Category Archives: Portraiture

Steve Cohen: Louis Kahn and I

Portrait of Louis Kahn by George Krause, Copyright 2020

 

Text by Steve Cohen, Copyright 2020

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Louis Kahn and I

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The world knows Louis Kahn as one of the greatest architects of all time, a visionary with extraordinary imagination. I knew him as a friend, and a collaborator. I sat with him and discussed his ideas for the government buildings in Bangladesh and for the Salk Institute in California. But our most interesting conversations were about a more personal creation.

That experience was the direct result of my father’s long friendship with Kahn.

My dad and Lou were the same age, and both worked in center city Philadelphia in professions that previously had been unwelcoming to Jews. My father was an optician who opened his own store at 1624 Spruce Street in 1933, shortly before Kahn opened his architectural studio at 1728 Spruce. Kahn was not religiously observant, and he said that the reason some people discriminated against him was not because of his beliefs but solely because of his ethnic heritage.

Lou had worked at the firm that designed the Philadelphia Museum of Art in 1928 and he drew some of the plans for the Rodin Museum that opened in 1930. He had a populist social agenda and modernist aesthetics as he designed projects for Roosevelt’s Public Works Administration and for Jersey Homesteads near Hightstown, New Jersey, where hundreds of Jewish garment workers moved as part of a back-to-the-land movement.

After he reached middle age, Lou became recognized worldwide and was hired by the Jonas Salk Institute in La Jolla, California, by the new nation of Bangladesh, and for other notable projects. Architectural critic Nicolai Ouroussoff of the New York Times wrote, “Kahn’s mythic stature in American architecture is matched only by that of Frank Lloyd Wright; and even Wright is less likely to be spoken of with such reverence.”

He was an unassuming man, short, muscularly built, with a scarred face which was the result of severe burns when he was three years old.

A showcase for a revitalized Philadelphia was co-designed by Kahn and Edmund Bacon in 1947. A spectacular 30-by-14-foot model of the city center occupied two floors of Gimbel’s department store, attracted thousands of visitors, and won public support for the idea of modernizing the city. Then Bacon became executive director of the Philadelphia City Planning Commission and he rejected all of Kahn’s ideas and ridiculed him as an impractical dreamer.

Among other projects, Kahn recommended large parking towers around the edges of the city center to create a pedestrian-friendly downtown. Kahn described expressways as being like rivers, and “Rivers have harbors, and harbors are the municipal parking towers.”

Bacon became the darling of Philadelphia’s social and political elite, while Kahn rarely was hired to design any public or corporate building in his home town. A notable exception was the Richards Medical Research Building at the University of Pennsylvania in 1960.

During the first half of the 20th century, with its quietly-accepted genteel anti-Semitism, my father, Charles Cohen, hid behind a name which he felt would be more acceptable to a broad public — as Charles Sigismund, optician, which is how he was listed in Philadelphia phone books. (Sigismund was his middle name.) Despite dad’s effort to widen his appeal, the majority of my father’s customers were Jewish professionals who lived or worked in center-city Philadelphia and wanted to patronize “one of their own.” In addition, a large number of non-Jewish artists and musicians came to his store.

In the 1920s and ‘30s the Cohen and Kahn families lived near each other in West Philadelphia. Lou and his wife Esther resided at 5243 Chester Avenue. My father lived with his parents at 4533 Larchwood Avenue, then, as a new husband and father, on 46th Street near Chestnut. While Lou and Esther remained in their house for decades, in 1938 my mom and dad moved to a new home constructed at 6507 Lawnton Avenue, in the Oak Lane section of Philly.

Around the time we moved there, Kahn was hired to design a synagogue for Congregation Ahavath Israel in our new neighborhood. The chairman of the synagogue’s building committee, Barnett Lieberman, was a family friend and his daughter Sylvia babysat me and my younger sister. Because of those connections, we became congregants in that unpretentious structure.

My father had no talent for architecture, but was an amateur painter and a collector of prints. My mother was a pianist, and my parents avidly attended theater and concerts. Lou was an excellent pianist and a painter aside from his architectural drawings. So they (and I) frequently talked together about music and art. I got to know Lou’s wife and their daughter, Sue Ann, who is a flutist, six years younger than I.

