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Tuesday, August 23, 2016

NO PEBBLE MINE, Pictures from Ground Zero by Robert Glenn Ketchum

NO PEBBLE MINE Pictures from Ground Zero 
by Robert Glenn Ketchum

Thank you to the EPA for recognizing the value of the Bristol Bay fishery. 
NOW, what can we do to protect this habitat further? 
Mission: To protect the national parks and national refuges of southwest Alaska, 
and the Bristol Bay fishery from the development of the Pebble mine, and other commercial risks.

Tuesday, August 23, 2016 

NO PEBBLE MINE #206, Pictures from Ground Zero:  NO PEBBLE MINE #206, Pictures from Ground Zero:   In this part of the park the lakes and meandering streams coalesce into a spectacular falls that is basically a headwater of the Nushagak river. These falls are one of the spectacular fishing destinations accessed by Tikchik Narrows Lodge and its guests. Salmon migrations coming out of Bristol Bay reach the upper lakes in the park through the Nushagak and its supporting streams and rivers. This is also some of the most whitewater you will see on any of the larger rivers in Southwest, as most flow broad and flat, with occasional rocks but seldom having a dramatic sections such as this. Now we will turn west, visiting some of the large lower lakes and valleys before we circle back to the lodge.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd @NRDC @OrvisFlyFishing #NoPebbleMine #LittleBearProd

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Monday, August 22, 2016

The Higher You Get, The Higher You Get by Robert Glenn Ketchum

by Robert Glenn Ketchum

Growing up my parents had a home near Sun Valley, Idaho. It was there that I learned to ski. Over many years I befriended members of the Decker Flat Climbing and Frisbee Club, with whom I had both life, and art-forming outdoor experiences. I had my camera, and these are my adventures.  Enjoy!!  ~Robert Glenn Ketchum

Monday, August 22, 2016

The Higher You Get, The Higher You Get - Sun Valley and the DFC&FC, #16:
THE HIGHER YOU GET, THE HIGHER YOU GET - Sun Valley and the DFC&FC, #16:   After our view rest at the top of the flats, there was no where to go but up. The question is, "just how far up?" Andy is trying to determine that critical point, "when do I stop climbing and start sliding", AND "how far across the flat will my run carry me (don't want to hit the highway)?" As you can see, the snow has really set up hard. The rolled-up pad is going to be a screaming, hard-bouncing slide, but just how fast and how far remain very unclear... until the first run. Carla is beginning to wonder about her cardboard box as the terrain gets steeper, but it all still looks like fun to me. Hey, I have the innertube! Stay with this blog because as it rolls through the years you will see me and members of the DFC & FC on cross-country skis with our backpacks, headed across these same foothills for some winter camping and backcountry skiing in the abandoned historic mining town of Boulder City constructed at 9,500-feet and surrounded by the summits of Boulder Basin.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd
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Where It All Began: LIMEKILN CREEK by Robert Glenn Ketchum

Where It All Began:  Limekiln Creek by Robert Glenn Ketchum

In 1967, I discovered Limekiln Creek on the Big Sur Coast in California. Among those redwoods, I had an epiphany as a young artist. As a photographer, most of the skills I would use, I would learn there. Many years later in a mature career, I helped the American Land Conservancy acquire this property for the California State Park system. This is the story of a very personal place.

Monday, August 22, 2016

Where It All Began:  Limekiln Creek, #34
Where It All Began - Limekiln Creek, #34:  My journeys into Limekiln during my 4 years of college were formative to say the least. They inspired a commitment within me to work with the subject of the landscape on behalf of the environment. I also started shooting in color and communicating with Eliot Porter, color photography's answer to Ansel Adams. I experimented with various camera formats, and most importantly, I was trying to find my personal POV. Although I greatly admired how Eliot used color, which is why I wrote to him, I found his images "mixed." Some were nice, but just descriptive, and others were much stronger and usually more abstract. His close-up abstractions seemed obvious to me, but those where he positioned himself with a wider view that still remained abstract, REALLY knocked me out. I have always felt the best of this work was published in "The Place No One Knew: Glen Canyon on the Colorado". As my recent posts suggest, during my "Limekiln" years, I struggled to find my personal POV and my vision was constantly torn between close observation and taking a step back to sense the greater place. As this blog closes, the last 3 images I will present finally "arrive." In them, I feel my framing of the view finally captures some sense of the place that includes both the clearly visible AND and the more ephemeral undercurrents of the "magical universe."
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd, #LittleBearProd, ALC (@american_land), Monterey Pop Festival (@MontereyPopFest)

Friday, August 19, 2016

The Daze of My Life: Robert Glenn Ketchum, An Autobiography

Biographies are studies of someone's life based on cumulative research. Good ones may reveal something, but probably barely scratch the surface of what actually went on. The internet is allowing me to do something VERY different. 
~Robeert Glenn Ketchum

