I keep circling back to this un‑credited portrait of a clearly worried young soldier. Was it the 1890s… or even earlier? The mystery gnaws at me. The same goes for the un‑credited family photo that’s softly fading at the edges—time is doing its quiet work, and I wish I had a date or a name to anchor it.

Here’s an especially proper young man from When Studios; I scanned both the front and the back because the reverse is half the fun. Those imprints and designs are little breadcrumbs that place the sitter in a specific studio world. I also think Block & Greenburg at 1225 Franklin Avenue is new to my scanning stack. And I’m torn: is that the same girl photographed twice (maybe at different times), or two sisters so alike I can’t tell? Honestly, I still can’t decide.

J. Haas continues to impress—prolific and reliably high quality. And Setzer’s backdrop? I love it. He knew how to build atmosphere behind a face. Hammety of 1534 S. Broadway captured a lovely First Communion portrait: a girl in a white dress and veil, tiny bible in hand, with her rosary hanging neatly from her waist. It’s such a composed little scene. The other photo that completely grips me is the elderly woman from Orla Studio of Festus, MO. She looks very feisty—and just slightly deranged—in the best possible way. You can almost hear her muttering a sharp one‑liner.

These St. Louis studio pieces feel very “turn of the century” in the most tactile way—Victorian poise shading into Edwardian directness. You see it in the formal head‑and‑shoulders setups, the carefully chosen backdrops, and how people dressed to present their best, whether in dark wool, crisp white, or ceremonial attire. It’s also a tour of local names I keep returning to: When, J. Haas, Theo E. Setzer, Crescent Studios, Parsons, Block & Greenburg, Hammety on South Broadway, and Orla Studio down in Festus. Together they sketch a little map of the region’s photographic life at that moment.

I’m still squinting at clues—card backs, addresses, and little studio touches—to nudge these into tighter date ranges. For now, I’m content to sit with the questions, admire the craft, and imagine the conversations these sitters had right before the shutter clicked.

A woman in a WAC uniform reading a newspaper during WWII.

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