Eventually, my dad purchased a property at 1835 Chestnut Street (Philly’s main shopping street) and the Kahn’s came there for all their eyeglasses. Lou also brought members of his design staff to Sigismund Opticians. I worked for my father, while also producing and hosting radio programs for WHYY in the evenings. 

When Lou Kahn developed cataracts, in 1972, he underwent surgery and brought his new eyeglass prescription to us. In those days, such surgery necessitated the wearing of thick magnifying lenses, so his next glasses would have to be much more noticeable than his previous. Lou walked in with his sketch of what he’d like his frame to look like.

Kahn’s works are considered as monumental. This particular creation was only seven inches across. My dad asked Lou to sit down with me and discuss how to execute his desires.

Some of Kahn’s architectural colleagues (such as Philip Johnson) chose to wear small, roundish eyeglasses. Lou told me that function was his main concern and he wanted something larger, to give himself a wider field of vision. He and I discussed the fact that larger dimensions would cause the centers of his lenses to become thicker, and he understood that.

We discussed the principle that we could grind his lenses extremely thin at the edges, but the nature of his prescription necessitated an accelerating center thickness as the longitude increased. In other words, small frames would allow his lenses to be thinner. But Lou Kahn didn’t want to copy his colleagues’s minimalistic look.

What we agreed on was a design with softly curved corners, not nearly as large nor rectangular as the fashionable styles of the 1970s, but not as small and round as Philip Johnson’s or John Lennon’s glasses.

An additional alteration was needed. Lou had drawn a bridge that was centered vertically in relation to the lenses. This looked attractively symmetrical but would cause his eyeglasses to sit up too high, with the top rim bumping against his eyebrows and the bottom being too far above his cheeks. I drew my suggested changes on his drawings and he approved them.

Ed Bacon criticized Kahn’s stubbornness and inability to compromise. That’s the opposite of what I experienced in our collaboration.

I carried our drawing to Joe Danieli, who used the name Joe Daniels and whom we frequently employed to custom-make frames for us. At his walk-up studio on Sansom Street, Joe used cellulose acetate plastic, which the public knows as “tortoise shell”, and fabricated the Kahn frame to our specifications. We then made Lou’s lenses and heated the frames to insert the lenses into the grooves.

After Kahn got his glasses, a four-by-six card of its specifications went into our file drawer, along with the original sketch, neatly folded. This was the same year that Kahn was working on the parliament building for Bangladesh; the opening of his Kimbell art museum in Fort Worth, Texas; and the dedication of his library at the Phillips Exeter Academy in New Hampshire.

On March 17, 1974, Khan died of a heart attack in Pennsylvania Station in New York City at the age of 73. Stupidly, I did nothing to preserve or copy our drawing. In 1980 my ailing father sold his building on Chestnut Street and sold his business records to Limeburner Opticians, one of our friendly competitors.

A couple of years later I belatedly thought about its importance and went to Limeburner in search of that drawing. Limeburner’s manager told me: “We sent a mailing to everyone in your files and, if they didn’t come in to get new glasses from us, we dumped their records.”

I find it fascinating that Lou showed interest in the refraction of light reaching his eyes, when a unique part of his architectural creativity was his refraction of, and positioning of light inside his buildings. As Wendy Lesser wrote in her biography of Kahn, all of his great buildings reveal his interest in light — “how natural light can come in through windows, skylights, holes in the roof.”

Thomas Schielke called Kahn “a master of light” and Kahn talked about the subject: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called ‘material’ casts a shadow, and the shadow belongs to Light. A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is.”

In our conversations, Kahn was simple and unpretentious. When speaking with other architects, Kahn often used parables, but not with us. He did not indulge in the poetic aphorisms of a guru — such as this famous one that’s been oft quoted:

“If you think of Brick, you say to Brick, ‘What do you want, Brick?’ And Brick says to you, ‘I like an arch.’ And if you say to Brick, ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, Brick?’ Brick says, ‘I like an arch.’ And it’s important, you see, that you honor the material that you use.”

