The portrayal of Marks himself within the pages of the early Kamera issues now seems rather self-consciously serious and respectable, with Marks coming across like a scholarly, professor type who refers to his pictures as “nude studies”, and in his editorials is prone to such goatee-stroking poetic statements as “purely by interpretation of the artist, a model can be made to appear as a Venus, capturing every point in classical beauty of the human form”, all a far cry from the sweary, former music hall act he really was, or the sort of saucy humour he would later wed nudity to in his work. Marks spent 15 months making The Nine Ages of Nakedness, which like The Naked World of Harrison Marks was GHM indulging his ego a bit, playing himself and several of his fictional ancestors. We started off making 50 foot shorts, then I decided to do 70s, 100s, and 200s, which were 20 minutes long. Palmer, along with Pamela Green, was the most famous of the Harrison Marks models of the 1960s, and appeared often in his nudie magazines Kamera and Solo, as well as in nudie film loops. s The Chimney Sweeps which Marks produced and starred in, was devised as a comedy vehicle for himself and Stuart Samuels as well as a chance to put their old routine on screen.

A simple nude posing affair, the eponymous Vivienne Warren 8mm film sees Vivienne undressing, sprawling nude on a bed and idly flicking through the pages of “Vera”, a 1962 book about the actress Vera Day that Marks had photographed and published. In 1958, as an offshoot of his magazines, Marks began making short films of his models undressing and posing topless, for the 8 mm film market. He created the Kane International Videos division and went on to direct (and sometimes also performed in) a number of full-length corporal punishment videos in the '80s and '90s.This begat, a particularly turbulent time in the early seventies when he was made bankrupt (in September 1970), was the subject of an obscenity trial at the Old Bailey (in 1971) and his drinking began to become more heavy.

They married in November of that year, in an age twist on Marks’ first marriage to an older woman, she was 17 at the time and he 35.After more than a decade of such publicity, the public’s mental image of Marks as a man who photographed bare breasts for a living had firmly set. Understandably, Marks kept My Slasher Friend’s real name out of the book, though a likely suspect is Billy Hill, the self-proclaimed “Boss of Britain’s Underworld”, who ran protection rackets in the West End and whose trademark was carving the letter ‘V’ into the faces of rival gangsters. We managed to score some other Kamera digests too, and we’ll try to get some scans from those up at some point. Marks himself was a free agent, having drifted apart from Diana Bugsgang, and he and Green soon developed a deep bond, Marks described the pair of them as being almost “telepathic”. A forgotten hero in Marks’ early glamour films is Tony Roberts, a talented set designer who stopped by Marks studio one day to fix some sash cords, and ended up staying to design Egyptian Pyramids, Gypsy Camps, Chinese Gardens and Haunted Houses for nude models to cavort around.