To: pml1@yahoogroups.com
From: Mark Tomlonson
Date: Fri, 14 Feb 2003 09:46:51 -0500
Subject: [PML1] Classic Centerfold: Saskia Linssen

Each part of the world has its own unique romance and style, a 
collection of images and myths that we associate with it. This diversity 
of images reflects the cultural diversity that humans have created. The 
romance of the Far East is just as strong and seductive as the romance 
of the American West, but the two are about as different as, well, east 
and west. But whether we can claim either of them as part of our own 
history or not, we can relate to and appreciate the romance they have to 
offer. The June 1991 Classic Centerfold of Saskia Linssen is a masterful 
evocation by Richard Fegley of the style and romance that we associate 
with Old Europe.

Fegley has set the foldout in a European elevator that dates back to the 
days when the Bon Vivant Edward was on the British throne, before the 
Titanic and World War I changed Europe forever. No Muzak, dusty maroon 
fabric or chrome here, but polished hardwood paneling and fine brass 
fittings. Saskia is in the elevator car, which has stopped at our floor. 
She has pulled back her overcoat to reveal that she is nude underneath. 
Perhaps she is just letting us enjoy the sight of her extremely 
attractive body (like that happens in real life!), or perhaps she has 
something more in mind. Fegley is replaying the elevator encounter 
fantasy that is part of our collective erotic consciousness.

The underlying geometry of the foldout is not as obvious as some from 
the sixties, but it is more important than most of the nineties. There 
are a large number of strictly vertical elements. The diamond motif is 
repeated twice, in the elevator gates and in the stained glass window at 
the back of the elevator. Saskia is posed at an angle that forms half of 
a diamond which helps to reinforce just what it is that's important in 
the photo, which is Saskia herself.

The color scheme is monochromatic, in a warm palette of very warm browns 
and tans. This results in a cozy, intimate feeling that reinforces the 
intimacy and closeness of the elevator car. The lightest colors are 
found around Saskia, in her jacket and skin. Once again, Playboy 
photographers have used colors that print very well, but are less 
successful in a scan.

The lighting is especially masterful in this centerfold. "Photography" 
literally means "light-writing", and Richard has created quite an essay 
in this foldout.

The first light we notice is the bright "kicker" light behind Saskia's 
head. This draws our attention to her face as it's framed in a "halo" 
effect, and adds to the warm range of colors by bringing out the 
golden/reddish quality of her hair. This use of lighting is almost a 
cliché, but a photograph like this one shows why it became popular in 
the first place. What's amazing about this extremely bright light is 
that it doesn't overpower the dark, intimate mood of the rest of the 
photo. A fine balancing act indeed!

But more important is the second main light playing along the line of 
Saskia's torso and legs. It seems to have a filter in front of it, as 
this light is much warmer than the kicker. The angle of the light forms 
subtle shadows that define and sculpt Saskia's lovely shape. The pose 
Richard has chosen, having Saskia lean slightly forward, lets gravity 
form her breasts into a full, rounded shape. Both elements make it very 
easy to imagine our hands following those lovely, lovely curves.

This same light on Saskia's torso highlights most obviously her pubic 
hair, but more importantly and more subtlely, the soft, downy hair on 
her stomach and upper legs. Again, our imagination is under no strain at 
all as it works out the delights of running our hands over the forms of 
Saskia's lovely body.

This torso light has one more role to play. It also brings out just a 
hint of the freckles crossing Saskia's nose. As Playboy has shown time 
and again, that cute freckle-faced girl next door more often than not 
grows up into an attractive, sexy, desirable woman. Seeing her freckles 
has an additional meaning for me, as when I was younger, I was convinced 
my red hair and freckles had to be the ugliest things God ever made. 
It's really great to see that while I may indeed be one of God's ugliest 
creatures, it's not the red hair and freckles that do it!

But these freckles bring us to perhaps the weakest part of the 
centerfold, the expression on Saskia's lovely face. It's almost an 
inviting expression, but there's enough tension visible that I tend to 
believe Saskia's not really in all that comfortable of a position, and 
it must be getting near the end of this particular photo shoot. The 
expression isn't enough to ruin the total positive effect o the 
centerfold, but it reminds me more than I'd like that this photo was 
taken in a studio with a professional photographer and stylists running 
around, and it's not a snapshot that I was lucky enough to get as I got 
ready to board the elevator.

But the expression is easily outweighed by the rest of the photo, and as 
a result, we've got the pleasure of viewing another Classic Playboy 
Centerfold.

Mark Tomlonson
Kalamazoo MI