Posts Tagged ‘digital photography’
Jazz Emerges Part 4
Trumpeter Percy and Clarinetist Willie Humphrey
On Tour and At Home
Visible Roots of America’s Most Original Cultural Product
Photographs by William Carter 1973-1985
Birthday party with kin folk and friends after a gig in California in 1976; musicians included the Humphrey brothers (center), drummer Cie Frazier (behind Percy), and banjoist/singer Narvin Kimball (seated).
In a long caption in my book, Preservation Hall (W.W. Norton, 1991), I told the story, quoted below, of the Humphreys’ long lives and distinguished lineage. I never met their trombonist brother, Earl, who died relatively young. Their father, Willie Humphrey Sr., was a clarinetist who spent much of his life on road tours; in a surviving publicity shot he looks just like Willie Jr. The pioneering grandfather’s story says something about the rich artistic and cultural complexities underpinning the birth of what has been called “America’s classical music”:
“The work of the front-line Humphrey triumvirate stemmed from the teaching of their grandfather, James Brown Humphrey, who played a unique role in the earliest years of jazz. That “fair-skinned Negro with red hair,” as the authors Berry, Foose and Jones told it, in Up from the Cradle of Jazz (1986), “starting about 1887, boarded the train each week, wearing a swallow-tailed coat and carrying a cornet case and music sheets in a satchel. The professor had many New Orleans pupils who entered the ranks of early jazz; he is also said to have taught whites. Most students on his weekly tour of the plantation belt — 25 miles either way from the city — were illiterate workers who lived in shacks behind the sugar and cotton fields along the river…Humphrey by 1890 was a rare commodity, a black man who lived off his talents as an artist. He played all instruments, directed bands and orchestras, and became a catalyst sending rural blacks into urban jazz ensembles.”
The essence of classic New Orleans jazz is the ensemble. The essence of that essence is a tough, growling, cut-down, loose-limbed, abbreviated lead trumpet or cornet — allowing the other horns lots of space. Trumpeter Percy Humphrey gives us a fiery taste of his lead in the excerpts below.”Running Wild” and “Panama” were recorded in Oxford, Ohio by the great George Lewis Ragtime Band of 1952.
Click below to listen to segments of “Runnin’ Wild” and “Panama.”
In the following solo on “St. Louis Blues,” clarinetist Willie Humphrey demonstrates two cardinal components of the New Orleans style.
Rhythmically, the horns and piano never cease to play off of, and around, the beat as strictly laid down by the rhythm section. Attacking microseconds before or after what would be correct in a more European or “white” reading, this constant off-beatness serves to trip up the listener. “What’s your music for? Mine’s for dancing!” exulted a classic player. Making people move their bodies out on the streets and in the dance halls is the musicians’ fundamental assignment — which extends to foot tapping in concert halls. Syncopation is key.
Structurally, Willie gradually, logically builds his variations from lower to higher pitches and intensities. Employing St. Louis Blues-derived themes and a faux-stumbling manner that helps release micro-rhythms, he gradually weaves a baroque edifice soaring above the underlying foundation.
Click below to listen to “St. Louis Blues.”
Hands Are Us (Part 2)
Moment, 11/25 ©William Carter 1973
Closure, 1/25 Platinum Print, ©William Carter 1992
Suggestion, 1/35 Vintage Silver Print, ©William Carter 1994
Dance, 2/25 Vintage Silver Print, ©William Carter 2006
Shiva, 2/25 Vintage Silver Print, ©William Carter 1989
Actor, New York City, printed later, ©William Carter 1963
Near Ganeshpuri, Maharashtra, India, ©William Carter 1981
Wrestlers 1/35 Vintage Silver Print, ©William Carter
In Touch: Dominique and Sramana
Sramana
Jazz Emerges, Part 1
New Orleans Brass Bands 1950-1990
Visible Roots of America’s Most Original Cultural Product
A lifelong preoccupation with traditional New Orleans jazz inspired my book, Preservation Hall (W.W. Norton, 1991). While doing my own shooting, I uncovered a trove of historical photos I decided to mix with my own (sources available on request). Like the music itself, this project is a blend of old and new, personal and professional. Blogs, like recordings, add a fresh dimension to a traditional art.
In the 1970s and 80s I paid regular visits to New Orleans. I was invited to play with some of the brass bands. In the sweltering streets and shuttered funeral homes, I juggled a clarinet in one hand and a camera in the other – not easy to do, or forget.
