To: pml1@yahoogroups.com Subject: [PML1] Classic Centerfold: Karla Conway From: Mark Tomlonson Date: Fri, 08 Aug 2003 12:34:43 -0400 Centerfolds use a variety of ways to catch our eye - clever props, an interesting situation, mood-setting colors - but at the heart of every one is a beautiful woman. It's rare to find a centerfold that relies as much or as successfully on the beauty of its model as the Classic Centerfold for July 1966 of Karla Conway by Paul Smith The colors in the centerfold are first rate. They are far from being the dominant feature but do an excellent job of portraying a warm summer day on a Southern California beach, irrespective of where the photo was actually taken. Strong horizontal elements make up the compositional structure. The deck, the railing and Karla's torso all repeat the horizontal motif, with Karla's raised head and legs providing diagonals that add boundaries to the design. Karla also provides a contrast by being so fluid in form compared to the other elements in the picture. The implied situation is straightforward and simple - a lovely young woman working on her over-all tan. She's noticed the viewer and clearly doesn't mind that we're there. A romantic encounter would seem to be in the offing, but there's nothing that would indicate that it will be sexual. Fortunately for those of us with active imaginations, there's nothing to indicate that it won't! The central focus of the centerfold is Karla herself. It's risky to try a photograph that relies so heavily on the model as all of us, even the goddess Playmates, have angles and positions that are far from flattering. But Paul Smith has really brought out the best of Karla. She's all curves, every one of them delightful. By raising her legs, they've been formed into graceful arcs without appearing like they're under strain. We don't worry that Karla will be suffering from a Charlie Horse, we can just enjoy the thought of tracing over those curves with our hands. Those raised legs bring out yet another set of delightful curves in her derriere emphasizing the softness and roundness of the female form. The accent on soft and round continues up Karla's back, and is really brought out as the angle of her back allows her breasts to assume a full and graceful shape. It's unusual for anyone other than Little Annie Fannie or women with implants to retain this breasts shape when they stand or sit upright, but Karla shows very well the basic attractiveness of that delightful breast line. The highlight of this foldout for me is Karla's face. By using her lovely, dark hair as the darkest tone, Paul Smith forces our eyes to move away from Karla's lovely body and draws them to her even more lovely face. Good bone structure and the luck of the draw in the gene pool play no small part in Karla's appeal. At 19 she had a "cute" look that was never in any danger of sinking into "cutesy". It's a distinctive look and one with a lot of character. Paul has found a very flattering angle and expression that really brings out her best. As good as she looks in her other PMOM shots Karla is nothing short of stunning here. And from the photos I've seen of Karla thirty plus years later time has only increased her appeal. She looks even better now than she did then. Not as "cute" maybe, but still radiating distinction and character from every square inch. Even beyond bone structure and genetics, Karla's face and expression draw me into the centerfold. Her look is one of delight and invitation but even more importantly, it hints at the great reserve of sensitivity and intelligence that lie behind it. This was not an easy centerfold to produce. The photographer's work was interrupted by a jail term and Playboy rejected many early attempts. I'm glad they kept this one! Mark Tomlonson Kalamazoo MI