To: pml1@yahoogroups.com
Subject: [PML1] Classic Centerfold: Debbie Ellison
From: Mark Tomlonson
Date: Thu, 26 Jun 2003 22:22:16 -0400

Many times a Playboy centerfold that is in all other respects a
knockout can come across as static and wooden. This is a result of the
limitations of the large camera format used to make those high-quality
images. However, as in the case of Tonya Crew's centerfold by Mario
Casilli, a strong sense of motion can be given to what is actually a
very rigid pose. Pompeo Posar worked on this theme in the Classic
September 1970 Centerfold of Debbie Ellison.

First, let's talk about the technical aspects of the photo. Debbie is
shown on her hands and knees, spreading a blanket in a semi-wooded
glade just as the fall colors are starting to turn. The lighting has
just enough shadow to define form, with the strongest highlight above
and to the rear of Debbie's left . . . uh . . . rear. If I had to
guess I'd say this was a studio shot. If it was truly done outdoors
then there is a fair amount of supplemental lighting, either from
lighting instruments or reflective panels.

We also see an example of the limitations and strengths of the 8 x 10
format. Looking at Debbie's calves, the left one is in razor sharp
focus - a sharpness no 35mm film can give at this image size - but the
right calf, no more than 6 inches away, is already starting to blur as
it's out of the depth of field of the lens.

Debbie is not showing a whole lot in this pose - only her hips and the
thinnest wisps of pubic hair are revealed. But by his lighting Pompeo
Posar has drawn our attention to the dancer's suppleness that Debbie
has. He has also highlighted an attractive an very sensual part of a
woman's body that I don't generally give a lot of thought to - the
strong musculature just above the pelvis on either side of the torso.

The colors in the centerfold add a lot for me. Autumn is my favorite
season, and the hues of the blanket and picnic basket are definitely
"fall" colors. The yellow of Debbie's blouse (conveniently placed in
the picnic basket instead of on Debbie) provides a spot of brilliance
that also serves to provide a link between her lovely blond hair and
fair skin and the darker colors of the background.

As we view the centerfold we are somewhere in the woods with Debbie,
and have enjoyed a jug (O.K. a bottle) of wine and a loaf of
bread. And by the look in Debbie's eyes, her shirt that's been cast to
one side, the act of her spreading a blanket, we are about to enjoy
"thou" beside us in the wilderness.

What has kept this centerfold nearly in the forefront of my mind the
last 33 years is not only the lovely Debbie Ellison, but the way
Pompeo has caught in a carefully posed set where nothing is left to
chance a moment of utter spontaneity. Debbie has stopped spreading the
blanket for just a second and has turned to us to say wordlessly "I'm
ready, are you?" Out in the real world such a non-verbal invitation is
a fleeting thing, and I myself carry too many memories of going home
at the end of the evening with the proverbial handshake, wondering if
at some point I missed just such a subtle glance.

But Pompeo Posar has caught this through the lens of a clumsy, bulky
studio camera. To get an idea of just how rare a feat this is, look at
the pictures of 130 years ago. How many times have we seen photos of
our ancestors smiling? I was fairly well along in my years before I
could believe that the stern, dour pictures I was shown of my
Great-great grandparents actually represented people who could laugh
as easily as I do. The reason they looked so dour is that their heads
were clamped in place, lest they move during the several seconds it
took to expose the slow emulsions of the day.

Even as recently as 50 years ago photographers who wanted to take
action photographs often had to deal with an emulsion and shutter that
would not allow the type of dramatic action shot we now take for
granted. The trick to doing so, the reason we have photos of Babe Ruth
swinging a bat, or Joe Louis landing a punch, is the photographers
clicked their shutters at the exact instant when the action had
momentarily frozen - when the jumper had reached the apex of his leap.

It is just such a frozen moment in time that Pompeo has re-created in
his studio. Debbie is caught for that fraction of a heartbeat when she
has stopped moving her arm, has turned her head, and is now asking us
to join her on the blanket.

Pompeo was able, by his command of technique, his ability to find just
the right pose, and even more amazingly, his ability to coax just the
right expression from his model to make us forget the hours, perhaps
days it took to create this foldout, and to make us believe instead we
are viewing an image created and caught on film in the wink of an
eye. And that's what makes September 1970 a Classic Centerfold.

Mark Tomlonson
Kalamazoo MI