Friday, August 19, 2016

The Daze of My Life:  Robert Glenn Ketchum, An Autobiography #7:
The Daze of My Life, #7:   Another great part of my friendship with Frownie was that he had several boards, and he always offered me one. They were much better than the rentals available and a bit shorter, generally between 10'-11’. In the summer of ’64, surfing with him and this available quiver of boards, we began to expand the breaks we were riding to various spots all along the south shore of Oahu, including Kaiser's and Ala Moana ( kaisers surf ). That fall, my parents liked my enthusiasm for surfing and offered to buy me my own board for Christmas. The breaks I was riding were fast, and nose-riding was fashionable at the time, so I went to Hap Jacobs and asked him to shape a “Jacob’s Concave” (for speed) with a flat-bottomed nose (for nose-riding). He also added a V-tail instead of the more traditional squared-off tail-block I was used to, AND THE BOARD WAS 6’8”!

I rode that board at Rincon that winter during a big swell and found it seemed VERY small and low in the water, almost like a belly-board. It was also screamingly fast and I struggled to control the the pintail, and the concave induced speed. In the image above, my Webb classmate, San Scranton is imitating Paul Strauch, Jr's. classic "Cheater 5" at Fernald Point in Santa Barbara. (The red color of the water is due to a massive fire in the foothills and lots of ash on the water.)

I also took that board with me to Hawaii that summer and surfed it there. While I seemed to manage it decently at #3’s, at some of the new breaks I was surfing such as #Kaiser’s and #AlaMoana, I was still not adjusting to the design. Few others had boards even close to that short, and most of my friends thought I was just a crazy “haole.” While clearly it WAS a prototype for the short-boards of the future, it was more (or in this case, less) board than I could handle and feel comfortable with.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd
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My Life in the Garden of Eden by Robert Glenn Ketchum

My Life in the Garden of Eden
by Robert Glenn Ketchum

As part of paying the bills in my professional career, I photographed a number of significant gardens. I helped create several pretty amazing ones as well. Some of these pictures have been published in various books, but most have never been seen. In this blog, I will show you all my best garden images AND discuss garden design.

Friday, August 19, 2016
My Life in the Garden of Eden, #7:
Garden of Eden, #7:   Please excuse this terrible cell phone image, but it is pertinent to my story of remaking the hillside garden of my families Bel Air home. As noted in my last post, I sought to reduce water, eliminate invasive species, and create greater fire resistance. Here you can see the upper reaches of the hillside smothered by ivy which we had not yet begun to remove. However, you also see something else critical to fireproofing and removal of non-native species: this hillside supported numerous eucalyptus. Although a visible signature of the LA landscape, the eucalyptus is a non-native, water-sucking tree, that in a big fire acts like an explosive torch because it is a tree rich in oils. Our property had many, most of them HUGE and more than 50yrs. old. Because they throw-off "widow-maker" branches in high winds, they needed to be trimmed constantly and it was stunningly expensive. I cut 9 of them down. Cutting them down was pricey BUT the cost doubled to remove the root, and if you did not, the tree would sprout back. SO, we cut deep holes into the heart wood of the standing tree trunk. Then, I filled those holes with soil and turned the stumps into planters full of intermixed succulents. The slow rot of the wet soil killed the tree regrowth, and although these will slowly disintegrate, they are so large that it will take years and years. In the meantime they are a VERY dramatic and unexpected addition to discover as you walk around in the garden
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd
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Thursday, August 18, 2016

Welcome to SUZHOU, 1985 - to the present by Robert Glenn Ketchum

Welcome to Suzhou, 1985 - to the present by Robert Glenn Ketchum

During the reign of Mao (1949-1976), China was a closed country. China in the 1980’s was 80% rural, with no outside visitors, particularly from the West. When China opened to travelers, the Chinese government placed severe limitations on who was allowed to enter the country. These photographs are a continuation of other ongoing blog threads of the first glimpses into China in the mid-1980’s by world-renowned Conservation Photographer 
Robert Glenn Ketchum.

Thursday, August 18, 2016

Welcome to Suzhou, 1985 - to the present, #131
Suzhou #131:  If you have followed this blog, you know by now that the images are a result of wandering the streets of Suzhou in between working sessions with the embroidery workshop with whom I have been collaborating since 1985. While considerably ignored here in the US, in China these embroideries have made me quite visible, especially because of television coverage. I am so "visible" on the street in Suzhou occasionally people will say hello (Hello, Mr. Robert!) or engage me in conversation because they have seen me and my work in a broadcast. One day I was approached by this man, who identified himself as Shen Young. Not only did he know who I was, he knew a great deal about my embroidery work. At the time, Shen was an American living in New York and he represented an athletic sports shoe company that sponsored international stars, especially tennis players. Shen was born in China, but escaped during the Mao era, worked his way to the states and became a very successful citizen here. I did not know it at the time of our meeting, but I would learn that Shen was also at great changing point in his life, and he had returned to Suzhou to live for awhile in the New China. More amazingly, he was leaving his established business, and inspired by what he had seen me doing with the embroidery group with whom I worked, HE HAD BEGUN HIS OWN STUDIO and was producing embroideries based on his photography. (Standing next to Shen in this picture is Chen "Sunny" Zhuqing, his current wife and mother of his most recent child - these are two very fun people.)
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd #China #Suzhou

