150 years ago

Today, 150 years ago, one year into our Civil War, Union –  the Union being the United States of America -troops were finished moving into position to attack Fort Donelson on the  Cumberland River. Five days and a 150 years ago, on February 6, 1862,  the Union  had won its first major victory against the secessionists – the Confederate States of America – in the battle for Fort Henry on the Tennessee River.  The Union forces were led by a little known, a newly promoted Brigadier General Ulysses S. Grant.

I do not know all the reasons for the pull that U. S. Grant has on me: part of it probably has to do with the resurrection of a failed man, part with his lack of pretension, a lot with his change from a non-political – non involved – man to being the greatest, white, champion of civil rights the United States has seen until LBJ a hundred years later. For that, for trying to give Negros their rights, Grant’s reputation suffered during  a post Civil War remembrance that was colored by the Lost Cause of southern valor. As the Negros became happier in their chains, the man who kicked every southern general’s ass including Lee’s became an inept drunk and a butcher.

On the 100th anniversary of the Civil War, 50 years ago, we were starting to get bogged down in Vietnam and allegedly smart people were saying things like Military intelligence is an oxymoron and Grant was a drunk and a butcher and stupid. Now, one of the things about this anniversary is that Grant is being rehabilitated as scholars are re-looking at the war and his presidency. The English have thought of Grant as a great general for a long time, probably starting with British historian General John Fuller  who wrote extensively about Grant and wrote one of my favorite quotes that is both about Grant and our America as it should be:

In the year 1858, in the streets of the city of St. Louis might sometimes be seen a man leading a horse and cart – a seller of faggots. The man was no longer young, about five feet eight inches in height, though he looked shorter, for he stooped slightly, and when he drew up to off-load his wood his limbs trembled, for he suffered from ague. He was a thick-set, muscular man whose dark-brown hair and beard showed no trace of grey.

To the passer-by he was one of many thousands who had failed to make good  – that is, he was a poor, honest, hardworking fellow whose end seemed preordained – to do odd jobs until his days were numbered: to die, and to be forgotten. Yet in the United States of America, then as now, it would have taken a bold man to predict the end of a fellow citizen. The Thousand and One Nights is a romance founded on slender facts, on Eastern dreams which seldom come true without a knife, a bow string, or a cup of poisoned coffee. But here in this vast tumultuous continent facts find rooms wherein to wind and unwind themselves into tremendous romances. No man can tell the destiny of another; for there is magic in this land of vast possibilities, vast as its spaces, in which talent more so than birth sorts through the sieve of opportunity the human grist from the human chaff. This man, humble, work-worn, and disappointed, as he off-loaded his faggots, stood on the brink of his destiny as surely as the prince in the fairy tale when he lifted up the old peasant woman and her bundle of wood, and wading the river found on the far bank that in his arms rested a smiling princess.

The name of this humble seller of wood was Ulysses S. Grant, who within a few years, was destined to command vast armies, to win great battles, and to be twice chosen by his countrymen as their President. If this is not romance – what is?


Grant, who commanded two divisions of Army, was a young man at 39 and still untested. He was accompanied by a Union Navy force commanded by Flag officer Andrew Foote, and, at Fort Henry, the Navy had beaten the enemy before his troops were even able to attack the fort. Now, for the first time, 150 years ago, he would be tested.

The genius of Richard Misrach

I have been going to the California desert – on a pretty regular basis – for about 35 years. The great majority of that time has been when the light was hot and flat, washed out, the colors dull. Almost every photographer working in the desert shoots during what is called the sweet light or golden hour – between about an half hour before sunrise to about two hours after sunrise and the reverse – sort of – around sunset. Richard Misrach shoots during the middle of the day when the light is flat and washed out and his photographs looks like the desert actually seems to look when most people are actually looking at it.

Most “fine art photographers” tend to not use normal lenses, especially in the desert, with the wide angle being a perennial favorite. So there is some point of interest in the foreground but the real photograph is often the background. Art Wolfe is a terrific photographer; he is a photographer who does – more or less – conventional images in a conventional way better than anybody.  I love his shots but their strength is that they are not what most people see when they go to the desert.

Richard Misrach strength is that his shots show what most people see and are impacted by in the desert.

I love Misrach – his images – and he has had a huge impact on my photography but I have never been quite sure why I am so attracted to them. I have never been sure how he made them work. Over the weekend, we saw the same Misrach photographs displayed at both the Oakland Museum and the Berkeley Art Museum. (It was interesting how the same photographs took on a different feel – tone is better – when they are displayed differently. I preferred the Oakland show, BTW.) More importantly, for me, the two shows helped me understand Misrach’s photography much better.

Now, I think that the genius of Misrach is not in the content of his photographs – which are often pretty mundane – but in how that photograph is played, for lack of a better word. First his images – photo talk for pictures – are huge – like five by six feet huge – and that makes a big difference. And sharp; 8″ by 10″ camera sharp (or, if shot today, huge megapixel sharp).  It is easy to almost get lost in the photographs, they almost become a real life view. He has had the guts to just go for an outrageous size and the impact is worth it (except that they are too big for most homes. Second, the images are desaturated. Just like the desert light, at any time but the golden hour, is desaturated.

It will be fun to see how this plays out in my photography.

 

 

 

 

 

Behind the curve

“Conceding that his refusal to release tax returns was “a mistake” and “a distraction” that helped cost him a South Carolina primary win, Romney said he would release his 2010 federal return along with an estimate of his 2011 taxes.” from the Los Angles Times. They – whoever they are – say that timing is everything and I am sure that they are right. I have never understood why somebody like Romney, who seems very intelligent, would not just instinctually realize that he can’t stonewall the release of his taxes. But he did stonewall the release until well after it hurt him in South Carolina.

As a Democrat, I am rooting for Romney to hold back on releasing all his taxes because that will be the best way to keep the issue alive. But, good timing has never been my strong suit; when I see that something is going to happen, I am usually ahead of the curve. And sometimes, the curve never gets there. In 1999, I was convinced that the era of the MacMansion in the boondocks was over and people wanted smaller, closer in homes. I missed the trend by almost ten years.

I comfort myself, however, by remembering that General Douglas MacArthur, an often a brilliant general, was also, often, ahead of the curve. It doesn’t comfort me, however, again, that being ahead of the curve caused MacArthur trouble. Several times, he saw that he was going to win a battle and started drawing troops out before the battle was actually won which actually prolonged the fight and, a couple of times, almost lot it for him.

So maybe Romney is right and stonewalling the release of additional taxes will help him, but I don’t think so.

 

 

I’m thrilled that nothing goes away on the web

The San Francisco Police Department wants to us a couple of my photographs in their annual report and I am shocked. Not shocked that they want to use the photographs – well, actually, shocked about that too – even though I do think that it is a pretty good photo of the police at the 2011 LGBT parade – as they call it – but shocked that they found it. I put the pictures in my blog last June where they – apparently – lurked until the Office of the Chief of Police of the San Francisco Police Department found them. That is pretty extraordinary. Well, I guess, today, not extraordinary: just ordinary.

Still for me, shocking. A couple of weeks ago, I did a post on going to Sequoia Hospital for a daily infusion of the antibiotic daptomycin and two days later, the head nurse said that I should be careful not to show anybody’s name in my pictures. It turns out that Sequoia does regular searches to see what people are saying about them on the webs and then referred it to the nurse in the photograph. I know that whatever I put here is available to anybody, but it was still a surprise. And I had a moment of feeling slightly queasy, like seeing a cop car’s redlight going off in my rearview mirror.

As I finish this, the shock has dissipated but the thrill remains. And here is the other picture.