It is always a good practice to go back through the files to find new pictures that were never made available to the public before. Unfortunately, some of the negatives from this shoot for Neiman Marcus in May of 2004 were lost during a flood at the studio on July 25, 2021. The flood was caused by a ruptured water main at the corner of 6th & Bainbridge streets in Philadelphia. We were at ground zero during the event taking on thousands of gallons of water before the Philadelphia Water Department was able to shutdown the water flowing at break neck speed through the ruptured pipe.
It has taken me weeks to sift through the losses of countless negatives that were in the darkroom suite while I was in the process of reviewing negatives from the archives for an upcoming exhibition at the Dupree Gallery opening on October 1, 2021. Unfortunately, some of the images I was considering to exhibit have been destroyed due to catastrophic flood damage to the negatives that were in the process of being printed in the darkroom in consideration for the exhibition.
This color negative of Inez, modeling lingerie for my client Neiman Marcus survived the floodwaters. Approximately, twelve thousand seven hundred and twenty other negatives in color and black and white did not have the same fate.
Someone asked me recently why I wasn’t posting much about photography anymore. Before my conviction in August of 2007, I was ‘a renowned photographer with a long-established reputation,’ to quote Federal Judge Glenn Conrad. I’d been doing photography/cinematography since my teens in the early 1960s, following in the footsteps of my father, who was an avid photographer/cinematographer. He had numerous cameras and lenses, still and 16 mm movie cameras, and a nice darkroom in the basement of our house in Roanoke, Virginia.
The first time I saw an image I’d photographed magically appear on a blank sheet of photo paper when I dunked it into the developer, I was hooked.
People today who grow up using digital photography on smartphones never experience that magic moment. I find that sad.
Over the years I’ve been in prison I’ve watched traditional photography die. First one, then another, then one by one, all of the photography magazines have died. At its peak, there were dozens of photography magazines. I’d get seven or eight a month. Popular Photography had over a million subscribers at its peak.
Today, I get two photography magazines, Nature Photographer (www.naturephotographermag.com) and Professional Photographer, the magazine of the Professional Photographers of America, to which I belonged for many years. If others have survived as print magazines, I’m not aware of them.
Even Digital Camera, the magazine I worked for after Shutterbug, is now gone. My favorite of all, and one I wrote many articles for, Rangefinder, is history.
I also get Digital Imaging Reporter, today’s incarnation of Photo Industry Reporter, a trade publication I used to write for, but it’s published erratically these days.
Of course, there are some Internet photography magazines, but, so far as I know, nobody has been able to make any real money from an Internet photography magazine, and if a magazine can’t make real money, it can’t attract, pay, and keep good editors and writers, who have to support themselves and their families.
The once-popular hobby of photography has seriously declined. Any hobbyist who wants to own the finest film cameras ever made can do so for pennies on the dollar, although if they need service, finding someone who can repair them may not be easy. Friends of mine have bought Hasselblad, Mamiya, Bronica, Rollei, Contax, Leica, Nikon, Canon, Minolta, Pentax, etc., outfits very cheaply. Darkroom equipment is even cheaper.
Although the selection is limited, film is still readily available, but you may be unable to buy it locally. In fact, increased demand has even induced Kodak to put one version of Ektachrome back into production.
I’ve tried to keep up with photographic technology, despite the fact that I haven’t so much as touched a camera in over fourteen years, and have yet to even see one of the mirrorless cameras that are fast taking over for SLRs.
My cameras, lenses, and other photographic equipment is all in storage, and will remain until my release. Hopefully I won’t be too decrepit by then to rebuild my studio and life as a photographer.
I used many different cameras over my years in photography. During two different periods I owned camera shops, first for several years in the 1970s, then from 1980 until 1990. The cameras that were my workhorses in 35 mm were Canon, and continued to be until my career was ended in 2007. I wrote several books about Canon, including ‘Canon Compendium,’ the official history of the Canon Camera Company.
In medium format, I used Bronica S2a cameras with their superb Nikkor lenses before switching to Rollei SL66 in the mid-1970s. I continued with Rollei, using their advanced 6000 series up to my last Rollei, the 6008i, an amazingly capable camera.
In large format I used a Toyo 4 X 5 monorail view camera with several Schneider-Kreuznach lenses in my studio, and a Zone VI field camera outdoors with those same lenses.
In the rare instances when a client wanted 8 X 10, I had an old Eastman 2D camera made in 1918 that I used. It still worked fine. I fitted it with a Voigtlander Apo-Lanthar 300 mm lens in a Compur Electronic shutter, matching old to new.
When Polaroid made 8 X 10 film, I shot quite a bit of it in that camera using a borrowed Polaroid processor.
I was an early adopter of digital photography, though, and was doing most of my work with Canon and Nikon digital SLRs by 2002, but the speed at which traditional photography collapsed was a total surprise, and shock, to me and most of the industry. Luckily, I was able to sell most of my medium format pro cameras before the bottom completely dropped out of the market, using the money to pay lawyers, several of whom said, ‘Don’t worry, you’ll never spend a day in prison.’ Here I sit, fourteen years later, still in prison for something that never happened. It is ridiculously difficult to get a false conviction overturned in today’s American legal system.
About The Author: Bob Shell is a professional photographer, author, former editor in chief of Shutterbug Magazine and veteran contributor to this blog. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. He is serving the 13th year of his sentence at Pocahontas State Correctional Facility, Virginia. To read additional articles by Bob Shell, click here: https://tonywarderotica.com/bob-shell-hidden-truth-about-the-pentagons-ufo-report/
Editor’s Note: If you like Bob Shell’s blog posts, you’re sure to like his new book, COSMIC DANCE by Bob Shell (ISBN: 9781799224747, $ 12.95 book, $ 5.99 eBook) available now on Amazon.com . The book, his 26th, is a collection of essays written over the last twelve years in prison, none published anywhere before. It is subtitled, “A biologist’s reflections on space, time, reality, evolution, and the nature of consciousness,” which describes it pretty well. You can read a sample section and reviews on Amazon.com.
Darkroom: Black and white processing and printing services.
This is the darkroom where Tony Ward spent countless days, months and years making thousands of gelatin silver archival prints for his well known body of black and white photographs exploring various subjects including; portraiture, fashion, nude and erotic photography of which he became world renowned.
The darkroom was built in 1985. This unique creative space is available for rent to the public at The Ward Studio on a per project basis. Photographers that rent the darkroom may keep processing chemicals for developing film and prints stored at the studio for ongoing darkroom sessions.
Price for darkroom rental:
We offer a four hour minimum at $175.00. Any time over the first four hours is charged at $50.00 per hour. Photographers are responsible for their own chemistry. Amber bottles are best for storage.
Price for darkroom consultation:
Professor Tony Ward is available for one on one consultations regarding darkroom process and technique at $200.00 per hour.
Location: 704 South 6th street Philadelphia, Pa. 19147
To schedule a darkroom session:
Note: Any person using the facility must present proof of being vaccinated for Covid.