Tribute to Stan of Sweden - 2

One of the great fetish fads of the sixties was for putting muscle men in skimpy, tight, white, gym shorts. Scott of London was a memorably, sexy exponent of the genre whilst Royale Studio had a claim to be pioneers of the trend with storyettes like 'The Football Ballet' in 1957 and a number of stunning 'Sporting Hunks' 

Bo Johansson by Stan of Sweden

Stan was late joining this party but this contribution to the genre was typically stylish and restrained.

 Bo Johansson is seen here in a different, far from boyish light. In this rear view his shorts look satisfyingly snug, but not unnaturally tight. Their neat new appearance makes an attractive package. The subtly notched leg hem is a true connoisseur's touch.

Patrick Berglund by Stan of Sweden

Patrick Bergland's handsome, classical body-builder pose contrasts with well-worn gym shorts which hint at the hard work needed to produce such a stunning physique and the earthy qualities of the man within. The low waist, slung below the hips, halfway to his groin, trades in practicality for something sexier. The tucked-up legs accentuate the models thigh's and create radiating crease lines outlining his balls, lifted and divided by the centre seam. A surprisingly daring image for Stan.

Hartell Jukka by Stan of Sweden

 The turned-down waist and tucked in legs of this model's shorts create briefer proportions that leave no doubt about the erotic intent. Typically, Stan captures a nervous glance to one side, as if he is embarrassed to be seen making such a daring display of himself. His relatively ordinary, slightly boyish face somehow makes it seem out of character. He leans back against a reassuring pillar in contrived nonchalance, perhaps not realising quite how much his groin is pushed forwards.

Stan has shaped the model's tackle here more in the style of Scott, it's prominent but less explicit in shape (at first sight). The tight centre seam has been pulled right up into the model's groin pushing the dangling assembly to one side where the shadowed outline of his cock can be made out, curving down in front of his balls.

Sture by Stan of Sweden

Stan has also cajoled this model into a forward-thrusting pose, with hands clasped behind leaving no hiding place, not even a prop to hang on to. There's an endearing look of uncertainty in his face, a nervous smile struggling to overcome his embarrassment and the loneliness of standing naked and provocative before the camera. 

His shorts look as if they might be the same ones Bo Johansson was wearing in the first picture. The cut is already brief enough to discomfort any man accustomed to pants that hang from his waist (as was the norm back then). They are pulled high at the sides, defensively, but the waistline still dips low enough to expose a sizeable tuft of pubic hair. The bulk of the model's tackle is even more anonymous here, but the bulging shapes either side of the centre seam and straining crease lines indicate a substantial presence. A curious haze hints at even naughtier details higher up, deemed not fit for publication.  

Billy by Stan of Sweden

Stan has used the same formula here although Billy's incredible 'cut' musculature makes an extremely effective distraction from matters of sensuality. His facial expression can best be described as wary and challenging, confident of his own attractiveness, but less sure about what the photographer is doing with it. 

This image departs from the white, gym shorts formula, reflecting instead the emergence of bolder male fashions in the sixties which even reached into men's swimwear. Mmmm. These belted shorts emphasised the new, daring low waisted style, offering manly reassurance of protection from marauders and support in an emergency.

The forward thrust of the model here seems much more confident, so Stan's fiddling down below comes as something of a surprise. The tucked-up legs don't quite quite fit the glamourous, aloof aura and the massive frontal bulge seems at variance with the impression of boyish innocence. It invokes feelings of doubt and scepticism battling with optimistic desire in the viewer. A bit too perfect perhaps.

Lennart Svensson by Stan of Sweden

Stan picks up another theme of the 50's/60's, taking a leaf out of John Barrington's book with this image of Lennart Svensson wading in the sea in his jeans. It's probably chilly Baltic waters, hence the model's discomforted look, but the scenario is an admiring echo of Barrington's studies of the young men of the Cote d'Azure, like his images of Yves Grangeat, shot for Royale Studio. 

Tribute to Stan of Sweden - 1

The photographs of Stan of Sweden enjoyed a brief vogue during the flowering of beefcake mags in the 1960's. Like Basil Clavering of Royale Studio, he made much use of everyday clothing which gave his muscular models a sense of place in the everyday world instead of isolating them in some unreachable place reserved for the Gods of Physique. Today he seems largely forgotten, this article pays tribute to his stunning male art.

Bo Johansson by Stan of Sweden

Bo Johansson was one of Stan's most popular models.

