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    Playboy Photography 11.1988

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    sergio_dingess

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    © All Rights Reserved
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    cial ‘i =. 2 DI AVDAV Be aleP) $4.95 Canada $5.95, UK. £3.95 14602 03 DISPLAY UNTIL NOVEMBER 7.1986 PLAYBOY PRESENTS OUTSTANDING PHOTOGRAPHERS AND THEIR WORK PLAYMATES, CELEBRITIES AND MORE il I mPa TUGALAP HY lotof readers like Playboy for the articles, but the most popular features have always been the pictorials. According to Photography Director Gary Cole, the unique look of Playboy's pictorials was born of Hugh Hefner's vision and nurtured by the original Art and Photo Directors, Art Paul and Vince Tajiri. Today, still under the watchful eye of Hef, the world’s top photographers create high quality pictures that are the graphic hallmark of Playboy. Inside, you'll sample a visual feast that is just a taste of the incredible quantity of eclectic imagery that is Playboy photography. You'll discover, from the photographer’s own words, that the re~ sults of their creativity come either from preplanning and visualization, spontaneous reaction to the situation, serendipity, ora combination of any and all three. And you'll see that Playbay takes great pains and spares no expense to bring you some of the finest photography in the world Look through these pages; it’s like revisiting a favorite photo gallery. Gome on in and browse. PLAYBOY PRESS A beautiful photograph rarcly isan accident, At Pliyix, many people are involved in the planning and production stages leading to those final images printed on the pages of the world’s favorite men’s magazine, We've listed below the senior stalf members whose expertise helps make Playio’s photography so memorable. We want to pay to them and to the dozens of photographers, photography assistants, s¢ designers who make major contributions to the photographs that appt ‘bute ists, hairdressers, makeup artists and set car in Playben PLAYBOY PHOTOGRAPHY STAFF GARY COLE, Photography Direeior MARILYN GRABOWSKL, West Coast Editor JEFF COHEN, Managing Editor LINDA KENNEY, JAMES LARSON, MICHAEL ANN SULLIVAN, Associate Editors PATTY BEAUDET, Assistam Edicor A Playboy Press Special Edition: Patricia Papangelis, Executive Editor. Book designed hy Theo Kouvatsos; test by Guy Golan. Copyrigit © 1988 by Playboy. All rights reserved. No part of this book may he reproduced, stored in a retrieval systert! or Uansiniued in any form by an electronic, mechanical, photocopying, recording means oF otherwise without ten permission of the publisher, From Playbuy magazine: copyright © 1973, 1974, 1975, 1979, 1980, 1981, 1982. 1983, 1984, 1985, 1986, 1987, 1938. August 1988. Published in the United States and Canada by Playboy Press, Chicago, Illinois. Printed! in the United States fof America. Library of Congress Catalog Number: 88-90685, First edition. Aleriny and Rabbit Head design are trade marks of Playboy, 919 North Michigan Avenuc, Chicayo, Illinois 60611 (U.S.A.). Registre! U.S. Parent Office, marca registrada, marque deposte, Photo credits for page 8: Richard Fegley by Andrew Goldman; Arny Freyiag by Andrew Goldman; Mario Casilli by Kerry Morris; Brett Weston by Judy Dater, courtesy of the Weston Gallery; Jell Dunas by Daniel Cunningham; Richard bai by Paul Elledge; Pompeo Posar by Melita Posar; Phillip Dison by J. Higginbotham; Siephen Wayda by Steve Conway; George Hurrell by Larry Logan; Tom Staebler by Richard Klein, David Chan by Dennis Silversucin; Don Azuma by Verser Engelbia ‘Alexas Urba by Bill Frantz; Helmut Newion by Alice Springs; Ernst Haas by Richard Rowan. we FEGLEY 4, 40 FREYTAG — 14, 66 CASILLI 29 DUNAS 32 HURRELL 76 STAEBLER 82, CHAN 86 ’ AZUMA, 92. URBA 96 NEWTON 102 HAAS 106 RICHARD FEGLEY “You shoot every side of a girl. You ha get some emouon, try to find out what this girl is all about. But most of all, you try to make her beautiful. A look in her eye, her mouth, things you only see in a flash— you shoot until you get that lit- tle look that makes her more than just a face on a page.” ichard served in the Air Force as a jet engine mechanic, Like all good sons, he took pictures of his buddies and surroundings co send back home. But his slides were so spectacular, his mother suggested he take up photography as a career. He attended the prestigious Art Center School in Los Angeles. then opened his own commercial studio in Chicago. His advertising and fashion work won him a staff job at Playboy in 1971. He became a contributing photographer in 1984. Playboy's Photography Director Gary Cole describes Fegley as “having an instinctive craft. When he is given free rein to follow his own graphic sensibilities, the results can be