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LouPop Collection

Posted on May 19, 2012

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Editor’s Note: To learn more about the life and times of LouPop and the collection of vernacular photography, go to the search bar at the top of the page: enter name and click the green icon.
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Photo: Courtesy of The Estate of Anthony Colagreco.

Photo: Bob Shell

Posted on May 16, 2012 by Bob Shell

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……….Nothing new to report on my case. But I really don’t expect to get a ruling from the court until around the middle of the year. Courts move at their own speed, and the general rule seems to be the longer the better, because that means they are actually considering everything. My case generated a massive amount of paperwork, and the court must go through all of it to consider my claims.

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I got a letter the other day from one of the models who worked with me on the bondage book back in 2003-04. She said she got to wondering about what had happened to me and did a Google search and found out where I am. Like every model I ever worked with, she knows that I am not guilty. I told her about TWS and suggested that she post here about what it was like to work with me, so maybe she will.

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One lawyer I know made the point that the cops and prosecution had from June 2003 until my trial in August of 2007 to search for any model I worked with who would say anything negative about me. They couldn’t find anyone. If I really had been the serial molestor they portrayed me as being, they ought to have been able to find at least one of my earlier victims, but they found no one. That should have meant something to the jury. I don’t think they really thought things through and simply voted with a knee-jerk reaction.

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I also don’t think the jury understood how sentencing works. Not one of the sentences they gave me was very long, and I believe they assumed that all of them would run concurrently. Indeed, running sentences concurrently is the norm. But in Virginia the judge makes that decision, not the jury, and the jury can’t even be told that they have the option to recommend concurrent sentences. My judge ignored the VA sentencing guidelines and ran my sentences consecutively. The guidelines called for 1 1/2 to 3 years. But the Virginia guidelines are merely recommendations, they carry no force, and judges routinely ignore them. I don’t know why they even bother to have guidelines.

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If the jury in a state of Virginia case asks the judge if sentences will be run concurrently or consecutively, the judge will tell them that it is none of their concern! The jury is not allowed to know!! But the law requires that jurors be fully informed prior to their deliberations. None of this makes any sense, since a jury can intend a light sentence and a judge can arbitrarily convert it into a very long sentence. The more research I do on this, the less sense it makes.

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 at Pocahontas State Correctional Center, Pocahontas, Virginia for involuntary manslaughter for the death of one of his models, Marion Franklin. He is currently working on his appeal.
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Editor’s Note: To read more letters from prison by Bob Shell, go to the search bar at the top of the page: enter name and click the green icon. To learn more about the case log on to www.BobShellTruth.com.

LouPop Collection

Posted on May 15, 2012

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LouPop Collection

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LouPop Collection

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LouPop Collection

Editor’s Note: To learn more about the life and times of LouPop and the collection of vernacular photography, go to the search bar at the top of the page: enter name and click the green icon.

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Photos: Courtesy of The Estate of Anthony Colagreco

Jean Ward

……….On July 9, 2012 my mother will celebrate her 92 birthday. Happy Mother’s Day mom and to all the mother’s in the world!

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Mom's Kitchen Mother's Day

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Editor’s Note: To learn more about Jean Ward, go to search bar at top of the page: enter FAMILY LEGACY PROJECT, and click green icon.

William Burroughs

Posted on May 11, 2012

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In 1972, Rolling Stone magazine sent me and writer Robert Palmer to London to do a feature article on William S. Burroughs. William greeted us cordially; despite his outlaw reputation, he was a complete gentleman. We stayed a week, and had a terrific time. We also met Brion Gysin (William’s closest friend), who showed us his “Dream Machine,” a revolving flicker device that caused visual fireworks in the viewer’s brain. Bob and I also enjoyed Burroughs’ awesome intelligence and his controversial ideas about addiction, conditioning, and control.

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Photo: Charles Gatewood

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Rolling Stone loved our article, and made me their New York photographer (they were based in San Francisco) later that year.
In 1975, Crawdaddy magazine asked me to photograph Burroughs and Jimmy Page as they interviewed each other. Burroughs was back in America now, and we met in his downtown Manhattan loft. Burroughs disliked being photographed, but he remembered me and was warm and friendly, even giving my camera a rare grin.

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Photo: Charles Gatewood

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In 1975, William Burroughs wrote the text for my first book, Sidetripping. I was so thrilled. Shortly thereafter, Burroughs moved to Lawrence, Kansas. I never saw him again. He died in 1997 at the age of 83. By introducing my photography to the world, William Burroughs changed my life, big time. Thank you so much, William!

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Photo: Charles Gatewood

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Photo: Charles Gatewood

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Last year I published Burroughs 23, a handmade artist’s book with DanaDanaDana, a noted San Francisco art book publisher. Burroughs 23 contains all the best photos from both my NYC and London shoots. To view the book (and the boxed set of my Burroughs prints), go to www.Burroughs23.com.

