A.H. Scott: Sunrise

Portrait of blonde woman naked on her bed
Sunrise: Photo: Tony Ward, Copyright 2021

Poetry by A.H. Scott, Copyright 2021

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Sunrise

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I saw the sunrise in your eyes

As I pulled the sheet around me the next morning

Your smile was all I needed to rejuvenate me that night before

Yet, what we shared was so much more

The moment you came to my apartment door

Red roses in a bouquet you handed me, as we kissed

I never knew such a moment of joy

You were the surprise that I never expected would come true

The dress of lime green fell from my skin because of you

White undergarments were unhooked and roll off my body

As you watched me, while sitting in a Chippendale chair

Suave and sexy was my man of European flair

He had brown eyes and salt and pepper hair

Sunrise smile that always made every moment I spent with him even brighter

He stood and approached my naked body by the bed

Those hands of yours were skillful and my lips upon him were bliss 

Warm and moist I was to his touch 

As I ran my fingers along his loveline, that smile broadened

When the bed became our playground 

Each of us reverted to playing games

Hands and arms interlocked in a tango of temptation

As both of our bodies heaved in anticipation

Then the moment of cresting came for us together

We fell asleep in each other’s arms 

You left my flesh tingling from your charismatic charm 

Make no doubt it

You have the brilliant disguise

Man of honey hue you are my sunrise

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About The Author: A.H. Scott is a poet based in New York City and frequent contributor to Tony Ward Studio. To read additional articles by Ms. Scott, go here: https://tonywarderotica.com/just-one-of-the-girls/

A.H. Scott: Tango in The Dark

two people tango dancing for article about sex
Tango in The Dark. Photo: Tony Ward, Copyright 2021

Text by A.H. Scott, Copyright 2021

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Tango in The Dark

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Black was the color of this couples’ night
Silk dress of black clung to her form, as black silk shirt and matching pants cut a dapper profile of the man she was with
Their names were Alejandro and Sylvia
And, this is their tango in the dark
Back at their cozy cottage along the shoreline after a quick bite and dance, the aria of arousal captured their senses
Alejandro’s hands ran along Sylvia’s shoulders, as he removed the black dress off of her
She shimmied in a slow way, as silk met the floor in a gentle sway
Her arms wrapped around his neck and she kissed him softly, “Our dance is far from over tonight”
“Night holds charms, as do you, my lovely one”, He replied with kisses along her neck
Sylvia wasn’t shy with her actions, as slim fingers began unbuttoning his shirt and gingerly touching Alejandro’s chest
Dark hair, dark eyes he had, but this man’s seduction of her was a beacon of bliss with every kiss
Alejandro removed his shirt and focused on her, as Sylvia stood in black panties alone
She bit her bottom lip in a sign of want
He knew that look in her eyes and met it with his hands against that soft skin
Long, black hair of this beauty fanned across her breasts as she stood with a smile
He was about to say something, as she placed left index finger against his lips
Alejandro smiled and accelerated towards a higher gear
Waiting for his touches revved her soul beyond compare
Alejandro’s lips motioned with precision along Sylvia’s left hip
Sylvia’s hands ran through his hair, as tender lips of this man shifted slowly around to her rear
Hands of this man cupped each cheek
Sylvia made a sigh of anticipation’s peak
Needing each other so in a desirous race
Alejandro’s kisses on her flesh picked up temptation’s place
Sylvia couldn’t resist his visit to her most intimate place
Petal explored with cautious care, Alejandro knew how to get Sylvia there
Arrival of ecstasy came, as did this lovely brunette
Alejandro caused a full flourish of this rose
Sylvia was revved up and ready to take things up a notch, as she smiled and pressed hand against his crotch
She could hardly get those black pants off this man, as the yearning to have him inside of her was passion’s plan
Zipper was the only resistance which was in the way
Polished fingernails brought that zipper to surrender, as pants and boxers came down with a salute rising
Sylvia’s hand made contact with his tool of titillation in a breathless way, “I want you inside of me now”
Alejandro gave her a playful retort, “Well, baby….speed the plow
This man and woman’s lustful leisure was no sort of diminished ploy
Alejandro and Sylvia’s field of play was the black leather sofa in that living room, as their sweaty bodies were entangled in a meadow of joy
Attraction’s pulsation they shared was just that stark
Embracing love’s tempo is such a wonderful spark
For Alejandro and Sylvia, their tango in the dark was never a frivolous lark
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About The Author: A.H. Scott is a poet based in New York City and frequent contributor to Tony Ward Studio. To read additional articles by Ms. Scott, go here: https://tonywarderotica.com/a-h-scott-dont-stop-the-dance/

Studio News: Lost Negatives Due to Flood

Inez. At the Penthouse Club New York. Photo: Tony Ward, Copyright 2021

Text by Tony Ward, Copyright 2021

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Studio News: Lost Negatives Due to Flood

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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. 

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Bob Shell: On Photography

Photo by Bob Shell, Copyright 2021

Photography and Text by Bob Shell, Copyright 2021

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On Photography

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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.

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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 Rental

The Ward Studio Darkroom

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.

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Price for darkroom consultation:

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Professor Tony Ward is available for one on one consultations regarding darkroom process and technique at $200.00 per hour. 

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Location: 704 South 6th street Philadelphia, Pa. 19147

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To schedule a darkroom session:

Contact: Tony@TonyWard.com

Phone: 267-475-0828

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Note: Any person using the facility must present proof of being vaccinated for Covid.