awesome.” The Playboy “look” of glamor photography is achieved in a team, cffort, with set designers, stylists, makcup artists and hair stylists, all working under the direction of the photographer Acthe center of attention is the model. When Richard is the photographer, more often than not the model is a Playmate candidate. He says a change in the personna of the model can zetually be observed as she gets made up. Like an actor don- ning a costume, she gcts into the character of a Playmate. To Fegley, “The hair is the most important thing in the picture air can turn che gitl inco a certain kind of person. T watch the hair. 1 direct hair as much as I direct lighting.” | “1 like pictures that have some design (0 the position of the human body, bending it into an s-curve or a z-design, going up, down, up, down. ... We always try to make the Playmate of the Year pictorial special, to set it apart from the other Playmate layouts. Producer Marilyn Grabowski decided on the cent sewing for 1983's Marianne Gravatte. The photo on page 18 is one of my favorite shots. There's 2 certain auitude about her. I don’t know if it was the hat, or what, but to me she looks like a natural person.” ARNY FREYTAG “We don’t just push the but ton. We come up with creative ideas, either on our own or in meetings with photo edi- tors... . You present one idea and from that idea may come several ideas, like offshoots and tangents of the first idea. A lot of them are based on per- sonal experience. Everyone has had room service arrive while they’re getting dressed.” contributing photographer to Playboy for 12 years, Arny studied at the American Acade- my of Fine Arts in Chicago, where he was born, and at the Brooks Institute of Photog in Southern California, where he now lives. He started at Playboy as an assistant in a work/study program. His photographs have appeared in the magazine on a regular basis ce Sheer Madness (July 1985) combined the elements of , glamor and humor, a formula Playboy has used suc fully throughout the years. The success of a picture is judged first by che photographer, chen by the photo edivor, and eventually by the reader. Knowing what will work, whether the picture “does anything” for the photographer, is based on his instinet and experience, on his being “turned on” when his eye, his graphic sensibilitics and his intuition tell him ies right. “The wrn-on comes from making a strong photograph. It would be just as exciting shooting cars, or shooting food, or shooting architecture. The most satisfying thing is to sce @ picture that I like published.” “The little old lady in the foreground of the wedding scene isa professional actress. She was great. She took virtually no direction. I said, “This is what 1 want. I wanta shocked look. Have some fun with it! Then she did her ching. And ishows. [tlooks real. That's the key.” The elevator flasher “is something we'd all like o see, kind of comic fantasy. We've all heard of people doing it in elevators—not that it's ever happened to me. So we thought we'd take that idea and make it inco a photo. What guy hasn't had the fantasy of having two girls in the back of a limo?” This is the kind of playful thinking by the photographers and photo editors that keeps Playboy pictorials lively and entertaining. “We try to have some fun with the layouts, 100," as in the shots of the shark and the rubber ducky. Overleaf: It was kind of a goofy idea. We thought we'd cry something different, something unexpected, unpredictable. Instead of having the model stand on her feet all the time, turn her upside down.” Going from the ridiculous to the sub- lime, we ask how 2 model is directed to portray ecstasy, an emotion being projected from the photo on page 21. Is it real? Is it acting? Freytag says he merely told her, “Arch your back, open your mouth and close your eyes.” 18 i MARIO CASILLI “It was Hef’s intention orig- inally to have fun. Editorially, we had a lot of fun. For instance, when shooting fash- ion, as in Brooke’s case, we just went out and started winging. We had a series of props, a series of locations and the clothes, and we tried to match them the best we could.” orn in Cleveland, Ohio, Mario moved to Los Angeles after serving in the Navy. In 1957, he submitted a nude shooting of Jacquelyn Pres- ott to Playboy. She became Miss September and ‘he went on staff. He shot 70 Playmates before he left to become a free-lance in 1980. His assignments covered more than Playmates, however. His shooting for Playbny’s Spring and Suramer Fashion Forecast (May 1979) feavured a 14-year-old Brooke Shields, hired by West Coast Photo Editor Marilyn Grabowski as a last-minute replacement for Suzanne Somers, who had canceled, Movie audiences still were stunned by Brooke’s appearance in Pretty Baby and by her incredible beauty. Mario recalls her as being a real trouper who worked the next day after flying the red-eye from New York to Los Angeles. “We raced all around town, from Hollywood to the beach, in one day. There's a little spark you get from her. She hhasa vitality that no one was ready for. She is very enthusias- tic model. The thing about working with her that was difficult for me was that 1 was working with a woman and forgetting that she was a child. There would be 18- or 14-year-old kids at Century City, and Brooke would run off and play with them between setups. That was the only time I was really aware that she was a child.” 