Category Archives: Cameras

Portrait of the Day: Alexandra

Tony_Ward_Studio_glamour_portrait_ParisAlexandra

Photo: Tony Ward, Copyright 2019

 

 

Editor’s Note: To see more pictures of Alexandra as well additional pictures and films from Tony Ward’s erotica collection, click herehttp://tonywarderotica.com/category/membership-account/

 

Also posted in Art, Books, Diary, Documentary, Early Work, Erotica, Fashion, Fetish, Film, Glamour, Models, Nudes, Photography, Popular Culture, Portraiture, Travel, women

Portrait of the Day: Amanda

tony ward photography fashion erotica black lingerie

Photo:Tony Ward, Copyright 2019

 

Editor’s Note: To see more pictures of Amanda and other pictures from Tony Ward’s erotica collection, click herehttp://tonywarderotica.com/category/membership-account/

 

Also posted in Art, Blog, Erotica, Fashion, Fetish, Glamour, Models, Photography, Popular Culture, Portraiture, women

Bob Shell: The Digital Era

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Photo: Anthony Colagreco, Copyright 2019

 

Text by Bob Shell, Copyright 2019

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Photography by Anthony Colagreco, Copyright 2019

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The Digital Era

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Many of you reading this came of age in the digital photography era. Most likely you’ve never used, maybe never even seen, a film camera. My girlfriend Marion was like that. The first time I handed her a film camera she took a shot and then looked at the back of the camera to see the picture – which, of course, was not there! People who grew up with digital photography can’t imagine having to wait to see the pictures. When I first got started, unless you had a darkroom and developed and printed your own, you had to wait days to see your photos. When I had my first camera shop in the early 1970s we had our photofinishing done by a big commercial company called Colorcraft. Their courier picked up film from us every day and delivered the finished photos. As I recall, it took three or four days to get your pictures back. A bit later in the 70s came the innovation of next day delivery. People were amazed to get their pictures that fast. Next came the minilabs that pharmacies, grocery stores, and discount stores installed. Suddenly you could get your pictures back the same day! Some places even offered one hour service. The race was on to be the fastest, but quality was often lost in the rush. People got back poorly exposed or otherwise flawed pictures, and assumed it was their fault, never knowing they could have gotten good pictures from a better lab.

Today those big photofinishing companies are long gone, as are most of the smaller labs. The last lab in my area, run by an old friend of mine, closed at the end of 2018. People who still shoot film pretty much have to develop and print their own unless they live near one of the few labs still in business.

Kodak Alaris has just reintroduced Ektachrome 100 Professional in 35mm rolls and Super-8 cartridges. They must think there’s a market for it, but that leaves open the question of where to get it processed. (kodakalaris.com)

The Lomography people have recently introduced black and white Potsdam 100 and Berlin 400 films. These come in 35mm and 120 roll film sizes, and are “cut from old stocks of a cinematic emulsion, produced by a legendary German company.”. Available online from Lomography (www.lomography.com)

I don’t know much about the current Lomography company. I know they got their start selling a compact camera made by LOMO, Leningrad Optical and Mechanical Works, in St. Petersburg (formerly Leningrad in Soviet days) and turned that little camera into a cult object. They’ve expanded to selling a wide variety of photographic products. I’d guess that the “legendary German company” they refer to is Agfa. Apparently Agfa had large stocks of film on hand when they went out of the film business. Rollei was selling rebranded Agfa black and white film under their name for some time. In cold storage black and white film will still be good for many years. In a bit of sales hype, they say, “Steeped in a rich past and prestige, this mighty monochrome is not just a tribute to history — rather a part of it.”

I used to collect Soviet era cameras and lenses from Russia, Belarus and Ukraine. While the little LOMO point and shoot, the LC-1 was nothing special, LOMO also made the only Russian-built professional camera, the Almas (Diamond in Russian). During the Cold War days, Soviet photographers were cut off from the Japanese professional cameras the rest of the world used. LOMO was tasked with the job of producing a camera for Soviet professional photographers. Superficially, the Almas looks like a Nikon F2, but on closer inspection is revealed as a unique camera. The removeable prism housing is styled like Nikon’s, as are the interchangeable focusing screens. The camera body looks like a Minolta and has a shutter that looks like a Copal, but is a unique LOMO design. To carry on the hybridization, the lens mount is Pentax K mount. The camera is very robustly built and most samples I’ve seen show considerable use. There is a connection on the bottom for a motor drive, but as far as I have been able to determine, that motor drive was never produced. The 50mm lens on my sample is excellent. It’s too bad that this noble experiment vanished when the Soviet Union collapsed and photographers in former Soviet republics gained access to cameras from the outside world. My Almas has no light meter, but there was a meter prism available in small quantities that is rare today. My Almas is the star of my collection of Soviet cameras.

