Article on Carbon Transfer by Sandy King in Looking Glass Magazine

[sanking]

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]

Sandy, great to read the article and see the wonderful work.

[Willie]

So it isn't a real magazine, just an online one?

[Jim Fitzgerald]

The magazine is online and worth the subscription. Check it out.

[Andrew O'Neill]

I read it as soon as I downloaded it. Excellent.

[SMBooth]

Just read it, great article within a great little zine. Pity the yahoo link is dead....

[pierre506]

Just met you in Nanjiang, Sandy~

通过我的 VIE-AL10 上的 Tapatalk发言

[Laura_Campbell]

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]

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]

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.