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Micaiah Carter, “Preserve” (2017) PHOTO BY MICAIAH CARTER

American director and photographer Micaiah Carter (@micaiahcarter) has had a prolific career mastering the art of capturing the timeless essence of artistry in all of its capacities—from the screen to fine art. From both behind and in front of the camera, he has beautifully bridged the gap by capturing Black men and women to comment on a lack of representation. Now, the public can view his vision through his debut tome, Micaiah Carter: What’s My Name (Prestel).

“WE ARE NOT LIMITED BY THE COLOR OF OUR SKIN, BUT BY THE EXPANSIVENESS OF OUR CREATIVITY.” -MICAIAH CARTER

“Alton” (2016). PHOTO BY MICAIAH CARTER

Readers will find an exercise in selfhood that is rooted in his career thus far and the memories of his childhood. Thus, we are privy to the editorial experience that photography can lend itself to. A combination of his exquisite professional and personal portfolios and found family albums, the book is a journey through time and dimension.

Micaiah Carter, “Orchestrated” (2017). PHOTO BY MICAIAH CARTER

Evoking palettes from the 1970s, memories of decades past and a spirit of creative possibility, the images in this book are at once rooted in history and able to tell the story of a Black man’s contemporary experience. “We are not limited by the color of our skin, but by the expansiveness of our creativity,” Carter says. “These photos are a reminder that we are all connected by our shared humanity. We are all part of the same story.”

From top: “Alton in Brooklyn” (2016); “Untitled” (2018). PHOTO BY MICAIAH CARTER

Although he has photographed the likes of Zendaya, Daniel Kaluuya, Issa Rae, Jeremy O. Harris, Kehinde Wiley and Pharrell, among other prominent names, Carter maintains a sense of home and belonging that he wants to share with the world. What’s My Name is a kaleidoscopic analysis driven not chronologically but rather by association, linked thematically and compositionally in the intentional placement of photographs that hail from completely different areas yet merge to become a linear narrative.

Micaiah Carter, “Three Men” (2018). PHOTO BY MICAIAH CARTER