If you read Circulation In the 1940s, more one name than any other appeared below his photos: George Plot Lynn. In almost every issue, he captured paintings of models wearing the latest fashion such as actors such as Sochala, or Burt Lancaster and Zone Crawford; In 1947, the magazine also asked him to lead his West Coast Studio. At the polish, prime and appropriate time, where the society gave everything polish, prime and proper priority to their work.
But Lins had another, more secret beauty that was quite opposite.
In Saltaire village on Fire Island-now a famous gay enclave, but then, an emerging one-naked or close to men’s risk, fashion-forward photographs. James Nerp, film director, art historians and author say that the imagery was not comfortably, dynamic and developed – although ever pornographic: “They are more about the body.” George Plot Linus, Photos from Kinse Institute.
But CirculationLynn often replaced her lens on rich women. But on Fire Island, Lynn focused on topics such as ballet dancers or male models – or just attractive men who he heard through the word of mouth. Bruce Weber once said about the photographer, “I always believed that Lynn took a picture of many men who knew to fix a car, but the difference was that he looked as if he had gone to Yale.” For CirculationHe used a stable, heavy camera in his studio. On fire islands, however, he often hugged a point-and-shoot, as well as natural light. “Photos are much more relaxed, much more fickle, much more erotic. Not formal, elegant types of images that she is known in fashion,” says Nerp. He found an artistic community with Paul Cadmus, Jared and Margaret French – a photographic collection known as Pajama – and together, he quietly began to reduce the notion that gay identity was worth capturing all its beauty, but there was something that needed to hide. (Pajama often treated Lynn as a model – we have included some of her pictures in this article.)