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Photo: Charles Gatewood

Editor’s Note: To learn more about Charles Gatewood’s work log on, www.CharlesGatewood.com

30th Street Station

Posted on May 3, 2012 by Florentin Juillet

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……….This series was inspired by a feeling of nostalgia. One photo sowed the seeds of my approach: a photograph of the French Alps, taken from a summit by the German photographer Michael Schnabel, in the middle of the night. To create a landscape with an extreme absence of light, he exposed the film for a prolonged exposure time for about an hour. The result was a dark, extremely cold photo displaying all of the range of grays that could possibly come to mind. The stillness of the mountains made the photos really sharp, except for the clouds that left lighter marks in the sky. At first, I could not say exactly what moved me most about the photo. Was it the cold aesthetics? The method used to take the shot?

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Apartment Tower

I soon found out what feeling it was: nostalgia. These photographs reminded me of the cold air of the Alps, the silence of the upper slopes when I used to go skiing with my family, reminded me of how it felt to be back home in France. This feeling was reinforced by the aesthetics of the picture – it reminded me of a dream, something surrealistic.

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Reflections

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These images were created during a special period for me; as I am about to leave the place where I have been living for a year, a feeling of nostalgia slowly emerges. Influenced by this feeling created by the night shot of the Alps, I tried to capture views of Philadelphia in the same way: night photos with really long exposure times of places I know by heart, with the goal to see them differently, and anticipate the way I might dream about those places in the years to come.

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Street Lights

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One of the main purposes of photography is to create memory, to find again an exact view we had back in time. By creating these kinds of pictures, slightly different from what my eyes are used to seeing, compelled me to create a variation of what I would have normally remembered. Is that cheating, lying? No: memory is exactly the truth anyway, it is always distorted by subjectivity and the mindset we had at the time, for the place remembered. I just wanted to shape my memories as I would like to remember them.

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Self-Portrait 2012

About The Author: Florentin Juillet is a junior enrolled in the College at the University of Pennsylvania as a foreign exchange student.

Lorena

Posted on April 30, 2012 by Lorena Nicol

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Illocality.

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Erotica intrudes on the illimitable grotesque. The erotic experience is paradoxical, at once infinitely expansive but also divisive. The notion of privacy establishes borders within the erotic moment, as the subject is isolated by subjective perceptual experience that is pervasive. Genuine passion manifests as all-consuming, and thus illimitable.

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Lorena

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True carnal understanding arises internally and from the expression of grotesque (unre?ned) impulses. The erotic moment does not have an isolated locus, but engages the entire self. This includes what is visible to the intruder and what isbeyond the intruder’s experience. The erotic moment acts previous to super-egorestraints that might modulate its primordial traits.

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Lorena

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To this end I propose an image of self-examination – the activity of analysis, the primary purpose of Philo as a space. My composition will showcase an intrusion on a moment of seeking internal understanding. The viewer should understand herself as having interrupted the subject’s concentrated effort to understand the erotic moment by engaging with it. Within the piece, the principle symbolic element will be the juxtaposition between the insistently polite/sterile setting of the Philomathean meeting hall and the blatant engagement with grotesque/unclean subject matter (in this case, literally mud).

Copyright 2012

To Be Continued……….

Vietnamese Poster

Posted on April 28, 2012 by Toan Nguyen

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In this series, I explored the contrast between the country where I’m originally from, Vietnam and America. There exist two different regimes in each country. Vietnam is a communist regime while America is a capitalist country. Although very different in its governmental and social structure, The Socialist Republic of Vietnam is a single-party state. The central role of the Communist Party was reasserted in all organs of government, politics and society. Only political organizations affiliated with or endorsed by the Communist Party are permitted to contest elections. These include the Vietnamese Fatherland Front, worker and trade unionist parties.

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Vietnam

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The authoritative government maintains its power using various methods including propaganda. Propaganda posters can be seen everywhere on the streets of Vietnam. Posters provided one of the few effective means for the Government to communicate directly with the predominantly rural population of the country. The overall theme that many of these posters accentuate, is that Communism is the best form of government and ideology to ever exist. For example, the text in the first image translates “The Party is hope, the Party is intellect”. The symbol of hammer and sickle appear on almost every propaganda poster in Vietnam, representing Communist ideology.

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Vietnamese Soldier

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The solder in the photo stands to guard an army base. The Vietnamese army is occasionally deployed to disperse a gathering crowd. Thus this soldier represents force in the Vietnamese government way of maintaining power.

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Times Square NYC

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The next series of photos were shot in America. The first shot was taken at Times Square in New York. This location is widely known for massive billboards and banners. Times Square thus epitomizes the heart of capitalism, in which the audience is bombarded with advertisements, a form of propaganda. This therefore raises interesting questions of whether or not there is a stark difference between Vietnam and America because one uses propaganda to maintain power, and the other uses it to sell products – yet the method and effect on the populous are pretty much the same.

