I’m regarded that in the most recent issue of The Burning Shore, Erik Davis, researcher of West Coast counterculture, surveyed The Family Acid: California, Roger Steffens’ out of sight collection I distributed with my Ozma Records accomplice Tim Daly! Erik’s magnificent essay is a twofold survey, additionally concentrating on the Anthology Editions reproduce of Dennis Stock’s striking California Trip book from 1968.
From Erik Davis’ The Burning Shore:
Steffens’ utilization of different exposures is maybe the key signal here. The choice to re-uncover film is a shakers toss, a demonstration of trust in the fun loving nature of numerous points of view and the benefit of exposing a previously caught picture to the luck of jumps through time. Such pictures are additionally, obviously, dreamlike, and a portion of Steffens’ are trippy as poo. They not just review the formal and emblematic palimpsests of hallucinogenic vision, however circle the subject of the photographic item once again into the eye of the spectator: seeing these incomprehensible scenes, we glimpse our own seeing, our own coagulating of reality from the virtual.
Other Family Acid pictures include ancient rarities like diffraction spikes, radiant circles, and odd lensing impacts. (Look at the spread shot up top, which compares the great clerestory light of redwood forests with a mandalic UFO flare.) These are embellishments, my companions, proof of that flower child will to hack media tech in the journey for strange encounters. They additionally review the more hallowed lights you can just possibility upon, in the most bizarre of spots on the off chance that you see em right, those wink-wink hallucinogenic flashes that once in a while enlighten parking areas, or folded lager jars, or blockhead business signage—Phil Dick’s “garbage layer,” briefly ignited into something high and sacred and completely profane.[…]
As Anthology notes in their online duplicate, [Stock’s California Trip] “turned into an image of the free love development that kept on rousing consistently.” This is the thing that originally stood apart for me: the surfers, the multi-racial heads, the Jesus Freak spray painting on the rear of a VW bug—in addition to the main inside shot I’ve seen of Mystic Arts World, the hallucinogenic setting opened by the corrosive throwing Brotherhood of Eternal Love in Laguna Beach. In any case, Stock was not covering the counterculture, not to mention communicating its vibes from within, as Steffens does. Rather he was indexing the monstrosities and bloom youngsters as essentially further side effects of a bigger and all the more inauspiciously irresistible condition: California.
The Family Acid: California (Ozma Records)
California Trip (Anthology Editions)
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