23 Casilli has high praise for Broo’ .e works hard at modeling, but she still has fun doing it. Some models get a litte tired and they just put in their time and go through the motions. They know that this pose works or that, and thas all they give you. But Brooke was an absolute delight. She still is a delightful lady. She enjoys working.” “Ljusi worked with Brooke about six monthsago. I showed her the picture with the veil (above), Her mother happened to be in the studio, 100, and it brought tears to her eves as she remembered it, It was one of those things that happen every so often. It was just beautiful, and that’s what you look for.” An extraordinary image, preserved forever BRETT WESTON “!’'m_ on the outside, looking in, like being at an aquari- um... I love water and shad- ows and light. I didn’t know what would happen until I watched. “nouEH the glass. Nature is slow to change, but these forms were fleeting, like a person’s face. You can’t say, ‘Hold that.’ It’s gone. All I can do is capture that moment.” he son of master nature photographer Edward Weston, 76-year-old Brett has established his own reputation as an abstract landscape pho tographer whose remarkable images of natural and man-made scenery are highly sought alter by collectors around che world. In addition, for the past nine years, Brett has been shooting undensater nudes. The walls of his swimming pool are painted as black as a darkroom. An optically perfect ‘window is at one end. Behind it, in a hot, cramped concrete room, Brett has set up his camera. Flickering patterns of re fracted light dance on a swimmer’s nude body, shifting con- staniy with the undulations of her movements and the rippling of che water. This is the stuff of photographic art: an innovative concept; an optical phenomenon; the mechani¢s of glass, water and camera; the physics of light; the chemistry of film; and a creative genius putting itall together, seizing the moment for posterity. In the tradition of ing appreciation of fine art photography, w Weston’s remarkable visions in February 1986, With the exception of the shot on page 31, it was the first time this brilliant body of work had been published. JEFF DUNAS “T strive for a timeless quality in my photographs. I give the model as 9 freedom as possible to make her own con- tribution within the context of a_ highly controlled picture. The women I photograph must be able to represent the universal woman, not project a strong personal statement.” eff began his career submiuting pictures to Time and TV Guide, then shifted to advertising and fashion. He was the Paris photo editor of Out ‘magazine for three years. He shot album covers, for Olivia Newton-John, Helen Reddy and tsaac Hayes. But taking pictures of women has been his neal life work. He divides his time between, Los Angeles, Paris and scouting locations in other parts of the world. “I prefer to work on location—and finding good locations is an art in itself. 1 am constantly think- ing pictures, forever jotting down ideas for photographs. You ced to be a litle possessed in this business.” During the first ten years of his career, Je(Pamassed a collection of more than 500,000 slides from which he selected his favorites and published his first book, Captured Women (Melrose/Grove 198).) He revealed his philosophic approach to his subject at that time: “In order for a photograph of a woman to succeed, it must reveal the allure and mystery that is part of every swoman—whether she’s clothed or unclothed. A woman's unique sensuality lies in her power to project subtle, almost indiscernible nuances. 1 try to capture on film that special essence that is the fascination she holds for men and women alike: that fleeting, revealing moment, that private moment.” 32 “successful picvures tell the stories themselves. They transmit something emotional and lingerin the memory,” says Jeff Dunas, a photographer who utilizes a lotofhis own fancasies to conceive his story lines. Jeff recalls that he had planned to go out to the countryside to shoot the owo girls in the left-hand photo, but it rained, so they shot in the hotel room instead. While a remarkable photo rarely happens by chance, a willing- ness to improvise, co turn anegative into a positive, can lead ro some wonderful images. 