Boyish looks, but a stunning bodybuilder's physique.

The cap may have gone out of fashion but not the muscles.

Bo Johansson by Stan of Sweden

Bo's quizzical expression here is priceless.

It makes him look like an innocent young man, up from the country,

uncomfortable at being asked to strike the artificial, body-builder pose.

Hans Brown by Stan of Sweden

 Hans Brown looks away, also as though embarrassed about his muscles being on display.

Perhaps not realising how his rebellious, thumbs-in-pockets pose and indrawn abs

 increases the erotic effect.

These pale jeans were a hallmark of Stan's work, they add a casual, improvised air. 

The loose fit on this model suggest they are not the his own attire.

Kent Strom by Stan of Sweden

In this image the dipping waistline and dramatic lighting became something of a classic.

The open pose (another body-builder standard) seems like an invitation from the darkness.

Stan did not shy away from a hairy torso but made a feature of it. 

The side-ties on the model's trunks are dated but still sexy, just one tug!

Hans Inge by Stan of Sweden

Stan didn't use posing pouches (as far as I know) but did get some of his models naked.

Here again the arty lighting deliberately accentuates the hairy regions,

including the lower abdomen, which was daring for it's time.

Kurt Peters by Stan of Sweden

Stan did not restrict himself to body-builders.

This model has a more 'natural' build, though not lacking a pleasing shape.

His older face, hairiness and seaman's tattoos suggest ruggedness and experience.

The clean look of his jeans, though drawn tight, seems reassuringly respectable*.

One of my personal favourites

(*But we should remember that in the 1960's, jeans were far from universal wear, their tight sexiness was solely the province of the rebellious young. The white or pale blue variants did not accentuate wear and sexy creases like the indigo ones did, but were regarded as daring and very showy in a way that was rather disreputable for a man)

Niels Anton by Stan of Sweden

This looks like a tough, working man too, although he's more muscularly built.

The ice hook adds an overt edge, which is unusual in Stan's work. 

The pale jeans have been swapped for a corduroy pair (alluringly tactile in their day). 

The tight fit suggests they might be the model's own clothes.

The waistline abruptly interrupts the line of the model's torso, bluntly obscuring his nakedness. 

But the cut-off across the line of his abs is teasing, with a hint of pubic hair escaping.

Lower down, the opening of his crotch is clearly visible below a modest bulge.

Niels Anton by Stan of Sweden

In this image the naked torso seems a more natural complement to the jeans.

They showcase his manly, broad-shouldered physique. 

His slightly youthful face with aspirational 'tache-let and knowingly coiffured hair

is a marvellous portrait of emerging manhood.

However, his open crotch, the shape of the hook and the way he is holding it 

creates a electric erotic undercurrent which is hard to define but unmistakeable.

Notice the hair showing under his arm-pit.

Sivert Olsen by Stan of Sweden

The frightened expression of this young bodybuilder performing a side pose under harsh lighting makes a thought-provoking complement to Niels Anton's scary hook above. Stan had a talent for capturing the uncertainty of young men.

Stan took many conventional images of body-builders posing in competitions, which is no doubt how he won their confidence and was able to persuade them to pose 'out of their trunks' for more interesting imagery. There's an impression here that Sivert is in the process of loosening his side-ties and about to take his trunks off, but Stan usually wanted these muscular models to put clothes on for his photos.

Bo Johansson by Stan of Sweden

In this image Stan catches Bo Johansson in a pose that is the epitome of awkward, uncertainty.

The model seems to be pouting in irritation and frustration,

but he's unwittingly showing his obedience to Stan's wishes.

This isn't a body-builder's pose, there's a hint of captivity about it.

Sven Eric by Stan of Sweden.

Stan seems to have a trick for drawing out the hairiness of a man's body, an oil or water spray perhaps. 

Maybe that is responsible for Sven Erick's expression of saintly patience and forbearance here.

Coupled with the oversize jeans, it creates an impression of him being manipulated and controlled.

That is the true reality, but the gay viewer can vicariously enjoy the illusion of submissivness.

Tord Eric by Sven of Sweden

Stan's male imagery is sexily unique in many ways, but he joins the beefcake mainstream 

with this image of Tord Eric in a US Navy cap, AMG-style.

However the sweeping dip of the model's trunks creates a stronger image than a pouch would.

The original image may have given a better idea of it's contents!

In Part 2, I look at his images which echo themes from other photographers.