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348.  Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click here: http://tonywardstudio.com/blog/bob-shell-musical-instruments/

 

Also posted in Blog, Documentary, Photography, Popular Culture

Bob Shell: Why Radford?

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Bob Shell: Letters From Prison #35

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Letters  by Bob Shell, Copyright 2019

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Photography by Anthony Colagreco, Copyright 2019

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I have often been asked why I had my office/studio in Radford, VA, not exactly the center of culture..

In the mid 70s, after the near collapse of the US economy (caused by the infamous Arab oil embargo and other economic factors) wrecked my first camera shop, I worked for a year for Woolco Department Stores managing the camera department in one of their Roanoke stores. I didn’t like that job, because department managers didn’t really manage anything, and quit to take a job with Ritz camera in Blacksburg. When that didn’t work out (my selling style was to spend the time with the customer to find out what that person needed to buy to accomplish what they wanted to do, and sell them that. The regional manager said I was spending too much time with the customers!), I found myself working in the photo lab at Virginia Tech, where I’d gone to school. We developed and printed film shot by the two staff photographers, and when both of them were busy, I’d occasionally be asked to go out and shoot a “grip and grin” photo of the university President shaking hands with some visiting dignitary. But I wanted to be the photographer, not a lab rat in the basement, so after a year or so at this I left and took a job with Gentry Studio in Blacksburg. They were a combo of photo studio and camera shop, the perfect job for me.

I worked there for several years, honing my own photography skills in their studio after hours. I liked working there very much, but always had the itch to do my own thing. After all, even the best boss is still your boss, and I never liked working for other people. Gentry Studios had three locations, Salem, Blacksburg, and Radford, all long established. The owner decided to close the Radford studio, so I took the leap and took it over. I changed the sign to Shell Studio and expanded the camera shop portion. This, as I recall, was in 1980, and the rent on the large studio location was $ 300 a month! Amazing, eh? But at times I had trouble coming up with that money. I inherited the job of photographing the sororities at Radford University and some other school business, plus selling all the materials required for the photography courses. This, plus portraits and some commercial work kept me going for a while, but money was tight. To pick up some extra income I began writing for a relatively new photography publication initially called Shutterbug Ads, a buy-sell-swap newspaper for photographers. Initially there was not much editorial content, and that was often poor in quality, but the owner wanted to improve the quality and become more of a mainstream magazine. When I first wrote for them they were printed tabloid size on yellow paper, and writers were paid in copies.

Parallel to this I had started a photographic equipment import and distribution operation. I had almost accidentally stumbled upon Enna Werk, a small German optical company in Munich that had just lost its US distributor. So I began importing and wholesaling their products, primarily camera lenses, slide viewers, slide projectors, and the Ennascop opaque projectors. After a year I broadened my product lines to include Fisher tripods and video lights from Italy, COIL aspheric magnifiers from England, and Lamborghini camera bags and sunglasses. These additional product lines resulted from meeting people at photokina in 1980, which I also covered for Shutterbug. For ten years I ran this business in parallel to acting as Shutterbug’s Technical Editor. By 1990 it had become just too much to do all of this, so I sold the import/distribution business. Shutterbug had by then transitioned to being a real magazine with ever-growing subscription list, distribution to booksellers, grocery stores, Wal-Mart, etc., and they offered me the job as Editor at a payment rate I could live on. As I have said before, though, I was never an employee of Shutterbug. I contracted to supply editorial services at a fixed monthly rate. This allowed me the freedom to set my own office hours, stay away from office politics, and take on noncompeting projects, like writing books. By the late 80s I was writing several books a year as well as writing for Photo Industry Reporter and some other noncompeting publications. Since I could do my work from anywhere, I stayed on in the Radford studio location, at 202 Third Avenue, right in downtown Radford. I probably would have stayed there indefinitely, but the roof leaked and the landlord refused to fix it. After two studio floods my insurance company said they would not pay for any more water damage, so I was forced to move. Luckily a great location became available, a former pharmacy measuring about 35 X 80 feet at 239 West Main Street, just a short distance from the police department. I kept my studio there from 1992 until 2007, fifteen years. So I had studios in Radford, on major commercial streets, for 20+ years, but when the police came to my studio after Marion’s death the detectives said they didn’t know I was in town! Some detecting!!