And he revealed nothing that would make me suspect that this ordinary-looking “old man” — my father’s age — had extramarital love affairs, and additional children born to two single women who worked with him. He clearly compartmentalized his life; thus my remembrances are specific to one small part of his persona.

Wendy Lesser also wrote, “He was a narrative artist. In his buildings, there’s a plot, with surprises.” Certainly in his personal life there were fantastic surprises.

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Editor’s Note: This is a repost with permission granted by the author, Steve Cohen. For additional access to Steve Cohen’s writings on art, theater, music, books and travel, click herehttp://theculturalcritic.com

To access additional work by the legendary photographer, George Krause, click herehttps://georgekrause.com

Also posted in Affiliates, Architecture, Art, Blog, Documentary, Friends of TWS, History, lifestyle, Philadelphia, Popular Culture, Science, Travel

Ed Simmons: Dancing Girls Harvard and Stone

Photography and Text by Ed Simmons, Copyright 2020

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Dancing Girls Harvard and Stone

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Chuck E Weiss. Yeah, I knew that guy. The dude from that Rickey Lee Jones tune, “Chuck E’s In Love”. I was hanging around with him back in the early 80’s at Hollywood’s Club Lingeri.  I read in the LA Weekly a few years back, that Chuck E Weiss was playing a late night set at The Piano Bar on Selma Avenue in Hollywood, so I go on down to check it out.

I bet around about now, you may be wondering how in the hell does this tie into “Dancing Girls”.  Austin was the door man at the Piano Bar that night, a Nigerian with one punch biceps, tells me that on Sundays, this spot, The Piano Bar, barbecues out back, and that I should start stopping by on a regular basis with my camera. I do and we become good friends.  As a photographer, the Sunday afternoon crowd at the Piano Bar was so interesting, so friendly and open to me, but like all slices of life in LA, this ends too before long.

Austin also informed he would be working the door at a spot in East Hollywood’s Thai Town, called Harvard and Stone, that I should start showing up there,  bring the camera, Austin, a bit of a ham…likes being photographed Hollywood ya know. This spot is sorta dark, I’ve got a pretty hot camera, I figure I can hang and see what unfolds. The location is built somewhat like a Hollywood set, lots of interesting industrial architectural treatments, a couple of bars, a smoking area in the back, a stage, live music, shoulder to shoulder people,  and very hard to move around this place, no tension though, everybody’s having fun!  

 One night, I’m  hanging by the front bar at Harvard and Stone chatting it up a bit with Yale, she’s cool, mostly says she bartends at the Hollywood Roosevelt, on this nite she was just filling in. The House Band steps onto the stage and start playing this raunchy tune with a filthy beat, then out from nowhere it seems as if dancing girls started to rain down through the rafters. They start dancing across the catwalks and bar, then down on to the stage. I was shocked, well… surprised,  I didn’t have a clue and couldn’t move. This crowd was thick, shoulder to shoulder.  Hell, no one in this mob was willing to give me an inch as I clicked away.

 The show ends, so I search out Austin as the crowd begins to thin out. He sees my look and ask’s well, did you get anything good? I’m like dude, I couldn’t even move but managed to get some great shots!

Two shows go on, Friday and Saturday nights.  I found the house always full, as I worked through a few months of making images at this venue, I found a need to pre plan. Photographing these dancing girls, week to week, nite by nite I had to pick my spot. If you are a photographer in LA its best to be friendly with door men.

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Ed Simmons photographed by Bonnie Schiffman. Copyright 1972

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Also posted in Affiliates, Art, Blog, Cameras, Current Events, Documentary, Environment, Erotica, Friends of TWS, Glamour, lifestyle, Models, Photography, Popular Culture, Student Life, Travel, Women

Studio News: A Return to Teaching

A Photography Critique at Haverford College. Photo: Dan Burns

 

Text by Tony Ward, Copyright 2020

After a two year hiatus from teaching, I have accepted an invitation as visiting instructor of Fine Arts at Haverford College. On December 17th, 2019 my first meeting with photography students took place at the Jane Lutnick Fine Arts Center. My colleague Professor William Williams asked me to join him for a final critique of student work performed during the fall semester. In preparation for lecturing at Haverford I am currently reading, Criticizing Photographs by Terry Barrett. I look forward to the opportunity of teaching a color course with these bright exceptional students at Haverford beginning this month.