Sailors Duped

A sailor on shore leave takes his buddy to beauty spot he knows,
A cruisy place where they can just relax together as friends.
But it's changed a bit since he was last there, not much cruising going on

But there are lots of new facilities to take advantage of.

 

1

       

2

The Navy sent out a Patrol to find the two AWOL sailors,

but in the end the ship had to sail without them.

By that time the boys were miles away.

Still catching the rays together in their free, sun-bathing pouches 

But hard at work, shifting stones in a quarry.

~

The original photo is by AMG of course, 

the guy on the left looks like Dick Dubois....? 

James Seely Naked

In this series of articles featuring James Seely (see foot of post), I've posted numerous images of him in which he is genuinely naked (despite the restrictions of the 1960's) , but none of them are frontal nudes, which were considered to be indecent. The 'shower post' illustrated how clumsy and contrived some of the cover-ups were to comply with this ban. 

This picture of James Seely totally nude is attributed to Denny Denfield by Tim in Vermont. Apparently he photographed models as a hobby but did not sell the pictures. He lived in San Francisco and knew Bob Mizer which is perhaps how he came into contact with James. However, I confess I know very little else about him or any other images of James taken by him.

1

Looking at this image of James today it's hard to comprehend what all the fuss was about. It shows a beautiful physique and although he looks very attractive 'out of pouch' it barely qualifies as erotic. Very close to the ideal of ancient Greek statues. I suppose the oily sheen on his physique might be thought dubious, but it was then, and still is, a standard device used by body builders to highlight their muscle development to contest judges. 

Later on, in the 70's, Mike Arlen would anoint his model's cocks with oil as well as their bodies

and produced spectacularly sexy results never seen before.

2

This photographer has taken pains to ensure that Seely does not look aroused, which would have made the picture not just indecent, but pornographic. Similarly James' facial expression, which is often entertainingly animated in other images, is sober and serious here allowing a claim to be made that the image is purely artistic (which is what the column is there for of course).

It's not surprising to discover that, faced with a naked model, photographers took frontal nude shots of them (which was not of itself illegal). However, the photos could not legally be sold or sent through the postal system. Photographers had to resort to coded advertisements and catalogues and post the pictures to buyers in plain envelopes, hoping that the postal authorities would not intercept them. Unfortunately, photographs require stiffened envelopes and were quite often spotted, inspected and the contents confiscated. It's clear though that much of the material did get through, the Post Office couldn't open every envelope and no doubt there were plenty of postal workers who ignored them.

3

Here James poses with another lusciously muscled man who I have not yet identified (info welcome)

Any gay man would see the eroticism simmering in this coupling, but the photographer has pre-empted accusations of smut by placing the models either side of the same pseudo-classical column seen in 1 above. It's effect is rather like the pillow down the centre of the bed, supposedly used by Hollywood film makers to legitimise putting movie stars in bed together. 

Nevertheless, the models' hands are tantalisingly close together on top of the column, and the fingers of James' partner (both hands) look as if they are itching to get up to mischief. In fact, you might have taken the model's facial expressions to indicate that they just have. Fortunately all is calm down below. 

Purveyors of nude images presumably took precautions to prevent intercepted images being traced back to them and recipients sometimes took elaborate precautions like using Post Office boxes and Post Restante to prevent their addresses being discovered by the authorities on envelopes and mailing lists (and also to hide the material from their wives and other people they lived with). Police in the UK went out of their way to expose gay men to their relatives and employers, ruining many lives. Not all gay men lived in fear though, if you lived your life openly the risk of fines was worth running.  

 

4

 With the models down on one knee the separating effect of the column is increased, allowing the models to face each other, but not look at each other. To the knowing eye, though, the phallic connotations of the column itself are clear enough.

5

In this image, a low, tin box has replaced the column but the raised knees of the models continue to shield their nether regions from each other. However, they also open up their stances and it almost seems like there is a 'musical chairs' style race to clamber on top of the box. Both men seem to be struggling to keep a straight face

~

Apart from Denfield, James Seely only seems to have posed for Kris of Chicago and Bob Mizer and I believe the photographer who took these black and white images was Kris. Kris didn't go in for Greek Columns very much but a very similar object can be seen in the catalogue page shown below (in No 7). A drum-sized version, painted black, also appears in several of his images.

In addition to this match, the original of one of the nude images above (No 2) has the inscription 'R-27' on it and you can see above that this is how Kris numbered his sets in his catalogue.

