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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.
Racquel Ward, was invited to have a baby shower in LA and invited me and several other family members to enjoy the occasion. She booked us a fabulous place on AirBnb located at 336 Main Street in Venice. We checked in with Racquel’s partner Ryan and his son Roman who was planning to visit USC and UCLA, colleges he’s interested in attending after high school. The four of us got settled and took a walk down to the Venice Beach Skate Park where skateboarders were practicing their tricks while a magnificent sunset unfolded in deep red tones due to the fires recently in Malibu. It was a breathtaking moment for what would be a joyous few days in celebrating my daughter’s pregnancy. The shower took place in Baldwin Hills, at a lovely home hosted by Racquel’s friend, mentor and colleague .
This would be the first time I visited Los Angeles since 2018. I had mixed feelings about visiting in that this would be the first time I landed in Los Angeles since my friend and assistant Ed Simmons passed away. Every time over the past decade or so that I visited the West coast, Ed would be the first person I’d call. He was my eyes and ears on the ground in planning shoots, finding models and taking me to places I hadn’t visited in the past. The last time we spent quality time together in 2018 was when we took the train to Pasadena to see the Chambers Brother’s perform. We had a blast. Unfortunately, I didn’t get a chance to drive by his old address in West Hollywood to pay my respects, but I did visit the Pacific Ocean where his ashes were dispersed along Venice Beach, just two blocks from where we were staying for a few days leading up to the day of the celebration on December 14, 2024.
The shower took place on a beautiful day in Baldwin Hills, at a lovely home hosted by a friend and colleague . Racquel started a tutoring business when she lived in LA and specializes in educational therapies for children who are neurodivergent. To learn more about Racquel Ward’s business and services, link here: https://thelearningspecialist.org/the-learning-specialists
Latex, once confined to niche subcultures and avant-garde fashion, has emerged as a material of choice for contemporary designers and luxury brands. Its distinctive sheen, sculptural properties, and undeniable sensual appeal have propelled it from fetish wear to the forefront of mainstream fashion. This evolution has significantly impacted fashion markets, carving out a unique space for latex in the broader industry.
In recent years, fashion icons and celebrities, such as Beyoncé, Kim Kardashian, and Lady Gaga, have embraced latex garments on red carpets and in music videos. High-end designers like Atsuko Kudo, known for her intricate latex couture, and Richard Quinn, who incorporates latex into his experimental designs, have further legitimized the material. Their work demonstrates latex’s versatility, from body-hugging dresses to bold outerwear.
Latex’s appeal lies in its ability to combine structure with fluidity, offering a second-skin aesthetic that emphasizes the human form. Unlike traditional textiles, it provides a glossy, futuristic look that aligns with contemporary tastes for bold and innovative fashion statements. Designers often pair latex with contrasting materials, such as silk or leather, to create dynamic visual effects.
As latex gains prominence, the market has expanded to accommodate a broader audience. Traditionally associated with custom designs, latex clothing is now more accessible through ready-to-wear collections. Fast fashion brands have begun experimenting with latex-inspired fabrics, providing a more affordable alternative for consumers who want the look without the hefty price tag.
The material’s popularity has also spurred advancements in production techniques, making latex garments more comfortable and durable. Innovations like chlorination—a chemical process that smooths the surface—have addressed issues of stickiness and difficulty in wearing. These developments have made latex more appealing to a wider demographic, from trend-conscious millennials to eco-aware Gen Z shoppers.
Despite its allure, latex poses challenges for designers and brands. Its production is labor-intensive, and natural latex, derived from rubber trees, raises concerns about sustainability and ethical sourcing. However, many brands are responding by adopting eco-friendly practices, such as using FSC-certified rubber and minimizing waste during production.
Latex’s association with body positivity and inclusivity has also contributed to its cultural relevance. By celebrating diverse body types and emphasizing the beauty of the human form, latex fashion resonates with contemporary values.
As fashion continues to evolve, latex is likely to remain a symbol of boundary-pushing creativity. Its impact extends beyond aesthetics, influencing market trends, consumer expectations, and even material science. With designers continually reimagining its potential, latex stands as a testament to fashion’s ability to transform the unconventional into the iconic.
In the modern era, where individuality and innovation are prized, latex serves as both a material and a metaphor for contemporary fashion’s bold, experimental spirit. Its rise from underground culture to mainstream acclaim underscores the dynamic interplay between design, technology, and cultural shifts, shaping the future of style.
Skate Park, Venice Beach. Photo: Tony Ward, Copyright 2024
From Sidewalks to Skate Parks
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The History of Skateboarding and Its Evolution in Venice Beach
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Skateboarding, a sport born from surfing’s spirit of rebellion and freedom, has traveled a remarkable journey from its humble beginnings in the 1950s to the cultural phenomenon we know today. Few places are as central to this journey as Venice Beach, California—a mecca for skateboarding culture and innovation. The story of skateboarding, and its evolution in Venice Beach, is a tale of creativity, persistence, and community.
Skateboarding began in California during the 1950s when surfers, looking for a way to replicate the sensation of riding waves on land, attached roller-skate wheels to wooden planks. Dubbed “sidewalk surfing,” the activity quickly gained traction, particularly in Southern California, where the laid-back surf culture thrived.
By the 1970s, advancements like urethane wheels and specialized boards transformed skateboarding into a legitimate sport. This era saw the rise of legendary figures such as the Zephyr Skate Team, or the “Z-Boys,” who hailed from the Venice Beach and Santa Monica area. Using the empty swimming pools of the drought-stricken region, they pioneered vert skating and pushed the limits of what was possible on a skateboard.
Venice Beach Skate Park at Dusk. Photo: Tony Ward, Copyright 2024
Venice Beach, with its bohemian vibe and gritty streets, became the epicenter of skateboarding culture in the 1970s. The Z-Boys, led by icons like Tony Alva and Stacy Peralta, used the neighborhood’s urban landscape as their canvas, redefining skateboarding as not just a sport but an art form. Their influence helped popularize skateboarding globally, and Venice Beach became a pilgrimage site for skaters worldwide.
However, as skateboarding grew in popularity, challenges emerged. Public spaces once used for skating, like parking lots and empty pools, became harder to access due to legal restrictions and gentrification. By the late 1980s, skaters in Venice Beach were advocating for dedicated spaces where they could practice their craft without interference.
The journey to establish the Venice Beach Skate Park was a community-driven effort. Local skaters, activists, and community members united to demand a safe, legal space for skateboarding. Politicians, initially skeptical, eventually recognized the cultural and economic value of skateboarding in Venice Beach.
After years of lobbying and planning, the Venice Beach Skate Park was completed in 2009. Located steps from the Pacific Ocean, the 16,000-square-foot park features bowls, ramps, and rails that pay homage to the area’s skateboarding legacy. It was designed to echo the curves of the waves and the pools where the Z-Boys first made history.
Today, the Venice Beach Skate Park stands as a testament to the enduring spirit of skateboarding. It is a symbol of the sport’s evolution from counterculture activity to global phenomenon and a reminder of the power of community collaboration.
Skateboarding has come a long way from its origins, but Venice Beach remains its beating heart—a place where the art of motion, rebellion, and creativity continues to inspire future generations.
