pere,


It is very kind of you to mention my role in research and publication in the area of Spanish Pictorialism.

Thanks.

Sandy


You are quoted just in the very first text page (page 3) of this master: http://diposit.ub.edu/dspace/bitstream/2445/59866/1/TFM%20V%20Bonet.pdf, but also to support key points of that scholar work.

I was reading that some time ago, but it was yesterday when I was visiting your site that I realized the connection, now I'll have to read your book ! :)

Also I was impressed by the more than perfect command of Spanish, at scholar level I mean.

That work has a huge merit !

Regards,
Pere

sanking
19-Nov-2016, 11:41
..
I was reading that some time ago, but it was yesterday when I was visiting your site that I realized the connection, now I'll have to read your book ! :)

Regards,
Pere

Interesting that you made the connection.

I also wrote the long introduction text for the book, Schnidet de las Heras: Fotografías 1944-1960, published by the Xunta de Galica. I completed the research and writing for the book in 1995, but it was not actually published until 2000. Schmidt de las Heras was a bromoil printer from La Coruña knew most of the great bromoil printers of Spain, including of course Pla Janini of Barcelona.

http://koharbgalicia.xercode.es/cgi-bin/koha/opac-detail.pl?biblionumber=355248

The text was published in English and Gallician, not in Spanish. I have a link to the dual language text English/Galician.

http://www.cgai.org/archivos_fondos_bibliograficos/4499.pdf

Best,

Sandy

Pere Casals
20-Nov-2016, 05:13
Interesting that you made the connection.

I also wrote the long introduction text for the book, Schnidet de las Heras: Fotografías 1944-1960, published by the Xunta de Galica. I completed the research and writing for the book in 1995, but it was not actually published until 2000. Schmidt de las Heras was a bromoil printer from La Coruña knew most of the great bromoil printers of Spain, including of course Pla Janini of Barcelona.

http://koharbgalicia.xercode.es/cgi-bin/koha/opac-detail.pl?biblionumber=355248

The text was published in English and Gallician, not in Spanish. I have a link to the dual language text English/Galician.

http://www.cgai.org/archivos_fondos_bibliograficos/4499.pdf

Best,

Sandy


Thanks for the link ! I've just finished its reading, this is a large ammount of information. Now I think I'll have to try some bromoil :)

It is impressive how much one can learn from that era.

In Galicia still remains that : http://www.fotografiaquimica.com/index.php?categoriaid=33