I wanted a big studio space, and the new location was ideal, since I had begun conducting studio workshops for groups of photographers. The monthly rent there started at $ 500 a month, and by 2007 had only gone up to $ 525! And that included a reserved parking space right by the back door. The rent also included heat in the winter. Amazing, and one of the main reasons I stayed in Radford all those years.

Anyway, that’s the story of why I was in Radford, somewhat abridged. I’d probably still be there, doing my photography, writing for books, magazines and websites, and generally enjoying life if the police hadn’t foolishly blamed me for Marion’s death. Their simple-minded nonsense destroyed me at the peak of my career. The plain fact, never disputed by anyone, is that I was not even there when Marion overdosed. When I found her unconscious, I immediately called 911 and did everything in my power to help her.

The real reason the Radford police, prosecutors, and court felt they had to destroy me was that some of my photography was frankly erotic (many Americans are terrified of open sexuality), and at the time of Marion’s death we were working on a book of erotica for a German publisher. The book was ultimately published as Erotic Bondage: Art of Rope by Goliath, first in their MixOfPix series. There is nothing pornographic about this book; no penetration, the photos are no more revealing than Playboy and far less revealing than Penthouse. We even Photoshopped some photos because we wanted to sell the book in most countries of the world, and put the text in English, German, French, and Spanish, for that reason as well. The book was published under my pseudonym Edward Lee, a pseudonym I’d used often since at least1993 (I don’t really remember when I first used it; it’s actually my two middle names. Over the course of my career I’ve used a number of pseudonyms for a variety of reasons. Many writers have done so. My friend Don Sutherland used something like 16 or 17 different pseudonyms.)

At my trial the prosecutor waved a copy of the book around at every opportunity, shoving it at my witnesses’ faces – “Have you seen THIS?”. He always seemed surprised when they answered, “Yes, Bob gave me a copy.” He was offended that they weren’t offended! None of my friends and former models found the book objectionable.

I just managed to keep my business going doing the 4+ years I was out on bail awaiting trial. I wrote four books, numerous magazine articles, held workshops, had a gallery show of my photographs in Chicago (but couldn’t go to it!), did my own photography, and generally tried to live a normal life during that time. But the prosecution was determined to convict me, and used false evidence and practically every other dirty trick in the book to. convince the jury that I was a scumbag who regularly drugged and raped my models, even though they couldn’t locate a single former model with anything negative to say about me. Not a one! And they looked for more than four years. As a lawyer I know said, if that had been true, surely someone would have come forward.

I’m almost tired of repeating that I am a totally innocent man destroyed by a corrupt political system because I dared to be different. They sentenced me to 32 1/2 years, when the Virginia sentencing guidelines recommended a maximum sentence of three years! The Virginia Dept. of Corrections classifies me as a “numerical lifer,” which means that even though I don’t have a life sentence I’m unlikely to live long enough to get out. That’s really depressing!

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348.  Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click here: http://tonyward.com/bob-shell-wherefore-blog/

  

Also posted in Blog, Documentary, Men, News, Photography, Politics, Popular Culture, Travel

Bob Shell: Wherefore Blog?

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Photo: Bob Shell, Copyright 2019

 

Bob Shell: Letters From Prison #34

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Letters  by Bob Shell, Copyright 2019

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Wherefore Blog?

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A friend who looked at this blog summarized it as “look how smart I am!”

That came as something of a shock. Sure, I’m as vain as any other man, but I hadn’t thought I might be putting people off; showing off my brainpower, as it were. That really wasn’t my intention in making these posts, but I’ll admit that I’ve been writing only about things I think I know a lot about. Perhaps I should point out that there are a great many things that I know little or nothing about. I guess most people have a limited range of things that interest them. For example, organized sports. I know zilch about most of them. I don’t dislike most sports, I’m just totally indifferent to them. I do dislike boxing and other fight/blood sports. (I once sat next to Muhammad Ali on a flight from Las Vegas to NY, and the poor man was shaking so hard it shook the whole row of seats.) I’ve never watched a Superbowl in my life, and if I ever did it would be for the commercials. Our pod TV here is tuned to ESPN most of the time and I have no idea what those commentators are talking about, nor any interest in learning. When Shutterbug’s parent company started a magazine in the early 90s called Soccer, I learned just enough about the sport to write about photographing the action, and would have learned more if the magazine had lasted, but it didn’t. I think it was ahead of its time, since interest in soccer wasn’t well developed in the US.