Jazz was born in the 1890s when strutting brass men and parade drummers, performing street marches and wailing spiritual dirges, went indoors, or up onto park bandstands, for “sit down jobs.” There, the marches merged with country blues, parlor ragtime, and popular dance songs utilizing stringed instruments like the guitar and piano. By the early 20th century, in these cultural wetlands near the mouth of the Mississippi, a new music had been spawned: a spicy, varied gumbo of black, white, and Creole ingredients.
As jazz evolved worldwide, its earliest style was preserved in the city of its birth. Many first and second-generation players remained active into the 1960s and beyond. As younger devotees took over, the music changed subtly – some would argue for the worse – as the old decorum, dress codes, and refined musicianship gradually gave way, like the French Quarter, to a more touristic style. But that kind of regret for a faded past has always marked a city that remains unlike the rest of America.
For me, the photographs in this and succeeding posts evoke nostalgia for a host of friends – a whole subculture, really – now largely gone. Their music is part of me.
The Old Glory That Was Kodachrome
70 Brilliant Years
How great it was — while it lasted, until 2012 — something like 70 years.
It still lasts archivally: those chromes retain their slightly salmon, yet accurate, saturated colors while so many others have long since faded. The film of choice for top magazines, many folks’ travel slides, and countless other applications. This post features some of my Kodachrome slides of the western U.S. from the 1960s on. (We hope to present a few international Kodachromes later; then eventually a selection from that fine new medium — digital color.)
We are fortunate to be living through a major transition in the history of photography. Five centuries ago, Western art was revolutionized by the invention of oil painting. Artists old enough to have been trained in older techniques like tempera, but young enough to master oil — Venetians like Titian, for instance — combined both skills in highly creative ways. (See my earlier post, “Tone in Art — and in Life.”) So I’m always pleased to hear of today’s art schools continuing to teach the older “wet darkroom” alongside the newer digital technologies.
See also “Captured: America in Color from 1939-1943,” Kodachromes by photographers of the Farm Security Administration/Office of War Information, property of the Library of Congress.
All Kodachromes © William Carter
Murphy’s, California c. 1970
Murphy’s, California c. 1970
Columbia, California 1970
Illinois, c. 1973
Preservation Hall, New Orleans, circa 1986
Preservation Hall, New Orleans, c. 1985
Preservation Hall, New Orleans, c. 1986
San Francisco, c. 1970
Granite, Montana, c. 1970
Silver City, Idaho, c. 1970
Signs of the Times (2)
Western Proclamations
After unearthing vintage Midwestern signs (see earlier blog, “America’s Corn Belt Speaks for Itself“), I found earlier traces of homespun eloquence in the Far West. Most of the photographs below were shot during my journeys by camper across ten States, from California to Colorado, and from Canada to New Mexico. I had been working for Sunset Books to create their best-selling Ghost Towns of the West (1971/1976).
Photographs © William Carter 1970-2012
Hands Are Us (Part 1)
Touching the Heart
Ruth and Olivia, 2012, Archival Inkjet Print, ©William Carter 2012
On September 11, 2012, I visited my beloved 97-year old Aunt Ruth. Her body systems were shutting down. Two of her children, Maureen and Susan, and one granddaughter, Olivia, were there. I took a few pictures, including the one above. Two nights later, Aunt Ruth passed away.
In the 1980s and ’90s I spend fifteen years photographing nudes and the body. For much of that I carefully avoided hands: they felt personal and unique, whereas the project was about universal forms. Eventually, though, hands started creeping in. I’m not sure if that was my decision or theirs. Several appeared in my 1996 book, Illuminations.
“Hands” is a project without a beginning or an end. Some were used with Indian poetry quotations and readings by Sramana Mitra. I used a shot of my own palm as the endsheets for my 2011 book, Causes and Spirits.
Here are some others:
Sramana’s Hands, vintage silver print, ©William Carter 2002
Appearance, 9/25 ©William Carter 1983
Char, 3/25 vintage silver print, ©William Carter 1992
Remember, 3/25 vintage silver print, ©William Carter 1990
Mystery (detail), Vintage Silver Print, ©William Carter 1990
Whisper, Vintage Silver Print, ©William Carter 1992
Intimation, 3/25 Vintage Silver Print, ©William Carter 1991
National Character
by William Carter
San Francisco, 1969
Is there still such a thing as “national character” — in a world becoming ever more homogenized? Or is there, even, “regional character” — in a nation ever more urbanized?