~

 The James Seely series:

The Abandoned Slave

Vintage Bondage - James Seely

James Seely meets some Naked Men

James bags John in the shower

James Seely bags John in the shower

In the previous installment of the James Seely saga, we saw him studiously ignoring John Manning's lustful looks in a dual posing session. This is what happened afterwards, sort of, in the shower. It provides two more examples of Seely's amazingly wide range of facial expressions.

Back in the bad old days, solo shower scenes were a standard part of the physique photo offering. They offered a thrilling glimpse into the private and intimate cleansing rituals of the studio's male pin-ups. Provided they were photographed with discretion, they also allowed publishers to gush about the cleanliness of their models and the healthy nature of sport of body-building which provided muscular models and a sheen of respectability for their subversive skin-pix. 

Sportsmen routinely showered together in real life of course (and sometimes workers did too if they had dirty jobs like miners). Nevertheless, squeezing two naked men into a tiny cubicle intended for one was not regarded as at all normal......

James Seely and John Manning - Sharing

Bob Mizer concocts an excuse for James Seely to get into the shower with John Manning after their exertions in front of the camera, it's in order to help him wash that tiny area between the shoulder blades that most of us cannot reach ourselves (just ask Siegfried!). Just in case you might suspect that there's something else going on here, James' arms (but nothing else) are smothered in nice, clean, soap suds. A teasing, bubbly trickle runs down over Manning's buttock.

John's serious face is probably meant to suggest he's giving directions to his helper, like someone having an itch scratched. But there's an element of distaste his look as though Seely's arrival is unexpected and unwelcome. I suppose this might be a deliberate, mocking attempt by Mizer to cast Manning as a straight man in a sudden onset of homosexual panic (see Holzman 'Merchant Navy').

Seely's cheerful grin looks nervous and mischievous as though he's planning a surprise. Darker sceptics amongst you might wonder (perhaps like John) whether his clenched right hand is actually holding any soap and even if it is, what is he thinking of doing with it next?   

James Seely and John Manning - Careless Hands

Seely's plan (whatever it was) has turned into a disaster it seems. (Apart from my frivolous, sex-obsessed inventions, he may have treated Manning as gay man when he isn't or as being receptive when isn't!). . Manning looks both shocked and very fearful. He melodramatically raises a defensive, clenched fist. His fist is about shock, anger and latent aggression, not fetish sex, sorry!

I'm not sure there's an English  word for Seely's expression here but it's absolutely priceless. It's the combination of realising he's blundered, profound embarrassment at it and rising panic that he doesn't know how to get out of it. It looks as if he's about to close the shower door so that their mutual embarrassment is no longer on public display, but blockading the two of them inside together doesn't seem like a very good solution in the circumstances (particularly if my interpretation is right!). 

In the midst of this furore, both men desperately try to hold their modesty flannels in place*

*The device of models draping a wet flannel over their private parts was intended to make these images decent in the eyes of the authorities. It would be surprising if it worked. because although you can't see any naughty bits (apart from a cunning glimpse of Seely's crotch hair that looks very sexy indeed), the sheer artifice and flimsiness of the arrangement draws attention to the fact that these two men are naked together in this confined space and could drop their guard at any minute and initiate an indecent, homosexual coupling. Indeed they might well have done so and publishing this picture is telling other deviants that they got away with it. Later, Champion Studio, who also used shower scenes, converted the dangling flannel into a posing pouch which was either brilliant satire or a particularly weird example of lateral thinking.

~  

 This No 34 in 'The Look' series at mitchmen blog,
click on the label at the foot of this post to view the others

or use the mitchmen search function (top right in sidebar)

~

The James Seely series so far:

The Abandoned Slave

Vintage Bondage - James Seely

James Seely meets Naked Men

next post: James Seely Nude

James Seely's naked encounters

James Seely and Dave Hodge (AMG)

James Seely didn't only pose for Kris, he was also photographed by AMG using the name John Selig. This is from a duo session with Dave Hodge with both men fully naked at this point. James face is as expressive as ever. He looks here like the rookie learning some uncomfortable facts of life from a pro. It looks like a genuine reaction to something Hodge has said in a casual conversation, rather than being staged.  

James Seely and Dave Hodge (AMG)

A similar spontaneity can be seen in this unusual image, seemingly taken between formal poses. This series does not simmer with the same sexuality as the Kris set but seems a more relaxed affair with a naïve-looking James being here put at ease (or being chatted up) by his studio partner in a charming, unguarded moment, deftly caught by Bob Mizer.

