Transvestia

went off marvelously.

But while I had two more sessions at the P. 'S house, with each succeeding one resulting in better shots, the quality of his finished prints left much to be desired. Mr. P.'s camera technique was adequate, he simply didn't have the facilities to produce quality photographs. Too, I had now decided that I wanted my "stage name, Adelaide P. Vigar female impersonator, printed in the margin below the photograph. Mr. P. had no way of doing

this.

-

But working with Mr. P. proved valuable. My atti- tude was changing. My proposed "act" which had been the excuse for the professional type photographs, now had a touch of reality to it. I started shopping for an evening dress; a better costume for my next photograph session.

Full length evening dresses are occasionally put on sale, I discovered. With patience, I not only found one, Both the correct size one for the fantastic And the same week I

but two.

--

price of $10, the other one, $12. found my second photographer.

I discovered Mr. S. by boldly approching a photo- grapher who was a customer of my company; he wasn't equipped for publicity type work; but recommended Mr. S. A phone call to Mr. S.'s secretary mentioning my company's customer got me an appointment: my first and my last, with Mr. S.

I again employed my technique of explaining that the photograph would involve my wearing a "costume". Only this. This time the dressing room was Mr. S.'s studio, with him busily engaged in setting up the cameras as I went straightforward into my make-up while still wearing my male street clothes.

--

At one point during our casual conversation while I began with the foundation base Mr. S. did inquire more pointedly as to the nature of my "costume" I now had the box with the evening dresses, in addition to the suit- case and wig-box.

"Will it be musical?" he asked.

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