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Occupy

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The fifth photo was captured during the Occupy Wall Street movement. The OWS protests are against social and economic inequality, greed, corruption and the undue influence of corporations on government—particularly from the financial services sector. Their slogan “We are the 99%”, addresses the growing income inequality and wealth distribution in the U.S. between the wealthiest 1% and the rest of the population. This movement which this photo captures, questions the effectiveness of capitalism.

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Protestors

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The final photograph in the series depicts two women with their lips sealed. The sign in front of them reads “No Money, No Voice”. This message conveys a lack of freedom of speech and also raises questions of whether there is a difference between communism and capitalism as freedom of speech is absent in both regimes.

About The Author: Toan Nguyen is a freshman enrolled in the Wharton School of Business, University of Pennsylvania. Class of 2015.

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Editor’s Note: To read more articles by Toan Nguyen, go to the search bar at the of the page: enter name and click green icon.

Andrew

Posted on April 26, 2012 by Andrew Jakubowski

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………The image that I envision is a mishmash of roughly applied body paint and color-driven sensations; it also includes a body position that excites but does not reveal. This image is based on a personal belief that the erotic is a state of mind resulting from the desire but inability to know reality. For me, the act of body painting is an extension of juvenile tendencies, a return to the very stage of life during which human curiosity (and ignorance) is at its peak. It denotes playfulness, innocence, and imagination – all of which contribute to my erotic, sensual, and sexual feelings.

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Andrew

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Within the context of Philo, this image is a seemingly striking juxtaposition against the wealth of knowledge present in the halls and possessed by the members. However, I contest that such knowledge is the result of innate inquisitiveness:  intellect itself is a product of refined interests. Therefore, the image gets at the root of what Philo is as an organization. It is a reminder that we are all motivated by childish curiosities and aroused by the unknown. Both the book and the body serve as means for satisfying our personal desires.

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Andrew

To Be Continued………

Summer Palace Reflection

Posted on April 21, 2012 by Karl Gerchow

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……….My trip recently to China provided an opportunity to explore two cities – Shanghai and Beijing – largely through the lens of my camera. I specifically wanted to observe and capture images and scenes that normally escape my notice on trips such as this. I’m am avid traveler – and was one even before business school – however taking a camera with me everywhere on a trip, crouching down, leaning, or contorting my body to get the right shot was a new way to experience a city for me.

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Wuzhen

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I soon settled on a concept where a reflection, projection, or echo was an integral part of the image, if not the image in its entirety. Throughout the trip, I was left in awe of the speed of China’s progress and economic activity that we have all heard so much about. However, through this trip it became clear to me that this development has come at significant cost: traditional buildings are being torn down without an appreciation for historic value, pollution is rampant, and the country-side is little more than patches of green paddies between sprawling mega-cities.

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My first image, “Gardens of Nurtured Harmony” is an inverted reflection through a pond of the Emperor’s Summer Palace (the title of this photo being its literal name in Mandarin) in the outskirts of Beijing. It reflects the China of old, rich in culture and historical significance. Much like the Forbidden City, this palace was off-limits to all but the Emperor and his immediate family, leaving outsiders like the shadow in the bottom right of this picture left to wonder what lay beyond.

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My second image, taken in Wuzhen – a small water town in the outskirts of Shanghai – again captures the China of old, but this time a manufactured one. In an effort to show foreigners what these water towns looked like prior to being displaced by sprawling apartment complexes, the Chinese government restored a village to what it would have looked liked several hundred years ago. I have done my part, editing for age.

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French Quarter Lamp

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The third image is the shadow of a European-styled lamp taken in the French Concession in Shanghai on the tail end of a sunny day. Shanghai was one of the few places in China (Hong Kong aside of course), that saw colonial powers bring trade and cultural influence to its doorstep. The street names in the concession, once in French, have all been reverted to Mandarin, but shadows of the neighborhood’s past remain.

Development Blur

“Development Blur” was taken on a high-speed rail while traveling at 190 mph through the Chinese “country-side”. The train stands as an example of China’s achievements, but also provides insight into the level of over-development China has seen in the last decade. Sadly, in a 5 hour train ride from Beijing to Shanghai, this industrial landscape was 80% of the view.

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Lost of Translation

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My fifth image, titled Lost of Translation, was taken through a revolving door leading out of a bank in Shanghai. English or any other language other than Mandarin for that matter, is rarely spoken in China, and so communicating with others can be particularly difficult or frustrating. This warning sign shows how difficult it can be to understand even images across cultures. I had no idea what was being conveyed here. More importantly, in this shot I show what Shanghai is to China – the future, modern and new, but relegated to look like every other modern first-world city I’ve been to. This could very well have been taken in Paris, Cape Town, Tokyo, New York, or Buenos Aires.

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They say everything comes at a price, and in the case of China’s rapid rise to industrialization, that price has been paid dearly by the environment. Perhaps it is because I am from Costa Rica, a country that inches along the development scale but which defends its environment vehemently, that I found the ecological impact of this rapid development so troublesome.

About The Author: Karl Gerchow is enrolled in the MBA program: Wharton School of Business, University of Pennsylvania.