By William Carter

Photographer, Author, Jazz Musician

Posts Tagged ‘photography

Signs of the Times

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America’s Corn Belt Speaks for Itself

Digging deep in my files as part of an ongoing effort to gather a legacy of vintage prints, I stumbled on some unpublished treasures. Forty years ago I photographed these signs along the back roads of Indiana, Illinois and neighboring states while working on my second book, Middle West Country (Houghton Mifflin, 1975).

Now the signs are mostly gone — but not the inherent modesty, chuckling humor, and serious spirit of America’s heartland.

Photographs © William Carter 1972, 2010

Sign: Pickneyville Home Style Beans

cat-fish,-Grand-Tower,-Ill.-c1973

Madison-barn-sign-c1972

Independent-Farm

Revival-placard,-Indiana-1972

Oak Ridge Friends Church

Church Float

farm-sale-notice-1972

Annamae Wife

Churchyard, Henry Cty Ill, Sharon

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

June 10, 2017 at 12:00 pm

Hands Are Us (Part 2)

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Moment, 11/25 Vintage Silver Print, ©William Carter 1973

Moment, 11/25 ©William Carter 1973

Closure, 1/25 Platinum Print, ©William Carter 1992

Closure, 1/25 Platinum Print, ©William Carter 1992

Suggestion, 1/35 Vintage Silver Print, ©William Carter 1994

Suggestion, 1/35 Vintage Silver Print, ©William Carter 1994

Dance, 2/25 Vintage Silver Print, ©William Carter 2006

Dance, 2/25 Vintage Silver Print, ©William Carter 2006

Shiva, 2/25 Vintage Silver Print, ©William Carter 1989

Shiva, 2/25 Vintage Silver Print, ©William Carter 1989

Actor, New York City, printed later, ©William Carter 1963

Actor, New York City, printed later, ©William Carter 1963

Near Ganeshpuri, Maharashtra, India, ©William Carter 1981

Near Ganeshpuri, Maharashtra, India, ©William Carter 1981

Wrestlers 1/35 Vintage Silver Print, ©William Carter

Wrestlers 1/35 Vintage Silver Print, ©William Carter

Hands

In Touch: Dominique and Sramana

Sramana

Sramana

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

May 26, 2017 at 12:00 pm

Hands Are Us (Part 1)

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Touching the Heart

Ruth and Olivia, 2012Archival Inkjet Print, ©William Carter 2012

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

Sramana’s Hands, vintage silver print, ©William Carter 2002

Appearance, 23/25 vintage silver print, ©William Carter 1983

Appearance, 9/25  ©William Carter 1983

Char, 3/25 vintage silver print, ©William Carter 1992

Char, 3/25 vintage silver print, ©William Carter 1992

Remember, 3/25 vintage silver print, ©William Carter 1990

Remember, 3/25 vintage silver print, ©William Carter 1990

Mystery (detail), Vintage Silver Print, ©William Carter 1990

Mystery (detail), Vintage Silver Print, ©William Carter 1990

Whisper, Vintage Silver Print, ©William Carter 1992

Whisper, Vintage Silver Print, ©William Carter 1992

Intimation, 3/25 Vintage Silver Print, ©William Carter 1991

Intimation, 3/25 Vintage Silver Print, ©William Carter 1991

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

May 10, 2017 at 12:00 pm

Jazz + Photography (Part 3)

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A Spontaneous Collaboration

Strange bedfellows, you might say? In 1963 Lu Watters, Bob Mielke and Barbara Dane were each into separate scenes in the San Francisco trad jazz world. As was I: playing occasional gigs, while becoming professionally committed as a photographer and writer. More on this here.

What brought us together in one of those spontaneously rich, fleeting jazz moments was the decision by Watters (then retired) and Dane (who had been running her own San Francisco blues club called Sugar Hill) to make an album together as part of a protest movement aimed at stopping the California utilities agency from building a nuclear power plant at pristine Bodega Bay, north of San Francisco. For many reasons, the plant was never built. The recording session happened on December 1, 1963. My equipment was not yet the best, but the negatives have been in my files ever since (53 years and counting). Here are a few of those images.

Lu Watters Band recording "Blues Over Bodega"
The Lu Watters Band recording “Blues Over Bodega” in 1963. Personnel: Back row Bob Mielke, trombone; Lu Watters, trumpet; Bob Helm, clarinet; Barbara Dane, voice. Front row: Dave Black, drums; Bob Short, tuba; Frank Tateosian, banjo; Wally Rose, piano

 

Bob Mielke, Lu Watters, and Bob Helm
Bob Mielke, trombone; Lu Watters, trumpet; Bob Helm, clarinet at the 1963 recording session.

 

Lu Watters, Bob Helm, and Barbara Dan
Lu Watters, Bob Helm and Barbara Dane at the 1963 recording session.

 

Barbara Dane at the 1963 recording session
Barbara Dane at the 1963 recording session.
Lu Watters
Lu Watters on trumpet at the 1963 recording session.
Wally Rose
Wally Rose at the piano during the 1963 recording session.

 

Bob Helm
Bob Helm on clarinet at the 1963 recording session.

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

April 26, 2017 at 3:20 pm

The Middle Americans (Part 4)

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Quiet Truths Near the Center of Our Lives

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

December 26, 2016 at 12:00 pm

The Middle Americans (Part 2)

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Quiet Truths Near the Center of Our Lives

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

November 28, 2016 at 10:00 pm

Inverness, California 2002

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Inverness, California, 2002

Please click on image for full-size version. To view more panoramic images, please visit this page on my website.

My wife Ulla and I were staying overnight with friends in Inverness, near the Pacific Coast in northern California.  We were in their lovely new guesthouse in a lush garden and forest setting of coast redwoods.  Waking early, I glanced out the window at a remarkable scene, like a fantasy, the way the rain had just stopped and light was filtering through the not-yet dissipated mist.  Still in my pajamas, I grabbed my large Linhof panoramic camera, tripod, film, light meter and ran outside.  I knew those conditions would not last, and I knew what the camera settings should be for that light.  It was chilly but I was warm with sweat.  I found the spot to set up but the ground was wet, so the tripod and I were both tending to sink in the mud.  I had to stabilize the tripod, or wait for in between moments when it was not sinking, because to get infinite depth of field even with Tri-X film required exposures of 1/15 of a second or slower, which would blur the image if the camera moved.  Meanwhile the light was changing, in and out, up and down, involving me in an intricate dance; just when it all came together and I pushed the cable release (gently to avoid causing movement), I heard Ulla open a window and in a bleary early voice asked what I thought I was doing out there in the cold and wet in my pajamas with mud all over me.  I shouted something terse and dismissive. Finally I finished several exposures and the light was fading and I trudged back dripping mud and thinking of coffee and a shower and wondering what I or Ulla would do about my soaked pajamas.

One of the frames turned out great. I scanned it and printed it 30 inches wide on an Epson printer, have sold a couple of prints, and 9 years later used it on page 293 of my retrospective book, Causes and Spirits.  Including it there was a late breaking decision because the book was mainly about people; altering the last chapter in order to include that and some other non-people images interrupted the printing cycle and caused the great publisher, Gerhard Steidl, to remain angry at me for about a year.

But the Linhof is still okay. Also the pajamas. Also Ulla.

Copyright statement: William Carter papers, © Stanford University Libraries. Click here for a detailed usage guide.

Written by bywilliamcarter

October 2, 2016 at 12:00 pm

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