I collect, buy and sell vintage beefcake magazines, but seldom post scans from the magazine pages, because the quality of the images is frequently subpar.
However, the magazines often do contain treasure troves of information on the models' personal lives. As I read the piece on Dardanis, I am distressed Don Whitman, like most of the beefcake photographers in deeply conservative, even virulently homophobic postwar America (1945–1964), found it necessary to invoke the classical world in an effort to legitimize photography of male beauty as a valid expression of an artist.
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