Photographed by James Wedge. Modelled by Lady Annunziata Asquith. Dress by Gina Fratini.
Scanned by Miss Peelpants from Harpers and Queen, February 1973
Another glorious underwear editorial by the always saucy, always perfect Mr James Wedge.
Photographed by James Wedge. Scanned by Miss Peelpants from The Sunday Times Magazine, October 1978
I have waxed lyrical on the wonders of James Wedge many times before. I’ve even waxed lyrical specifically on the subject of his version of pin-up photography and how it is vastly superior to the current swathe of poorly executed pin-up and burlesque photography. So I need not repeat myself too much. Suffice it to say, this man was looking backwards to a mere twenty/thirty years beforehand, at a time when this was still all generally considered to be rather naff and – also – an affront to the cause of feminism. He was creating images like this, in his darkroom. By hand. By trial and error. No going back if you cock it all up. No ‘vintage’ movement to motivate him. I certainly consider him to be more artist than mere fashion photographer.
Photographed (and hand-painted) by James Wedge. Scanned by Miss Peelpants from 19 Magazine, May 1974.
Photographed by James Wedge, inspired by Hope by George Frederic Watts.
Scanned by Miss Peelpants from 19 Magazine, January 1975
Photographed by James Wedge.
Scanned by Miss Peelpants from Harpers and Queen, December 1971.
You should all know by now that I am enormously fond of the art of hand-tinting in photographs. Of course James Wedge is the Emperor of such artistry, but this example (by Tom Grill, I think. This book is frustratingly vague about credits…) is utterly lovely in every way. Apparently he tinted it using home food-colouring – and it is definitely quite edible!
Scanned from Harpers and Queen, June 1973. Photographs by James Wedge.
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.