History

Our grandson came to visit this last weekend, the first visit here since before covid. He’s six and he’s very proud of that fact.

The daughter and her wife had two sons that they raised. One son was an officer in the Army and fought Isis in Iraq. The younger soon is married and his wife just had their first son. Once the boys were out of the house the daughter and her wife decided to adopt a third and he’s the six-year-old who visited.

I set up an iPhone on a tripod and passed the clicker for taking photos to the boy. My partner and I were at his sides, kneeling. He stood and we talked and laughed and he clicked the shutter. At one point I turned to my partner and said, “You didn’t see this, did you, when your mom took us to Fort Ancient?”

That visit was in 1970, weeks after the daughter’s birth and after a bad fall which left the woman who would become my partner in a coma for days. My best friend suggested we see them and we drove from the east coast in a roundabout trip to college.

We had a good visit which included being driven to the earthworks at Fort Ancient in southwest Ohio. Driving back at night the sky lit up with heat lightning, the first I’d seen. My best friend took a photo of the new mom and me there and we’re both grinning.

We have history that goes back years. We are old enough to know that one of these days we’ll leave the stage of history. We also know that the past holds the present in a firm grip. I grew up in the Jim Crow south and remember seeing Whites Only signs. This was also the era of duck and cover, school kids under their desks with their hands covering their vulnerable necks during a nuclear attack. After leaving the new mother and daughter, back on the highway to college, my best friend and I passed a large billboard proclaiming, Welcome to Klan Country.

The grandboy is African American. He’s bright, sweet, shy, and friendly. One of our fears is that the terrible history of the United States may have already doomed him.


Studio Nudes

Erotic photographs were shot in a variety of locations in the 1920s, 1930s, 1940s, and 1950s. The most common settings for 1950s stripset nudes were a hotel or motel room, outdoors, and a studio. The studio in 1950s photographs doesn’t call attention to itself. There are not typical studio props or backgrounds which are found in earlier studio photographs. Studio props include columns, corrugated backgrounds, drapery, and so forth which are most common in earlier studio photographs and are used to enhance lighting effects.

I always associate studio nudes like this with those taken in the 1930s and 1940s but I think this model’s photos were taken in the 1950s. What caught my eye when these photos became available was the model’s relaxed poses and the lighting.


John Willie’s Alice

John Willie produced a single set of 12 photographs of the model he called Alice shot in 1960. Changes in room arrangement/furniture sometimes help to date Willie photographs. In the first two photographs below, to the left of the model there is a small table with a lamp and behind that is a white drop-leaf table. Compare the same corner of the room shown in the earlier photo of June shot in 1958.

The collection includes a four-up print.

Klaw’s Female Impersonator Series

Irving Klaw produced a series of photographs called the Female Impersonators. The photo numbers were preceded with FI. These photographs have a prominent place in the early 1950s catalogs produced by Klaw but I almost never come across them for sale online. Below are 3; their numbers give an idea of just how many individual posed photographs were available in this series.


The Candle Strip Set

These photos are part of a circa 1950 strip set where there is a lit candle in most of the images. The engaging poses and imaginative photography are unusual for this kind of photo series.