Famous photographs of earlier generations played on these themes – think of Cartier-Bresson’s famous image of the little Parisian boy carrying the huge bottle of wine, or of countless early images of America’s Old West, or of the collection of great documentary images seeded by the U.S. Farm Security Administration in the 1930s and early ’40s. (In the last couple of years a subset of the latter — amazing color images shot on brilliant, sparkling early Kodachrome – have been released for our delectation by the Library of Congress. Click here to view some pristine examples courtesy of the Denver Post.)
Yes, Virginia, there is still an American character. It may no longer be as obvious (to us) as Mount Rushmore or the Marlboro man or Babe Ruth or Marilyn Monroe, but it’s there, lingering below the surface. It derives from our unique history. My earlier books delved into three regional subsets — in Far West, the Middle West, and New Orleans jazz.
My most recent book, Causes and Spirits: Photographs from Five Decades (available signed or not signed) was a wider ranging retrospective, spanning the world in fifty years. What surprised me, in 2012, was that on seeing the book, photography curators at major museums — two in the U.S. and one in Germany — selected mainly my “Americana” images to access into their collections.
These are not your media-made icons, but out-of-the-way people in out-of-the-way places. Our character seems to survive in the unnoticed interstices of our lives.
Midtown, New York City, 1963
Lower East Side, New York City, 1963
Reno, Nevada, 1962
Southern Indiana, 1973
Northern Minnesota, 1973
Near Jerome, Arizona, 1970
Oakland, California, 1961
Indianapolis, Indiana, 1973
Southern Illinois, 1973
Southern Illinois, 1973
Southern Illinois, 1973
Indianapolis, Indiana, 1973
Detroit, 1973
Seattle, 1962
Mississippi River, Bellevue, Iowa, 1973
Atherton, California, 1972
Happy Accidents Part 2
When I was fooling around with my first digital camera several years ago, I tried auto focusing on my hand, then snapped the picture. The photo somehow refused to go away, and kept popping up in my files. Unlike others in the book I was preparing in 2009, it would not fit in that sequence, but like an unruly child still demanded attention, until I hit on using as a soft pattern across both “end papers” – the sheets just inside the hard covers. What could be more implicit in ones destiny?
“The Palm of My Hand,” photograph © William Carter 2001-2010, as used in Causes and Spirits, 2011
Click here to see other examples of photographs in Causes and Spirits.
Fresh Light
Are traditional & modern / old & new media, really at war?
For fifty years I shot worldwide on film, printed in darkrooms on four continents, published in a wide variety of traditional media. I would not trade those experiences. To quote from my forthcoming book, “I count myself fortunate to have been seeded in the warm loam of classic photographic practice.”
But then I add, “Equally, I’m glad to make use of whatever new developments prove useful.” Most useful, indeed, are digital photography and the digital media, in their countless flowerings. Literally and metaphorically, I find myself emerging from the meditative close focus of the darkroom into the fresh broad brilliance of the “blogosphere.”
The frontier-minded U.S. has always been spellbound by the “new all new,” whereas traditional cultures located their main value clusters in the past. But the greatest artists often seem to surpass such timely strictures.
Near the end of his life the painter Paul Cezanne said, “Even though I am already old, I am only a beginner. However, I am beginning to understand…” Photographer Paul Strand said, “We are all students.”
In that sense, we are all, always, “emerging.” Every morning, the light on our doorstep is as fresh as Genesis. We only have to see it. A great teacher said, “One sees the world as one is.” The sculptor Constantine Brancusi said, “It is not difficult to make things. What is difficult is to reach the state in which we can make them.”
Some such quotes were printed in my 1996 book on the nude, Illuminations. Others appear in my Causes and Spirits, due out this summer, which opens with the lines of the Star Spangled Banner — “Oh, say, can you see?” — and riffs on the realization that the camera, besides being a profession, was a way for me to discover, at once, the world and myself.
A sampling of the results are on view at www.wcarter.us.
Photographing people of many backgrounds, in many places, one becomes acutely aware of their sharply differing tribal, social, and other identities – the source of seemingly endless conflicts. There are no easy answers, and indeed the future seems ominous on that level. In later postings here, I hope to say something more about tribalism, its possible origins and future. Blogging and the web seem to have raised the stakes.
For now, suffice it to say that in my work as a photographer, writer, and sometime jazz musician, my (unfashionable?) mode has always been not to dwell on the surfaces that seem to separate us, but to try to look behind and below those surfaces, to that which unites us.
Stay tuned.
