What is this mysterious alchemy that makes James Wedge’s version of the pin-up cliché somehow completely wonderful to my eyes? I think the hand-tinting is a nod to the fictitious nature of the pin-up, completely revelling in its own artifice and utilizing its superficiality to create something fresh – despite its inherently retrospective origins. Also, it doesn’t involve Photoshop. Modern photographers need to take serious note.
19 Magazine, May 1974. Scanned by Miss Peelpants.