Gina would become the 23rd woman to be cast for the Heroine’s & Vixens series. Casting subjects for the series over the past few years has been decidedly organic. One subject generally leads to the next when more of the work has gotten published on social media and the web. Gina initially contacted me via Instagram. At first, I thought the message she sent was spam so I didn’t respond to her request to model for me. As time went on I noticed her IG handle liking various photographs that I posted on my feed which moved me to take a second look at her earlier message. There were also some photos that accompanied the original message so I looked at them a little more carefully as well. I observed that one of the photos that she sent was a picture of herself looking through Best of Erotica, a book I had published in Germany back in 2003, so I followed up knowing she was for real and immediately started a dialogue. Oddly, when I initially responded to her message, she didn’t believe it was me. Friends of hers suggested that it probably wasn’t me and that somehow she was being duped. Gina went as far as to check my authenticity sending a friend request on my LinkedIn account. I obliged while being quite amused at the same time.
Now that we both knew we were being sincere I contacted KVaughn, my creative director so that he could begin styling the shoot scheduled for a February 1, 2025 release date. In the weeks leading up to the shoot, Gina was very attentive and professional in her response times to all requests and worked collaboratively with the entire team during her shoot. Michael Connor did a fantastic job on hair & makeup. Tony C. was on point with keeping the light on set just right and KVaughn was as magical as always in creating different looks to accommodate the complexity of the scenes we produced in studio.
Thanks as always to an amazing crew and Gina Iannece.
Throughout my life, I’ve faced traumatic experiences that I can easily recall, along with the memories and associated emotions.
For better or worse, these experiences are a part of me. The biggest one for me will always be the loss of my
brother, who was just 21 years old when he fell asleep and crashed his car on the NJ Turnpike. At this moment
Tony captured me, I was thinking about my brother and this ten-year-old video I found last year on YouTube.
In the video clip the actor Billy Bob Thornton shares his experience of losing his brother. He explains how this
loss has profoundly affected his outlook on life, leaving him with a persistent feeling of melancholy. Thornton
mentions that he never fully trusts happiness and often feels 50% happy and 50% sad. He advises people who
have lost a loved one to accept their feelings and honor them through their work or art. He emphasizes that
one never truly gets over such a loss but can learn to live with the pain and use it as a source of inspiration. I
relate deeply to his perspective and how he articulates his feelings.
Glamour at Fonthill. Photo: Tony Ward, Copyright 2025
History of Fonthill Castle
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Model: Gina Iannece
Photo: Tony Ward
Stylist: KVaughn
Hair & Makeup: Michael Connor
Lighting Grip: Anthony Colagreco
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Nestled in the heart of Doylestown, Pennsylvania, Fonthill Castle stands as a testament to the creativity and vision of one of America’s most eccentric and influential figures, Henry Chapman Mercer. Built between 1908 and 1912, this unique structure is not a traditional castle in the medieval sense but rather a sprawling, concrete mansion that reflects Mercer’s passion for history, art, and innovation.
Henry Chapman Mercer (1856–1930) was an archaeologist, anthropologist, and tile-maker who sought to preserve the craftsmanship of the pre-industrial era. Disillusioned by the rapid industrialization of the late 19th century, Mercer dedicated his life to creating works that celebrated handmade artistry. Fonthill Castle was his personal residence and a canvas for his artistic expression. The castle’s design is a whimsical blend of Gothic, Medieval, and Byzantine architectural styles, featuring 44 rooms, 18 fireplaces, and over 200 windows, each uniquely shaped and placed.
The construction of Fonthill Castle was groundbreaking for its time. Mercer insisted on using reinforced concrete, a relatively new material in the early 20th century, to create a durable and fireproof structure. The castle’s interior is adorned with Mercer’s handmade tiles, which depict historical scenes, literary quotes, and personal motifs. Every corner of the castle tells a story, from the intricate tilework to the hand-carved wooden furniture.
Fonthill Castle was more than just a home; it was a living museum. Mercer filled the space with his vast collection of artifacts, including prints, books, and tiles, which he used to educate visitors about history and craftsmanship. He often hosted guests, offering them tours of his eclectic creation and sharing his passion for preserving the past.
After Mercer’s death in 1930, Fonthill Castle was bequeathed to the Bucks County Historical Society, which continues to maintain and operate the site as a museum. Today, visitors can explore the castle’s labyrinthine halls, marvel at its artistic details, and gain insight into Mercer’s remarkable life and legacy.
Fonthill Castle remains a beloved landmark in Doylestown, attracting thousands of visitors each year. It stands as a symbol of Mercer’s dedication to art, history, and innovation, offering a glimpse into the mind of a man who dared to dream differently. The castle’s enduring charm and historical significance ensure that Mercer’s vision will continue to inspire future generations.
