Customer Reviews

Photographs: Twenty-Five Years

5 star:		(6)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I met Keith Carter while he spoke in San Francisco. He is a soft spoken gentleman from the South. His photographs are etherial and mystic in their effort to convey the memories of a childhood. Mr. Carter invites us back into a life in the south, when wadding in a pond - looking for fire flies was something very special. His portraits of dogs, children and towns all show us his world of East Texas through eyes that loved the pace, the flavor and the smells of down home. Mr. Carter really does share this lifestyle with the viewer as you look anew upon "common" buildings and animals with new eyes. You will not be sorry to see and read Keith Carters work.

Once I physically pulled myself from Keith Carter's images and read the text I found his philosophy about the importance of photographing what you have and where you are one of the most realistic, tangible and inspiring ideas I've heard. Keith Carter believes, and he's correct, his photographs of rural Texas are as powerful and as important, if not more, as the photographer who goes to the big city or abroad because he or she thinks they have to, to make important and enduring photographs. The images resonate in your head after you've finished the book. Keith Carter's got a perfect blend of idea, subject matter and technicalities. It will be with me for a long time.

the photographs of keith carter really moved me. these are some of the best he's taken (though i can think of a few that should have been included). this book shows the talent carter has (and not just in photography, read his philosophy at the end). For any lover of art or photography, this book is a definate must have.

Keith Carter is not only a great photographer, he is a great teacher. He has inspired many of us in south-east Texas not only through his photographs, but through his outlook on life. In this book you can see what I have come to recognize as Keith's true gift - his enthusiasim. He is a great photographer, but much of his talent is owed to his love of what he does and what he photographs. His books, like Keith himself, are truely an experince not to ever be forgotten!

Truly transporting! His images are the type that you can get lost in. Highly recommended for anyone who enjoys looking at photographs and thinking about them. Carter's images will take you in.

There is a refreshing love and respect for the subjects of the photographs in this book. A real find.

This is a great collection of images from his books...I have it on good authority that Keith has a speedboat and can't afford the motor. He has the captain's hat, blue blazer, white pants, and a red sparkled speedboat with no motor. If you buy all of his books, Keith can go boating on the water instead of his driveway. His lips are swollen from making that motorboat sound. His wife is tired of spraying the hose at him to simulate waves. The neighbors are starting to talk. You will not regret owning this book. It's well designed and full of terrific images. Remember to get the rest of his books and unleash Keith on the water's of Beaumont,Texas.

After looking over this compilation of Carter's work which spans twenty-five years, I've come to the conclusion that his photographs are much like froth on beer: pleasing to look at, but lacking in substance. Keith Carter's recent technique of using bellows on his Hasselblad and manipulating this to cause portions of the photograph to be out of focus, is similar to any gimmick a photographer might use to enhance their images. The question of whether the same manipulated image would still be interesting if Carter hadn't used this technique, is what we should ask. The answer is "no", for the same reason a pinhole camera can be used to make an ordinary subject appear different and therefore, cause the photograph to achieve a level of interest that wouldn't be achieved by conventional photography. This recent technique of Carter's can easily be a metaphor for what he deems, "the poetry of the commonplace." What Carter neglects to understand is great poetry - like the best photography, is never in need of further enhancement. The book begins with his earliest and best work. The solitary images of a toy airplane on an unmade bed, an empty theatre, and a fence in an abandoned playing field find their strength in the delicate simplicity they intend to capture. These are the photographs that come closest to poetry, due to the photograph's strength being conveyed through straightforward mood, and not manipulation. As the viewer follows chronologically through this book, it becomes apparent how Carter uses premeditated set-ups and posing to achieve the final image: a man with a butterfly in his mouth, two children holding blocks up to their eyes, and `mud lovers' are no different than posed, studio shots. This style of photography is fine and Carter's images are pleasing, it's when he calls these same images poetic, when they are merely contrived, that causes one to raise an eyebrow in suspicion. Twenty-five years in the life of a photographer is not a long time. Hopefully, Carter will return to the approach of his earlier work and achieve the poetry he currently lacks by going back, instead of moving forward. Then he will truly be documenting "the poetry of the commonplace". Until then, he's merely documenting the mundane.