GOWLAND ACTION-LIGHTING
13 glamour models, out of 18, look at camera
Julie Newmar, 1959
Julie Newmar, 1959		 blonde lady wrapped in flowing chiffon leaping
Joy Langstaff, 1952		 Jumping on beach
Mara Lynn, 1952
Dancers are easier to photograph than any other living subject. They do all the work. Find a location with a clear area, such as sky or smooth sand. Julie Newmar was on an asphalt parking lot which we sprinkled with sand to continue the white sand over the black parking lot. Shoot from a low angle, as with the three above. Use a fast shutter. Familiarize yourself with the "peak" of the action before making any exposures, as we did with Mara Lynn, so that you can accurately anticipate when to release the shutter just a fraction of a second before the "peak." Reflex cameras have to be given time for the mirror to move out of the way before the shutter takes the pictures. Sometimes a yellow or red filter will give drama to a black and white shot, as in Joy Langstaff's photo.
  
smile blonde woman against bright white
Jose Caler, 1958 		CU Brunette much hair heavily rim lighted from L
Sandra Edmundson, 1964
32x40 print for sale 		CU blond hair whipped up dark tank top
Nadine Ducas, 1959
Excitement can be added to an otherwise static portrait by using the hair to give drama or action. Miss Caler was photographed in our daylight studio with window light. Miss Edmundson first teased her hair, then a bare electronic flash bulb was placed behind her head and a single key light at camera left. Miss Ducas was in North light against our white garage door. She tipped her head down and flipped it up for the moment of exposure. Here, again, anticipation of the "Peak" action was vital.
  
MS bonnet around hair, holding slat board in front of her on beach, eyes closed as strong horizontal slat shadows half cover her
Barbara Osterman, 1950
16;x20 print for sale 		woman lying in frothy wave with knee bent
Venetia Stevenson, 1953		 sitting at bottom of swimming pool
Alice Gowland, 1960
We took advantage of the hard, dramatic, afternoon sun at Paradise Cove, Malibu, using slats from a walking path to cast a pattern on Barbara's swim suit which she designed. She was happy, warm and dry. Venetia was a good sport keeping a happy expression while being splashed with a cold wave. Peter's wife, Alice jumped at the challenge to hold her breath and still look happy while all wet, sinking to the bottom of the pool.
  
gazing loftily up while seated on 3' pumpkin buoy
Barbara Osterman, 1950 		arms up on tree branch, faintly readable washed out BG
Lotte Ahlbeck, 1959 		high heels and a sweater only
Dolores Donlon, 1957
A buoy on the beach of Malibu in the late afternoon sun, is a fine prop for Barbara's perfect figure. The pose accentuates her legs, the lighting is dramatic. The sand provides a confusion-free background. Lotte, used a tree to extend her slim figure to the max. Clear lake area was found while photographing in Denmark. Dolores poses 3/4 rear, knowing that only slim legs can take this angle. Studio shot with one light each side, against seamless, white paper background.
  
She waears black tank top no shoulder straps. Her legs have nylon stockings which she is attaching garters to
Mara Corday, 1950 		Her only garment is a piece of fur held covering her middle
Rosemarie Bowe, 1955 		white blonde woman wearing negligee bare legs pulled up on her wire chair
Shirley Bonne, 1955
Mara Corday's beautiful legs and shoulders are featured in this seated pose. Leaning slightly forward accentuates the bustline. Using the stool to direct her right leg creates that most important and pleasing diagonal line. Window light comes from camera left, with flood at camera right. Peter's favorite "pretzel" pose and position of Shirley Bonne's hands, makes it possible to fill the film's rectangle. No wasted space. Rose Marie Bowe, hugging her fur stole and bending her right knee slightly creates a subtle "S" curve. Gowland's studio with window light from camera right.
  
woman in wide white bikini with polka dot fan pattern leaning on hand on concrete inclined wall illumated by wide diagonal patch of sunlight
Pat Hall, 1949 		leaning forward sitting on white 2 rung pipe railing holding scarf which is round neck
April Satow, 1963		 arm bent over her head so arm pit shows
Mara Corday, 1950
As a rule I do not like complicated backgrounds but when we came upon this cluster of concrete pipes in late afternoon sun, the combination of light and dark areas worked perfectly for Pat Hall's "S" curve pose. The light side of her body is against the dark area and the shadowed side against the sunlit area. Even her silhouette twin fits with the overall theme. April Satow ("sugar" in Japanese) sits on a rail, under an overcast sky, at State Beach. The "S" curve is apparent here, too, by having April raise her left leg. Tipping the head lets her hair fall away from her face. In retrospect, we feel that flash would have improved the lighting on her face. Mara Corday uses the boom of a sail boat to steady herself in this full-length "S" pose. She stands out against the clear blue sky. A yellow filter helped to darken the blue background. A strobe filled in the dark shadows cast by the noonday sun.
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composed by B.A.S Last updated 9 Sep 2005