Bob Shell: Letters From Prison #29
Letters by Bob Shell, Copyright 2018
FAMILY OF PHOTOGRAPHERS
Maybe photography is in the genes. My father was an avid photographer, and my sister and I both got the bug. One of my great uncles, Hank Jewell, was pretty famous as a photographer in southwest Virginia in the late 1800s and early 20th century. One of his cameras is on display in the historical museum in Christiansburg, Virginia. He took the famous photograph of Robert E. Lee and his horse Traveler. The historical society has the “outtakes” from this session, all on glass plates about 4 x 5 inches. Unfortunately, when Hank died his family had no appreciation of the value of his work and hauled all his negatives to the dump. By the time historians heard, it was too late, since it had rained several times. Sad and stupid! Reminds me of how C. S. Lewis’s brother took all of C. S.’s papers out back of the house after his death and built a bonfire of them. Luckily, some people got there and put out the fire before all was consumed. Some Lewis stories now exist only in fragmentary form because of this act of amazing stupidity.
Paper, after all, is a fugitive medium for us to store our memories upon. For many years archeologists believed that the Phoenicians had no written language. Then it was discovered that they did, only they wrote on paper. Their climate didn’t preserve paper, unlike the arid climate in Egypt. No one knows what they wrote, but we’ve lost it all to a damp climate.
Personally, I’m one more of those who believe there was a highly advanced civilization on earth before the last ice age, which obliterated almost all traces. I think this is the real explanation for most of those mysteries discussed on TV shows like the mostly absurd “Ancient Aliens.” Ockham’s Razor says that the simplest explanation is usually the right one.
Anyway, as usual I’ve gone off on a tangent. I was talking about Uncle Hank’s photography. I never knew him, but my father knew him well. As did Doug Lester, one of the photographers who influenced me as I was learning. Doug and his wife Ruth owned Lester’s Foto Shop on Main Street in Christiansburg for many years. Doug knew more about photography than any two other photographers I knew then. I used to hang around the shop and talk photography with him between customers. He was a diehard Rolleiflex partisan; used them for his photography and sold them in his shop. He influenced me to trade in my Bronica S2a outfit for a Rolleiflex SL66, probably the finest camera I ever owned in terms of build quality. And the Zeiss lenses for the system were simply awesome. The major drawback of this camera (besides high price) was the big focal plane shutter, which could only synchronize with electronic flash at 1/30 second or slower. In the studio that was no problem, but it got in the way of outdoor fill flash. Rollei offered three lenses, 50, 80, and 150 with built-in leaf shutters with synchronized shutter speeds up to 1/500 second to get around this, but they were very expensive. Eventually I tracked down a used 150 that I could afford and used it for several years. But, by then Rollei had abandoned the SL66 system in favor of the SLX and its successors, offering the same great lenses in updated multicoated versions with electronic leaf shutters that synchronized with flash at all shutter speeds. I started with an SL6006 that I bought broken and rebuilt, and later moved to the SL6008i system. In addition to the Zeiss lenses, Rollei offered some Schneider-Kreutznach lenses, like the 80mm f/2 that I loved. Unfortunately, Rollei never caught up to the digital revolution and I think they’re gone now. I sold my Rollei equipment around 2005, when it still had substantial value, to raise money to put into lawyers’ pockets. I guess I’m lucky in a way since I sold my film cameras when they still had value, even if I was forced to sell to pay legal bills. By 2004 I was essentially a digital photographer, using Canon EOS 10D and Nikon D100 cameras. Why both incompatible systems? Simply that Canon and Nikon both sent me cameras and lenses for editorial evaluation, and I liked both of them. While I was with Shutterbug I never had to buy cameras. After Shutterbug terminated my contract “due to the accusations” I broke down and bought an EOS 10D. I still have it, although it’s in storage. Very fine camera; I shot all of the photos for several books with it. For most editorial work you simply don’t need massive megapixels. The 10D is a six megapixel camera, and that’s plenty for any magazine or book page (most of the photos for my Erotic Bondage book were made with the EOS 10D). For most of my work, today’s cameras with 24 or more megapixels would simply be memory hogs.
