By William Carter

Photographer, Author, Jazz Musician

Posts Tagged ‘William Carter

Hands Are Us (Part 2)

with 4 comments


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

The Old Glory That Was Kodachrome

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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 “Bound for Glory: America in Color,”  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
Columbia, California 1970

Illinois, c. 1973
Illinois, c. 1973

Preservation Hall, New Orleans, circa 1986
Preservation Hall, New Orleans, circa 198

Preservation Hall, New Orleans, c. 1985
Preservation Hall, New Orleans, c. 1985

Preservation Hall, New Orleans, c. 1986
Preservation Hall, New Orleans, c. 1986

San Francisco, c. 1970
San Francisco, c. 1970

Granite, Montana, c. 1970
Granite, Montana, c. 1970

Silver City, Idaho, c. 1970
Silver City, Idaho, c. 1970

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

Written by bywilliamcarter

April 3, 2017 at 6:00 pm

The Middle Americans (Part 3)

with one comment


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 12, 2016 at 12:00 pm

Living Spaces 10

with 3 comments


APARTMENTS-1 DSC_0215 - Version 2 copy1. Dusseldorf, Germany

DUSKWINDOWS DSC_1238 copy2. Weimar, Germany

MAILSLOTS-1 DSC_1486 copy3. Weimar, Germany

OFFICE DSC_0635 copy4. Dusseldorf, Germany

New York-3 300001 copy5. New York, N.Y.

Paris B002 copy6. Paris, France

SLEEPER DSC_0568 - Version 2 copy7. Dusseldorf, Germany

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

Written by bywilliamcarter

June 25, 2016 at 12:00 pm

Living Spaces 9

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Response to this post:

Earlier this month I received Living Spaces 9. Thank you so very much for having the sequence sent to me. It is always a treat when I open my mail and see that there is something with your name attached, and then, well, it is a bit like unwrapping a gift, that moment of holding the breath a little, and then that involuntary first response in the first encounter. For example, # 7 (Southern California) had me chuckle, then pause, then hum… the photograph is such a feast of listening and speaking, and how much of that listening we do with our backs, a barely turned head, even the hat hears it and the ocean rolls in to listen along as words bop up and down the belly. Delightful — and loud!

There was also a picture that almost hurt — the last one, # 8, Salisbury, England. Perhaps some gestures ache us when we see them because they awake something we long for even as we might fear it? That gesture of reaching out, its vulnerability, — isn’t that always the most precarious and most dangerous first step in any reconciliation and also its grandeur de vivre? Yes, this picture has accompanied me, just like the Corconio Couple, through many nights. It will continue to challenge me, and that is a good thing.

Thank you again.

Sincerely,

Rahel Hahn

EXPLORER-2-DSC_0025-copy1. Alexandria, Virginia

EXPLORER-1 DSC_0024 copy2. Alexandria, Virginia

Illinois-leaves-OLD-SLIDES-A--4-copy3.   Illinois

SUSPICION DSC_1009 copy4.  Northern California

SLEEPER-2 2010-11-28 at 08-57-45 copy5.  Northern California

PHOTOGRAPHER DSC_0778 copy6. Northern California

SO. CALIF-1 004 - Version 2 copy7. Southern California

PARK BENCH DSC_0893.NEF copy8. Salisbury, England

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

Written by bywilliamcarter

June 11, 2016 at 12:00 pm

Living Spaces 8

with 2 comments


This series of posts elicited two particularly eloquent responses via email (other comments below):

“Dear Sir, Thank you for these photographs. In the clutter of my daily life your pictures invite me to living and living spaces that are clear, nuanced, simple, textured, and — especially when I look at the 4th one with that lovely gentle veiling and unveiling— not beholden to fear, the fear of peace or of dying. But lest I get too serious here: they also remind me of the sweet smell of laundry drying outside (I live in paradise, no pollution here). Best wishes and thank you again.” —Rahel Hahn

“Each picture is like a visual poem calling to mind Emily Dickenson in their spare and ambiguous content.” —Weston Naef, Founding Curator of Photographs, J. Paul Getty Museum

OLYMPUS DIGITAL CAMERA1.  Ameno (Lago di Orta), Italy, circa 2005

WALL PLUG 2010-11-28 at 10-13-462. Ameno (Lago di Orta),  Italy, circa 2005

OLYMPUS DIGITAL CAMERA3.  Ameno  (Lago di Orta), Italy, circa 2005

CURTAINS-3 DSC_0852 - Version 24.  Gualala, California, circa 2013

CURTAINS-3 CurtainSea3 17x22f5. Gualala, California, circa 2013

village walls-1 018 copy6.  Lago di Orta, Italy, circa 1989

village walls-2 011 - Version 2 copy7. Orta San Giulio, Italy, circa 1992

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

Written by bywilliamcarter

May 28, 2016 at 12:00 pm

More William Carter Prints Held by SF MOMA

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105My previous post of May 8, 2016 brought you news about the sparkling exhibition celebrating the massive expansion and re-opening of the redesigned San Francisco Museum of Modern Art, a William Carter picture, “Near Jerome, Arizona, 1970″ hangs in the photography galleries.

This Arizona print is also reproduced in the large book cataloguing the exhibition: The Campaign for Art.

The official re-opening date of the San Francisco Museum of Modern Art and the exhibitions, including my print, is May 14 and run until Sept. 5. Members have earlier admission dates.

Click here for more information on admission and tickets.

Here are more William Carter prints held in the SF MOMA’s permanent collection:

 

Near Jerome, Arizona, 1970

Near Jerome, Arizona, 1970

 

Geneseo, Illinois, 1973

Geneseo, Illinois, 1973

 

Detroit, 1973

Detroit, 1973

 

Mississippi River, Bellevue, Iowa, 1973

Mississippi River, Bellevue, Iowa, 1973

 

Atherton, California, 1972

Atherton, California, 1972

 

Concornio (Lake Orta) Italy, 1989

Concornio (Lake Orta) Italy, 1989

 

Sa'da, Yemen, 1964

Sa’da, Yemen, 1964

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

Written by bywilliamcarter

May 12, 2016 at 12:00 pm

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