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SILK ROAD - Embroideries of Robert Glenn Ketchum

Silk Road - Embroideries of Robert Glenn Ketchum

The city of Suzhou, China, produced China's most beautiful silk and silk embroidery practiced by generational families for 3,000 years. My purpose in going to China starting in the mid-1980's was to turn my photographs into textiles, and this is my story. ~Robert Glenn Ketchum

Thursday, August 18, 2016
Silk Road - Embroideries #187
SILK ROAD #187:   Zhang liked the visual effects created by our new style of 1-sided embroidery. I am referring to NOT filling-in the matrix but supporting it with a painted or tinted background in the frame, and thus allowing a greater build-up of more complex stitches on the principle subjects, giving them a palpable dimension. At this point in our long relationship, we had worked through many ideas and images, and in-between China visits I would spend a good deal of time with my entire film library, selecting shots I thought might perk the embroiderers interest. I usually brought 8-10 photographs to our meetings which we would discuss as a group and narrow down to one or two with which we might proceed. I chose this image because of the light AND the varied textures. When Zhang saw it, she was immediately attracted to those elements as well, but she also recognized an opportunity to render a very dimensional, and highly detailed foreground of colorful trees, against a more discreet, but still very textured background. The trick would be to not let the background embroidery compete with, or diminish the dimensional effect of the "showcase" stitching that would be done on the foreground elements.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Embroidery @WesCFA @RSSDesigns

Tuesday, August 16, 2016

TATSHENSHINI: Saving a River Wild

TATSHENSHINI:  Saving a River Wild by Robert Glenn Ketchum

In 1990, I was invited on a 10-day float down the Tatshenshini, a huge river system flowing from Western Canada to the Pacific Ocean that literally divides two of North America's largest national parks, Canada's Kluane National Park and Alaska's Glacier Bay National Park. A gold mine was being proposed mid-river. I broke the story in LIFE magazine. There were many other articles and a book. The mine was never developed and the river is now a wilderness corridor. This is a conservation SUCCESS story!

Tuesday, August 16, 2016

TATSHENSHINI:  Saving a River Wild, #115
TATSHENSHINI - Saving a River Wild, #115:  Looking back at where we had come from on the previous evening, you can see that there is some open water close to the shore. It is very shallow here, so the larger bergs ground before reaching this point. The ice that is here is small enough that most of it can be pushed around and thus the guides have gone back into the water to pull the rafts through and around the obstacles in these shallows, and get them over to the open water of the outflowing Alsek river below the massive ice jam. Once again our collective camp trudges the gear across the broad beach to where the boats will be reloaded. Having finished that, most of us are pondering our last views of this place and I am marveling that we made it at all. Again, scale fails me, BUT that blue berg is the size of a small house. It, and those really dirty ones on either side, have completely sealed off ANY path through where we past last night. As we would eventually learn, the next six river float groups to follow during the ensuing week had to be picked up by helicopter from the bar where we had our late lunch. There was NO passage through this to the outlet and no one could float on to the airstrip pick-up.
photograph(s) © copyright, ROBERT GLENN KETCHUM, 2016, @RbtGlennKetchum @LittleBearProd #LittleBearProd #Tatshenshini @glacierbaynps @Life @Wilderness #WeAreTheWild  @nature_AK
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Book, "The Topsy-Turvy Path to Twenty-first-Century Socialism The Limitations of the New Left in Latin America" by Nicole Fabricant

The Topsy-Turvy Path to Twenty-first-Century Socialism. The Limitations of the New Left in Latin America 
by Nicole Fabricant

Book Review of:
Latin America’s Turbulent Transitions: The Future of Twenty-first-Century Socialism.
by Roger Burbach, Michael Fox, Federico Fuentes
London and New York: Zed Books, 2013.

Monday, August 15, 2016

Abstract, Latin American Studies: Publishing and Politics by Ronaldo Munck

:::::: Abstract ::::::

Latin American Studies: Publishing and Politics 
by Ronaldo Munck

This is an opportune moment, I believe, to debate the future of Latin American studies journals, given their variety and well-established nature. My own standpoint derives from a long-term membership of the Latin American Perspectives advisory panel and a brief stint as chief editor of the Bulletin of Latin American Research (UK) as well as membership of around a dozen editorial boards of journals dedicated to labor and globalization studies. And, of course, as has any other active researcher I have faced the demands made by the powers that be on where we should publish and what we should publish.