James Seely and Dave Hodge (AMG) Wrestling

It wouldn't be AMG without a wrestling scene. James hams it up for the camera here but his body does genuinely convey a sense of great, dominating strength. His military tattoo adds a bit of extra edge. His partner's passive reaction is disappointing and tells us he is not really applying painful leverage, but it's still a great image.

James Seely and Dave Hodge (AMG)

Seely projects assertiveness more subtly in this photo from a 'biker' sequence (also with Dave Hodge). This set up is a trademark AMG image, much repeated with other biker duos. Some models carry it off better than others but this image certainly showcases Seely's built physique, contrasting it with Hodge's who appears to be the bigger man in the previous pictures. 

The scrunched-up sliver of pouch fabric emerging from between Seely's cute cheeks is a sexy detail, but more than a little incongruous.

James Seely and John Manning (AMG) - distracted

James also posed with AMG's well-established physique star, John Manning. Here they seem like jungle playmates, just out of the pool with wet pouches in evidence and suddenly surprised by an unseen threat (white hunters, I hope, but they are actually posed as if a body-building judge is lurking in the bushes).

Seely is dwarfed by this partner and there's a big difference in muscle definition between them (and pouch mass too if you're interested!). Nevertheless, James's natural looking physique comes across well, assisted by an alluring sheen of oil. Mizer has caught his face looking at it's boy-next-door best. 

Seely seems to be recoiling here, but Manning is confidently thrusting himself forward, almost as though armed with a javelin. His left hand hovers protectively just behind Seely's head as though seeking to make a connection.

James Seely and John Manning (AMG) - 

In this photoset, the two men spend a lot of time not looking at each other directly, or rather, James spends a lot of time looking away wistfully to the side while John, who presumably is supposed to be doing the same, sneaks furtive (and dare I say lustful?) glances at his new playmate. In this photo you can sense he likes what he sees and is inching closer, trying to make contact.

James Seely and John Manning (AMG)

This is a slightly bizarre way to compare physiques, with both men down on their knees.

However, it does show Seely's biceps to be more than a match for Manning's. 

John seems unimpressed, but intrigued by the infectious personality of the new boy.

Their forearms brush together.

Manning has actually settled his buttocks right down onto the mat, here, and is leaning back in a passively inviting position that creates an erotic display at his groin. Seely, less experienced and less relaxed enjoys the fun of participating and the illusion of being in charge, but he's matched with a man here who knows that sexual presence is more telling than bravado.

James Seely and John Manning (AMG) Wrestling

Seely's Marine Corps background seems to earn him ascendency in the wrestling.

As with Hodges he puts plenty of effort into making it look convincing, 

but, like Hodges, Manning looks like his mind is on something entirely different.

James Seely and John Manning (AMG) - bewitched

When the men are told to take off their pouches, the atmosphere changes

The full majesty of Manning's physique is revealed.

 

Propriety is satisfied by maintaining formal body-building poses, distanced apart.

but arm flexing leaves no place for modesty and it's only natural to be curious.

John seems to be openly eying up his partner's 'form'.

James suddenly looks like a rabbit caught in car headlights.

A curious object has appeared at James' feet in this sequence, 

an invaluable continuity aid, but what is it?

James Seely and John Manning (AMG) - Intimidated

As they inch closer together, Seely's confidence seems to drain away.

We get a great view of Manning's sweeping back 

but James, who has a glorious back himself, seems to shrink.

The joker has met his match.

Next time: fun in the shower

see also James Seely tied up by Kris

Vintage Bondage - James Seely

James Seely by Kris - 1

In this 1965 picture by Kris of Chicago, James Seely looks every inch like the military man who's just come into the studio to pose for some skin pix and earn himself some extra cash. His muscularity and USMC tattoo mark him out as a man who can look after himself. The jock he's wearing is reassuringly masculine and there's a certain casual confidence in this open-legged pose. As a winner of the Mr Florida title, Seely was well used to displaying his physique. But there's a look in his eye here that's a little wary and he's clinging to the stool as if not quite secure.

James Seely by Kris - 2

In this picture he shows his military background with a confident, casual pose and rebellious gesture. We don't really know if know if the finger was a spontaneous reaction to provocative banter or if it was deliberately posed by Kris. However, given at arms length here, it seems like a half-hearted, sly response to being ordered around, whilst still obediently holding the pose. Seely's submissive and questioning expression makes it look more like an invitation than a rebuke.