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About Tony Ward:

Tony Ward began his professional career in 1980 as a corporate photographer for the pharmaceutical giant, Smithkline Corporation.  After several years of working in the department of corporate communications for Smithkline, he opened the Tony Ward Studio in Philadelphia, to service a variety of Fortune 500 companies and smaller business entities.

His personal work and research during the past 25 years has been rooted in exploring the visual cross sections of fashion and erotic photography by capturing the impact the sexual revolution of the 1960’s had on advertising and in particular magazine publishing.  His first book of photography, Obsessions with forward by A.D. Coleman was his first attempt at challenging the lines drawn between Art and Obscenity by questioning social mores, existing laws, and the evolution of photographic imagery that is viewed as inappropriate in some cultures and acceptable in others. He is particularly interested in further examining the first amendment right to freedom of expression and the impact censorship has had on the evolution of photography’s history.

To access Tony Ward’s curriculum vitae, click here:https://tonyward.com/about/

 

Also posted in Announcements, Art, Blog, Book Reviews, Cameras, Current Events, Documentary, Environment, Exhibitions, Film, History, lifestyle, Men, News, Philadelphia, Photography, Popular Culture, Science, Student Life

Bob Shell: On The Legal Front

Marion in Vegas. Photo: Bob Shell, Copyright 2019

Text by Bob Shell, Copyright 2019

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On The Legal Front

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Believe it or not, I stay very busy here, so I hope no one minds these impersonal periodic updates.

On the legal front, which so many of you ask about, progress is slow but certain. On Feb. 1 of this year I filed an Independent Action to Vacate in the Radford Circuit Court seeking to overturn my convictions based on the use of false evidence to convict me. Much to my surprise, the Radford prosecutor did not oppose this action, which, under Virginia law, means he accepts my allegations as true. Of course they’re true! The Chief Medical Examiner for Virginia has said unequivocally that the medical testimony (That Marion was dead when I took my last pictures of her) from the local medical examiner was “Just wrong!” This case is working its way through the courts right now. Another Independent Action on the grounds that they missed my speedy trial deadline by over a year was filed last September, and is also working its way through the courts. Courts are slow!

My other legal effort, to get my precious forest land, my “outdoor studio,” back after it was illegally sold is also moving slowly through the courts. To prevent the persons who now illegally hold my land from altering, selling, subdividing, etc. I have filed what’s called a Lis Pendens in the Floyd County courthouse. This blocks such activity on contested property. I WILL get MY land back, and will build my planned house and studio there when I’m released. I’ve been more upset by the possible loss of my forest, forest sacred to me, than anything in my life. Hardly a night goes by that I don’t have nightmares about this, and my daytime mind is constantly preoccupied with stressful worries about losing my forest and someone destroying it. It’s only a small forest, but it means the world to me.

On other fronts, things have been mixed. My book COSMIC DANCE has been out since April, and has gotten great reviews on Amazon, but without an advertising budget it’s been hard to get the word out, and sales are slow. Virginia prison inmates are forbidden to have Facebook or other social media accounts, a blatantly unconstitutional policy, so I can’t use the obvious promotional vehicles. Low cost/no cost promotional ideas welcome.

My blog that appears at www.TonyWardStudio.com/blog is popular, with many regular readers., and let’s me write about anything. Tony calls me “a natural storyteller.”

I’m also writing now for Prehistoric Times magazine, (www.prehistorictimes.com) about dinosaurs and such, a preoccupation of mine since my teens. It’s been nice to see my name in print again. The VDOC can’t ban us from writing for publication. That old First Amendment stops them, but they would if they could.

On the living conditions/health front, I’ve been back at Pocahontas State Correctional Center (PSCC) since late August. On April 4, 2018 I was shipped off to River North Correctional Center (RNCC), a high security facility built specifically to house gangs. There are no windows in the cells there, and many restrictions. My windows here at PSCC aren’t big, but at least I can see if it’s raining or snowing outside.

