From Nicholas C. Morgan’s article for the Financial Times:
James Bidgood […] sits on the cusp of pre- and post-Stonewall photography. The shots of his model and friend Bobby Kendall, from the mid to late 1960s, are stuffed with signifiers of the classical and the painterly. Yet the frankness with which they project their blatant homoeroticism is very much of the post-liberation world.
Bidgood describes them as an attempt to inject aesthetic idealism into the black-and-white minimalism of the physique photography of that time. With greater distance, we can appreciate the beautiful melodrama and clever use of outmoded queer codes in his work.