When I first got really serious about making a living from writing about photography, my old friend Lief Erickson said, “Well, buddy boy, you must realise that in this business you can either have fame OR fortune.”. Despite his nom de guerre, Lief was 100% English, which is why I wrote realise and not realize, and I’d first met him in the 70s when he was writing for a great old magazine called Camera 35. I’d written him a letter about one of his articles, and he had responded with a long and philosophical letter. We began a correspondence that lasted several years until I met him in NYC at one of the Photo + Expo trade shows at the Javits Center. We talked there and I invited him to start writing for me at Shutterbug. We developed a great working relationship. I’d call him with a ghost of an idea and he’d take it and run with it and invariably deliver a fine, polished article. Probably never what I would have done with that same ghost of an idea, but always excellent. I hardly ever had to edit his work, and when I did it was always for length, to make the article fit the available space. Writing for magazines is very different from writing. for books. because books usually don’t have strict space limits. When I told one of my writers that I needed 2,000 words, I expected exactly 2,000 words. When I had to shorten an article from Lief, or anyone else, it was because a last-minute ad sale had eaten into the allotted editorial space. That happens often in the magazine business.
Lief actually died on assignment for me. He had a heart attack on the New Jersey Turnpike on the way to a press conference I’d asked him to attend in my stead because I couldn’t come up to NYC right then. He’d had heart trouble for years, but I never thought I’d lose him like that. Lief was a mystic/philosopher as well as photographer, and I loved talking to him more than almost anyone else I’ve met in the business often about things having nothing to do with photography.
Anyway, fame or fortune? I ended up with fame, within the photo industry at least. I sure didn’t wind up with fortune. But it was nice within the insular photo industry to be well known. Sometimes I wanted to be anonymous at trade shows, so I’d order two name badges, one in my name and one in the name Fritz Klages. People would walk up, look at my face. then see the name badge and do a double take. “Bob Shell? For some reason people keep telling me we look alike!”
One time at Photo + I was walking around on the trade show floor when several young men approached me. One had a copy of my Mamiya book and asked me to autograph it for him. I did, and handed it back to him. He looked at what I’d written and said, “Wow, man, thanks! Wow, you’re famous, man! Wow!”. I guess my head swelled several sizes, and I probably couldn’t have gotten my hat on just then.
I considered the photo trade shows great fun, particularly the mother of all trade shows, photokina. (Yes, it’s spelled with a lower case “p.”. I don’t know why, but the people who run it insist that it be spelled that way.). This show is enormous, filling multiple buildings of the big Messe complex in Cologne, Germany. Everyone who is anyone in the world of photography comes. I always took advantage of the opportunity to meet people, and become friends with many. And there are some really fine people in the business; for example Lino Manfrotto, whose name you’ve probably seen on tripods and other photo accessories. Lino was a commercial photographer in Italy and was unhappy with the quality of the available light stands, so he designed and built his own
Other photographers saw them in his studio and wanted their own, so Lino started making and selling them. In a few years this business had grown far beyond his photography business, and he’d branched out into tripods and a line of studio accessories you will find today in most studios worldwide. Lino died not long ago, but his son Abramo keeps the family business going. Today the company also makes a line of display fixtures used by department stores. I will always cherish my memories of visiting Lino’s factory complex with him as tour guide and a trip to Venice with Abramo.
At photokina you also run into the real “characters” of the business. One of them is Ken (Sir Kenneth) Corfield, originator of the Periflex, a camera styled somewhat like an older, pre-M series Leica, but unique in that you focused through a small periscope atop the camera, which was retracted before taking the picture. Strange, but it worked. The Periflex was also almost unique in being manufactured in Ireland. Can you name the other camera made in Ireland, made by Timex?
Well, Ken Cornfield also fathered the Corfield 66, an inexpensive medium format SLR. Last time I saw Ken, he was laughing at the silly prices collectors were paying for those. Not that it was a bad camera, just an inexpensive one originally.
The photo magazine business today sure isn’t what it was. Most of the great old magazines are long gone; Modern Photography, PhotoGRAPHIC, Camera, Studio Photography, Camera 35, and many more whose names I’ve forgotten. And I just learned today that Shutterbug has been sold yet again, and the new owners let three of our best people go and have cut back to six issues a year! And to think we once published every two weeks! But these are signs of the times, I guess. As George Harrison sang, All Things Must Pass…
Maybe printed magazines have seen their day, and will go their way into history. But for me the day the last printed magazine rolls off the presses will be a sad day, indeed.
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-optics-photography/