Gina at Fonthill. Photo: Tony Ward, Copyright 2025
I’ve shot In lots of studios. Most of them are commercial spaces repurposed to be a studio space. They have the normal advantages of commercials spaces. Large doors to load equipment, lots of wall sockets for power, high ceilings etc. With that stated those facilities have disadvantages. They are sterile and lack any hint of inspiration. Can one create in a space of this nature? Yes, but you will be fighting uphill.
Sometimes the space is shared with other projects that are going on at the same time. You could be right next to a group that is playing loud music and running equally loud equipment. All while you are trying to create a connection with the client, model or subject and share a flow of conscientiousness to generate the images that you want. You could negate the possibility of distractions by renting the entire facility, but that doesn’t remove the environmental aspect and would cost much more money. You will still be in a facility that is probably better suited to making widgets, than it is to making Art.
Tony Ward has curated the environmental aspect of his property to be as inspiring as it is functional and accommodating. As soon as you arrive at the enclave you will know that you are in a space that is dedicated to the creation, and appreciation of Art. You are surrounded by Art in various forms including artwork produced by members of his family, namely his father Milton Ward. The exterior walls of the studio are painted in a multi colored patterns, a direct homage to the paintings of his father. The walls of the Ward residence are covered in framed Art in several different mediums by a variety of artists. The furniture is mostly vintage mid century modern and arranged to promote gathering of minds to share ideas. Collections of sculpture, tools, books, and artifacts gathered over a lifetime of artistic endeavors are all on display. The entire property is an Art gallery, with space reserved for you to create your Art.
I was excited when I saw the announcement that the PBS science series NOVA was going to devote a program to UFOs. There have been several very good recent programs on NEWSNATION, so I had high hopes for PBS taking the subject seriously for a change.
Unfortunately, the NOVA program was a bunch of poorly researched nonsense. They ignored most of the good research done since at least the 1950s.
As just one example, Major Jesse Marcel, the man who first collected some of the debris from the Famous Roswell event, said on numerous occasions late in his life that the debris he was holding in the famous press conference photo was not the material he recovered from the Foster Ranch near Roswell, New Mexico in the summer of 1947. There was a coverup by the government, which was later admitted. But NOVA repeated the long debunked nonsense that what crashed was a Mogul Balloon Array.
I knew Jesse Marcel, Jr. He wrote the foreword for the 1997 book ‘Beyond Roswell,’ of which I was the coauthor.
Jesse Jr. was twelve years old when his father excitedly came home one night to show his wife and son some of the debris he’d collected on the Foster Ranch. It was not debris from a weather balloon, with which Marcel was quite familiar, nor was it debris from a Mogul Balloon train, which Marcel would easily have recognized.
Marcel Senior had been involved in balloon recoveries, and would never have confused balloon debris with exotic material. There was material that looked like tinfoil, but when crushed and released, returned to it’s original shape. (We are just learning to make such ‘memory materials.’) There were I-beams with ‘hieroglyphics’ on them that were as light as balsa wood but could not be bent or burned.
In that photo, taken by James Bond Johnson, General Ramey is holding a telegram. Image analysis has shown that it refers to ‘victims’ of the crash. Weather/Mogul balloon victims?
It was a disservice to PBS viewers to present long disproved material as factual and irrelevant pseudoscience about the videos taken by fighter pilots, the famous ‘TikTak’ and ‘Gimbel’ videos and others.
The program was essentially another tired old attempt to debunk the whole UFO phenomenon, attempts to explain the extraordinary as misinterpreted ordinary. We’re long past that.
Toward the end of the program, they repeated the old ‘They can’t get here from there’ mantra, because the universe is just so big. This reminds me of Lord Kelvin saying that heavier than air flying machines were impossible. Yes, they were — within the technological framework that Kelvin understood. Just because we can’t build faster than light (FTL) craft with our current technology does not mean that it is impossible. NASA is, in fact, exploring the possibilities of warp drive technology in Houston. A civilization even a hundred years in advance of ours probably has solved the problems of FTL travel, or might be using quantum teleportation to instantaneously jump from place to place in the universe. Physicists have already done quantum teleportation on a molecular level.
The argument that ‘they’ can’t get here is specious.
I have been researching the UFO phenomenon since the 1960s. In the early 1970s I wrote a regular column on the subject for Gnostica magazine. I have watched numerous feeble attempts to debunk the phenomenon over all of those years, but the UFOs ignored the nonsense and just kept doing their thing, and people worldwide kept seeing and encountering them.
It’s long past time to stop the silliness and admit that they are here, we don’t know what they are or where they’re from, and they’ve been here a very long time.
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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 17th year of his sentence at Pocahontas State Correctional Facility, Virginia.
On September 16, 2024 Shell’s release date got moved up six years due to new “mixed charges” law to February 2, 2030. It was 2036.