Something else I know almost nothing about is identifying trees and wild plants. Oh, I know an evergreen from a deciduous, and can tell an oak from a maple, but which type of oak or maple, I haven’t a clue, and I know how to identify poison ivy from bad experience, but most wild plants are just green leafy things to me. Birds I know reasonably well, but can’t identify specific warblers or sparrows. It just never seemed that important to me. A committed birdwatcher would be horrified. When I was in school at Virginia Tech I made the mistake of signing up for a medieval European history class. Boring, boring, boring! We were supposed to memorize long genealogies of European ruling families. I learned then that it is absolutely impossible for me to memorize anything that I don’t find interesting. I dropped that class. To me it was like those long biblical begat lists. I just don’t care who begat who. I’m interested in ancient history, though. Much of history, therefore, is a blank to me. I only know some “Civil War” history because my ancestral grandfather, Hugh McCracken, fought in it as an infantryman, and survived, or I wouldn’t be here. I know trends and roughly what happened before and after such-and-such in the rest of history, and that’s good enough for me.

When I decided to devote my life to photography in the late 60s, I took the time to learn as much as I could about it. Photography, as it existed when I was a young man was a combination of physics and chemistry. So I learned the basic physics of cameras/lenses and the basic chemistry of film and darkroom processes. I knew people who bought the constituent chemicals and made their own developers and other darkroom chemicals from scratch, but it always seemed fine to me to just buy the premixed stuff made by Kodak, Ilford, Agfa, or whoever. When I wanted to experiment with tintypes, I bought the kit from Photographer’s Formulary. The only processes I ever did from scratch were gum bichromate and the Rawlins oil process, because I couldn’t find any ready made kits, and both are relatively easy processes, requiring only one uncommon chemical (Potassium dichromate), plus gum arabic from an art supply store or gelatin from a grocery store. Mostly I played with those old processes just to prove to myself that I could.

Today,photography is transitioning from a combination of physics and chemistry to a combination of physics and electronics. I’m keeping up as much as possible by reading about changes in technology.

Right now the trend seems to be to get rid of the reflex mirror in cameras. We just don’t need a flipping mirror anymore. Getting rid of the mirror eliminates the main source of vibration in the camera. That mirror at a 45 degree angle reflecting the image from the lens up onto a viewing screen was inherited from the camera obscura, which dates back to the renaissance and revolutionized perspective. But with electronic viewfinders linked directly to the image sensor, the mirror isn’t needed. Recently Canon, Nikon, Fuji, and perhaps others I haven’t heard of yet have introduced new mirrorless SLR cameras, and whole new ranges of lenses for them. Getting rid of the mirror and its associated mechanics allows designers more freedom in lens design, since they can then get the rear lens element much closer to the image sensor. We should see a range of new lenses that are faster and sharper, like Fuji’s new f/1 lens, and Canon’s 50mm f/1.2 and 35mm f/1.8 macro. Of course these new mirrorless cameras had to have new lens mounts, but in most cases you can use your existing lenses via an adapter, so you needn’t splurge on a whole new system at once.

But I’m wandering off topic, as I so often do. I’ve been told that I’m a natural teacher, and that’s one of the purposes I envisioned for this blog. I love to share what I’ve learned in my years in photography. After all, when you do something for fifty years you’re bound to learn a few tricks!

At times it is frustrating. Here I am, after devoting my life to photography, not able to even touch a camera. I haven’t had a camera in my hands for more than eleven years. The last time was in court on the last day of my trial, when I demonstrated for the jury how easy it was to accidentally change the times on images in the Canon EOS 10D camera. I think the whole demonstration sailed right over their heads. People who are completely computer illiterate should not sit on juries in cases that involve technical computer testimony!

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348.  Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click here: http://tonywardstudio.com/blog/bob-shell-fighting-monsters/

 

Also posted in Blog, Documentary, Erotica, Film, Glamour, Models, News, Nudes, Photography, Politics, Popular Culture, Portraiture, women