nUkiEmOLe sToRiEs #14/ 21 Dec 2013 ©
How is youR imperialist-culture Doing against You
[Winter solstice has arrived @ 9:11 a.m. today, here in med-Bow Oasis.]
CHEM tRails started to change the weather in 2006, and this summer I found them doing UN-justly to us, that dastardly contamination-Scene overhead. When one compares 10-gallons of 91-octane to the very costly J-8, that 5,600 gallons of aero-Jet fuel, to load-up “one” commercial-Jet and we need look-up and see what is blocking the natural sunlight, then all of us has to wonder how long will we survive under this “skin liaison” of change that is precipitously re-Arranging DNA, but not for us. This is a long sentence. Altho, my photographic subsequence, is what my import to factual indemnity is, the planet-Erathe will take the next 72 hours to perform the miracle of time-Sequencing, that which has been “recorded and accordant” since 80,000 to 120,000 years back. The planet has done our seasons well for us. Thus, my attributes to the continuation of north-Americas culture, ‘where is imperialism taking acculturation and culture’?
sessions w Ansel Adams
The first photo-inG that I accomplished was quite remarkably UN-usual to me. I had gone from Carmel Valley visits to the river and driving past Joan Baez’s residence as I’d left the Village and drives looking for an art-studio, realizing that my welding would have to improve and I’d also have to find a 4-hours per day. these were merely possibilities of finding a steel-workers union and taking photos of these fellow (both genders, indicatively, I wondered) as this was 1972. Ansel Adams, I’d actually met at Sierra Club Headquarters in Claremont district of Alameda county. They had open public input evening plenary meetings and were receptive to reforestation prospects that I represented. I got to Ansel’s home-place and he was awaiting, showing three of us prospective “photographers” around the visual acuity of necessity—wall framed photos of high quality, not in direct sunlight, the darkroom w a curtain doorway and table lights where chemicals had to be measured under infra-red.
That was the training session, and next session, I paid for basics of instruction. His was a traveling life-style. The next year 1973, the Ecology Group was in Alaska, and there was the lake below Mt. Denali that which he’d photographed that I’d seen at san-fRan Modern Museum of Art (MOMA). Ansel had run me off the trail in the Yosemite Nat’l Park while en route to the Tehachapi Reservoir, and later in the parken lot the nest day he said he’d makeup for that enterprise. He was carrying his 8-inches by 10-inches cameRa and that in and of the nature of tripod and carry box made for at least 60-pounds. The next time was when he asked me to move my vehicle on Mt Denali geography at nearly 8,000 feet up, which was about as far as my little Van-1, 170 cu. in. could go! So, he had to make id-al over and was wont not to please my being—also I am sculptor– would be renown to our conversations, as well as Ecologist. Of course, I wanted to purchase one of his many hours of processing images, photographs.
I liked the feature of the White mountains of Great Basin in Nevada, where Ansel and I had met at approximately 11,000 feet altitude. He pointed-out the ubiquitous nature of the “bristlecone pines” and I said “from here you could see the eastern-slope of Sierra Nevada” w a relish of clarity, as I departed to grant him space and time contemplative for his “shoot”. While, the next encounter was months later in 1974. We, Prof Sam, both Morley Baer and Ansel Adams (photographers), and myself, converged upon the vista-Vantage of about 170 miles of Sierra Nevada from the coast-Range. This was a very clear, almost smog-Free day where we “all” could see the white-capped tips and slopes of the
range “up-Close ”from afar”. That hike had been invigorating, but the view was superlative, then the amalgamation of interests from visuality became totally supercedent, hardly derogatory. We talked of Alfred Stiglitz, of Henry Jackson, of Arthur Fellig known as Weegee, altho Morley did not know of him, then, Prof Sam mentioned Walker Evans and the National Geographic magazine and society, that both photographers had partaken and been accepted. I then mentioned “the poetic on posters” of eastern outdoors photographer, and wondered whether either would enlist that “popular” method!
That Fall, while attending to Ansel’s request for my third visit to Del Monte, we discussed oak trees of Monterey county. I mentioned ‘had he found color of Blue Oaks, as hard to fend in black and white’. His reply was “I do not do color imagery”. He said, call back in several hours, at which point I was told to meet him on the Monterey-Salinas highway. He was late but, was parked in a different spot than alongside the concrete (glipped roadway surface). Here, he said to me, pointing to his 4” by 5” camera, continuing “the other (8” X 10”) would not produce what he had in mind” meaning faster shutter speed of not K-64 but around K-32. He set-up the camera and beckoning w hand wave stood and told me his settings, pointing to where I could see the set-up, and then spoke” hold the cable and push (in a steady manner) carefully”. We had the big Cypress tree, but the big and long-lived grandfather of all Eucalyptus trees of Monterey county, there in his tilted plains accordion. Not a cypress, not a Monterey Pine, not a redwood. Then, to my surprise, Ansel himself walked to the base of tree and asked ”where should I stand”?
I suggested a two-steps to his right, in order to capture both light on the 10-feet base and to capture well enough his features beneath the jargonated growth. I clicked the cable shutter release, but nothing happened, because he had not placed the film. The other fact was, the clouds had not cleared and sunlight availability was not yet opened. We waited fifteen minutes more, then he repositioned himself beneath the great-Eucalyptus. Then, the moment arrived he spoke, softly ready. I clicked the cable and my first major poRtRait was won.
photoing: Alex Jones, Jesse Ventura, Willie Nelson
My anti-Nuclearist enterprises of vigils, marches, protests, demonstrations was associated w Reduction of thermo-Nuclears, clean-UPs of radioactive-Wastelands, storage of Radionuclides w.o. contaminations, and “what is NSDU-238” the back-burner Radionuclide of first Weapon connote. Many times I would go thru Oklahoma to get to protests. Secondarily, I was doing outreach to maintain the premises of civic-Minded, not spiritual-Religious assembled persons. Wherever, I went protests were said to ’cause’ strees, but that was basically a backward response built into the neurotic disposition of ‘freedom of speech” was not protest, that was sanctity and solemn and staid and stupid when the police came. Alex Jones and I go way back to his first filming of the Bohemian Grove in Muir Woods of Marin county. I would stay at his cousin’s or uncle’s place, but between 1979 and 1983,I had a contempestuous time w travel as I had started into part-time OTR trukken and furthered metals-Sculpturing, too!
The police around Austin TX would make camping on outskirts the extrapolation of
$6.00 per nite campouts @15 miles distant, which made for hardship to awaken in first light and gather oaks in camera image-making, as per outdoors-Ecology w.o. bull-dozed flatness. I went back to a place I’d known, because dN-tN was dusty from roads construction, pipes laying and lack of Remediation i.e. not enough clean-ups and one also needed a place to open side-doors and cook a hot meal of my Ford Econoline.
 I was told by Prof Sam to hide my camera’s color film apprisal, but I did attempt two images, both of which were too bright as I had not stepped down 2-shutter openings…
 No better advice has ever been given to street photographers than that offered by Walker Evans, one of the greatest American photographers of the mid-twentieth century: ‘Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.’…” see: Street Photography Now Project @ http://streetphotographynowproject.wordpress.com/the-book-2/read-the-introduction/