I was sent to RNCC due to a “clerical error.” I received a serious charge here in 2017, but the charge was dismissed by the Assistant Warden. Unfortunately for me, whoever was supposed to enter that dismissal into the VDOC’s database failed to do so. My counselor at RNCC fixed the problem, but it took well over a year for me to get back to PSCC, where I’d been since 2009.

When I got back here there was no bed available in the handicapped pod, so I was held in a medical unit holding cell for over a month until a bed opened up there. As many of you know, I suffered a serious stroke in 1991, shortly after becoming Editor of Shutterbug magazine. Due to that stroke, vertigo (I’ve had that since the 1960s), and a bad left knee (torn cartilage), I require a handicapped shower, and was walking with a cane. There’s only one handicapped shower in this whole facility, in the handicapped pod, pod A-1. I was there among old friends, had a great cellmate, and was as happy as it’s possible to be in prison.

On the morning of November 15 it all went to hell. That morning a voice came over the cell intercom, “Shell, pack your stuff. You’re moving to B building.” Sure it was a mistake, I refused to pack and move until the building manager got here, assuming he would straighten it all out. He didn’t. It seemed that the order the doctor wrote saying I require a handicapped shower couldn’t be found. The doctor who told me he wrote it isn’t here anymore, and the doctor who is refuses to write such an order.

On the same morning that I was kicked out of the handicapped pod, they called me to medical, and gave me a McKesson Rollator, a sort of four wheel walker with a seat on it. It’s not for riding, like wheelchair. The seat is only for use when you’re not moving, but it’s great in long lines, since I can sit until the line moves. My health is generally good, my hypertension, high cholesterol, and diabetes all controlled by daily pills. My arthritis doesn’t bother me much since I was put on Celebrex about a year ago.

I’m now in a very rough pod. I’d only been here eight days when my cell was robbed when I was out at chow or pill call and about $ 200 worth of commissary I’d just bought was stolen. Staff treat it like it’s my fault for not locking my storage box, but the box they’ve issued me cannot be locked. The flange you attach the lock to is missing. I’ve had a combination lock for years, but rarely had to use it, and in my twelve years down, I’ve never been robbed before. But, I’ve never been in such a rough pod before. Friends sent me money to replace the stolen food, but I have no assurance I won’t be robbed again.

I’m fighting now to get back in the handicapped pod where I belong. Thanks for everyone’s support! I couldn’t make it without you!

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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.  He is serving the 11th year of his sentence at Pocahontas State Correctional Facility, Virginia. To read more letters from prison by Bob Shell, click here: https://tonyward.com/bob-shell-doing-time-in-virginia/

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.

Also posted in Affiliates, Blog, Cameras, commentary, Documentary, Erotica, Friends of TWS, History, lifestyle, Men, Models, News, Photography, Politics, Popular Culture, Travel, Women

Bob Shell: Doing Time in Virginia

Portrait of Marion Franklin by Bob Shell, Copyright 2019

 

Photography and Text by Bob Shell, Copyright 2019

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Doing Time in Virginia

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I had the misfortune of living in Virginia when I was arrested, tried, and convicted. Virginia is a beautiful place, with fertile valleys and beautiful mountains. The history is rich and significant. The Virginia General Assembly is the oldest sitting legislature in North America, and was the model for the United States Congress. Virginia’s declaration of human rights was the model for the United States Constitution and Bill of Rights. So Virginia should be a great place to live, right?

Unfortunately, no. We have a ‘justice system” run amok. Back in 1996 we had a Governor named George Allen, a baby-faced, benevolent-looking man, Republican, of course, who was determined to be “tough on crime,” and with the complicity of the legislature, abolished parole. Parole rates before that were about 30%. Abolishing parole with the idea of keeping criminals out of society didn’t work, it had absolutely no effect on Virginia’s crime rate.

Anyone convicted before that change is still eligible for parole, anyone convicted after 1996 isn’t. I was convicted in 2007, so no parole for me.

They did establish something called Geriatric Conditional Release, known informally as geriatric parole. After age 65 you go before the Parole Board once a year, automatically, to be considered for this. I’ve been interviewed by teleconferencing, never a live person, and turned down annually seven times now!