James Seely by Kris - 3

In this picture we can see that the garment protecting James's modesty is only the remnants of a jockstrap, curiously adapted to a posing pouch (a puzzling phenomenon of the 1960's that I explored in mitchmen's Vintage Season, Part 11). This leaning back pose puts his whole torso on display and James looks abashed, as if this is not quite what a man should do. He puffs out his chest in a show of military manliness but holds the stool for support, protecting his rear, but perhaps not realising just how grabbable and appealing his lean physique and slender waist looks.

James Seely by Kris - 4

If the model felt discomforted by the self display of the previous pose, it's even worse here with his crotch thrust forward, offering himself up to the gaze of strangers. It seems to show in that irritated, 'what's going on?' expression. He's bound to feel vulnerable, because he cannot protect himself in this position and getting out of it requires awkward, undignified manoeuvres. That helplessness makes for a very sexy picture and (unknown to him) Kris has ensured that his jock-pouch stands out, virgin-white against the background. The bulge it reveals is necessarily modest by modern standards, because of the legal constraints of the day, but it won't necessarily have felt like that to him.

The magic Kris weaves using this elegant, art nouveau style stool is a tribute to his artistic skill.

James Seely by Kris - 5

   Next, Kris introduces dangling chains and persuades Seely to strike a classic body-building pose with them wrapped round his wrists. He looks like a captive slave being presented for sale or made ready for punishment. The subterfuge of combining classical art and modern fitness imagery was probably intended to confuse the model just as much as it was the censors and Seely's wonderfully expressive face suggests it's had exactly that effect - with an dash of apprehension thrown in. 

Kris got Seely to change into a 'proper' posing pouch for this part of shoot. It better suits the allusion to slavery, but the flimsy material is more directly revealing than coarse, jock fabric and it probably felt that way to James as he slipped his tackle into it. There's even a slight impression that it might even have been pre-wetted, Royale style, to enhance it's clinginess. That might have contributed to the model's pained expression. Kris has drawn attention to it with some clever lighting. 

James looks big, strong and powerful in this perspective, worthy of being restrained with chains. 

It's a dramatic physical contrast to his poses with the stool, but he looks no less vulnerable.

James Seely by Kris - 6

This picture may look familiar, I used it 18 months ago in The Abandoned Slave, a captioned post spoofing the pretended restraint in bondage imagery of the mid 20th century. Kris seems to be doing the same himself with the dangling chain end looking for an anchorage and humorously phallic. Seely contributes a delightful, puzzled expression. The trailing chains rising up between his open legs are not devoid of erotic significance either.

Kris has subtly accentuated the shape of Seely's pouch here by allowing a drooping shadow to fall across it, but it's far from prominent (compare it with the jock cupping in image 4). Rather it helps create a sense of near nudity in Seely's willowy physique. 

James Seely by Kris - 7

That sense of flexibility flows through this image too with James seeming to be trapped in the chains and twisting to look back at us pleadingly. The first sight of his backside is a treat, no wonder he looks so worried! That's not the only significant development here because in this image he actually is completely naked. The pouch has gone the way of the jock leaving only a tell tale line across his glute.

James Seely by Kris - 8

Seely playfully wraps the chains around himself, protecting his modesty in the frontal view.

His physique looks mellow and attractive here and is enhanced by the spiralling chains.

His face is a picture of uncertainty, this is how you would imagine a captive to look

 on the auction block as the bidding fury mounts.

James Seely by Kris - 9

The model's playfulness emerges more clearly here. 

Seely's back is the most impressive result of his bodybuilding but it's the buttock cleft

 that draws your eye, thanks to Kris's adroit arrangement of the chains. 

I suppose you might describe this as an early manifestation of the tentacle effect,

with the victim unable to decide what to do about it.

James Seely by Kris - 10

Freed from the chains, Seely presses his hands together to bring out the bulk of his back.

As with image 5, he seems to shrink into a surprising, more compact shaping.

Personally I prefer the slender look.

This pose also creates the frivolous impression that he's anxiously covering his modesty

 and looking round for the missing pouch.

Kris probably photographed full frontal images during this shoot, but the time had not yet arrived when he could advertise them or publish them openly in the beefcake press. However, nude studies of this model do exist and my next post will include some along with other examples of his delightful facial expressions.

Continued in Part 2

images courtesy of Tim InVermont and enhanced by mitchmen.