35 _ mar y' pa ri img r = a Po) : = R Ah a a RICHARD FEGLEY “I do think out my ideas and work from an outline, and sometimes a storyboard. But when I’m shooting, it’s almost completely spontaneous, from one moment to the next trying to see what evolves into the next situation, trying to make something happen.” ichard’s list of celebrity shootings is very impressive. And they're always interesting, something beyond a display of physical beauty. Pamela Bellwood (who starred in TV's Dynasty) wanted 10 do a fantasy pictorial in Africa Richard had been to Kenya three times and knew exactly where to find a cooperative Masai tribe. Once there, they played it by ear, coming up with the concept right on the spot. The results were published in Going Native (April 1988). “The story of an American adventurer on safari in Africa who becomes part of ., going through the rituals, wasn't preconceived because we weren't sure what the tribes’ people were going to lec us do. When we found how friendly and open they were, we took it as far as we did.” Flexibility, improvisation, leadership and resourcefulness are just a few of the qualities Richard brings to his art. But where does his vision, the way he looks at che world, his creative inspiration come from? “I have always been very particular about what I would see in things, what I cared about: color, position, arrangement. 1 work from within, but | don’t know what that ‘within’ is or where it comes from. There have been many times when | didn’t know what to do and then, all of a sudden, something comes down out of heaven and tells me.” Contrary to popular belief, the photographer usually docsn’t get aroused while shooting nu ‘mind is totally preoccupied with trying to get the best angle and the most interesting light. A nude moves. I've got to create a picture story, with a beginning, a middle, an end,” as he did in this series with Pamela al a =a . oi RICHARD IZuI “T try to light as cleanly as pos- asks ne still stay ve ae dramatic side. Either the pic- ture works or it doesn’t work. Either the design flows or it doesn’t. Either you have good feelings about it or you don’t. It’s got to flow, it’s got to work, and you just can’t let it go untl you achieve that.” ichard was a pre-med student at Chicago's Loyola University when he joined the staff of the school newspaper. He began by helping the cameraman and became so fascinated with photography that he switched majors and schools, studying his craft at Columbia College. Richard started at Playboy as an assistant and has been a contributing phovographer since 1977 “1 love to shoot cars, especially the exotics. This car (the Ferrari Testarossa] has such a beautiful design, butits extreme curves and angles made it a never-ending project to light. The key is to hang something white above the car, so there is some- thing forthe finish t reflect. ... Arcdirectors come to meand say, T'd like to «ry this, ord like you co attempt this,’ and then they Jet me go with itand try to achieve it whatever way I think necessary.” The picture overleaf accompanied an article on terrorism (Tae Targeting of Americe, May 1983). [twas all doneas aspecial effect. The globe was built bya model maker with the holes in it; the bullet was photographed by itself, then double exposed onto the globe. The streaks were scratched into the film. “I like to fake things and end up with a lot of special effects that aren't real, but look real.” sting the creative concepts of art directors. For a piece on cocktails called Chery Bon cherry stem. To illustrate Sheaters! (Qctober I ‘ea phowograph showing powerful, burst . He hot of water gushing from a high-pressure faucet PoMPEO POSAR “When I am working with a irl who has never modeled efore or has never taken her clothes off in front of the camera before, I don’t look at her with my eyes. I look at her through the camera. I don’t want to make her feel uncom- fortable.” (aff photographer for Playbap since 1960, Pom peo has shot more than 60 Playmates, 40 covers, many, many celebrities, and the Girls of Rome, Munich, Paris, che French Riviera, Rio, Texas, the New South, Canada, Australia, the ‘Adriatic Coast and, presented here, Spain. He is much more than a cameraman. He is an irresistible talent scout who can charm women he does not know into posing nude. As imporcant as finding beautiful women to pose for the Girlsof... pictorials is finding a background that immediately orients the viewer to the locale. The tiled roofs of Ronda, Spain, leave no doubt that the reader isn’t in Kansas anymore. After driving for hours around Ronda, Pompeo spotted a burned-out house, climbed to the roof, saw the view and the beautiful light, and ‘

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