From July through December of last year, the latest period for which I have the figures, out of 307 people eligible for Geriatric Conditional Release, only 25 were granted. If I’ve done the math right, that’s just over 8%, most of them very old and Ill, and costing the Virginia Department of Corrections significant amounts of money in medical expenses. I’m in a handicapped pod with 80 men total. Of those 80, there are ten who are confined to wheelchairs, and two, including me, who need canes to get around. All are older, three over 80.

Adrianne Bennett, Chair of the Virginia Parole Board says there is a looming crisis due to the large number of prisoners who will soon be eligible for geriatric release. Where, I ask, is this crisis if they release so few?

All told there are more than 40,000 people in Virginia prisons, at an annual cost to taxpayers of a billion dollars, the single biggest item in the budget. Insanity!

Everyone who knows me, knows that I could be released today and would not be a threat to anyone, because I was never a threat to anyone in the first place. The same is true of many in here.

There is also the governor’s pardon, technically called Executive Clemency. This was supposed to replace parole, but it hasn’t. Very few have been granted. I filed my petition with the Governor in 2006, accompanied by more than fifty letters attesting to my character, from former photography models, industry colleagues, even a United States Senator, and it has yet to be acted on. I’m on my third governor! When I write and ask what’s taking so long, they send me a form letter saying please be patient, the process can take up to a year! It’s been THREE bloody years!

My case is a political hot potato that each governor has handed off to his successor, while I sit in prison.

My suggested sentence, using the guidelines established by the Virginia Sentencing Guidelines Commission was 1 -1/2 to 3 years, but by “stacking” sentences and making them run consecutive, the judge gave me 32 -1/2 years! I’m 72 years old right now, and my release date is 2033. What sense does that make?

I’m classified as a “numerical lifer,” that is a person who does not have a life sentence, but is unlikely to live long enough to be released. In 2033, if I live that long, I’ll be 87 years old! I was 56, healthy, vigorous, and at the peak of my career, when this all started. Now I’m an old man, taking dozens of pills every day to stay alive, whose thriving business and life were destroyed by a pack of lies and nonsense, a prominent photographer who has not been allowed to touch a camera in twelve years.

The prosecution offered me a plea bargain of ten years, but I would have to plead guilty. I am not guilty and refuse to say otherwise. Later, he offered five years. but, again, contingent on pleading guilty. I simply would never do that. I have never in my life physically harmed anyone, and have never had sex with any woman without her consent. I have high moral standards, and have lived my life by them, and will stay in prison rather than compromise what I believe in. So here I sit on a hard bunk in a 9 X 12 room with cold metal walls, waiting and hoping for justice.

I’ve had proof for years that the medical testimony that put me here was false. The Chief Medical Examiner for Virginia says so, and so does Dr. Cyril Wecht, the dean of American pathologists. The “expert testimony” of the prosecution’s witnesses was, to be polite, garbage. But the jury of small town folk accepted it and ignored me and my witnesses. They voted not on the evidence, but on their own prejudices against a man who took erotic photographs. It was a modern day witch trial. The judge called my photography, which the prosecution gleefully projected up to giant size in the courtroom wall, the worst pornography he’d ever seen. Obviously, he’d never surfed the Internet! But he said all he knew about computers was how to turn his on.

Most of the photos and videos presented in evidence were private photos and videos Marion and I created for ourselves. None were intended for publication or distribution, none showed actual sexual activity, and none were ever published or publicly displayed except on the wall of that courtroom. My and Marion’s privacy was grossly invaded. And the photos were not illegal or evidence of anything illegal.

If you want to read the Chief Medical Examiner’s statements, I’ve posted the interview with him and lots of details on one of my websites: www.bobshelltruth.com.

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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.  He is serving the 11th year of his sentence at Pocahontas State Correctional Facility, Virginia. To read more letters from prison by Bob Shell, click here: https://tonywardstudio.com/blog/bob-shell-no-nudes-is-good-news/

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.

Also posted in Affiliates, Blog, Cameras, Documentary, Environment, Fashion, Friends of TWS, Glamour, History, Men, Models, Photography, Politics, Popular Culture, Travel, Women