While printing photos for my own personal album, I have discovered that a few magazine scans produce excellent photos. You probably remember that in earlier posts here and on the onmemories site, I have stated that because magazine scans do not print well, I will not sell autographed photos of them. Well … most magazine scans do not produce acceptable photos, and I won’t sell autographed photos of them. However, there were photos I wanted in my album that there were only available from magazines. Some that I scanned have printed well. A few were sent to my friend who is selling my autographed photos on eBay.
Those of you from My Archives might remember that several years ago I worked many hours to create a decent copy of one small picture from the magazine Sassy. I didn’t succeed very well, because the picture in the magazine was small and poorly printed. (Some of you might have it on your computers but I doubt that many copied it.) I think that the picture was of more interest to me than to My Archive members. I thought that I looked “cute” in it. Anyway, I cursed Sassy magazine editors for their failure to produce a good copy of this picture.
I now have a copy of the original Ron Vogel photo, and it is Ron that I should have cursed. He overexposed this picture, but it was “cute” and Sassy ran it along with several “sexy” photos. Ron took six similar photos, all overexposed. Furthermore, the peignoir I was wearing was very sheer (the same one that was on the cover of Figure Annual) and very short, and I was not wearing panties under it. In a couple of these overexposed photos, Ron failed to adequately cover my pubic area. In the one that was published, there were dark shadows that cast a doubt about what was being exposed and what was being hidden by the sheer peignoir. Anyway, after many more hours of work, I have produced a better copy of this photo for my personal photo album.
Now I am going to start working on one that definitely shows that Ron failed to adequately cover my pubic area when he took these photos. It takes so long to adequately clean up these overexposed photos that I will probably only reproduce two for my personal photo album. (When I say that he failed to cover up my pubic area, you must remember that this was 1962 and nothing could even be hinted at. My pubic area is not on full display in any of these photos, unlike magazine photos taken a decade later. But in a couple of this set, there is a hint that my pubic area was not adequately covered.)
There are a number of “Gloria Dawn” face photos published at: http://onmemories.wordpress.com/2012/10/17/favorite-face-photos-as-gloria-dawn/. Probably most of you have seen these. I published this section before I started “Gloria Dawn Photos” and it is difficult to move into the new blog (I’d lose all the comments).
Two weeks after the Cavalier photo shoot, I drove to the Gowlands’ home to collect my $200 payment, hoping they might have another job for me. Alice Gowland was expecting me but still seemed annoyed when she invited me in; her annoyance, I soon discovered, was not directed towards me but at a middle-aged man sitting on her sofa. She attempted to politely dismiss him while I stood waiting for my cheque. But he continued talking, and then introduced himself to me – his name was Bill – and asked if I was a model. When I said “yes” he asked if I had an agent, and I said “no.” He was an agent; that was obvious from the conversation I overheard between him and Alice. He asked if I wanted additional jobs, to which I replied “yes,” and then wrote down my name and telephone number. Alice finally got him to leave and went to her office to retrieve my cheque. She was very polite, but cool, thanking me for my cooperation and saying that it had been nice working with me. She said nothing about any further modelling jobs, didn’t even offer a vague, “I’ll be in touch later.” It was a dismissal and I knew it – no more work with Peter Gowland. As she opened the door, she said I should “stay away” from Bill. I nodded, as though in agreement, but thought to myself, “Why? You are not offering me more work.”
First Set of Test Photos
That evening, Bill phoned. After a short conversation about my background, he said he would like to take some “test photos” to show photographers who might want to hire me. He asked if he could come up to the apartment the next day (Sunday) to shoot them. I agreed. I lived with my mother and son, so I felt comfortable about this arrangement, as I was still wary about appearing nude with only a photographer present. Now I realize that Bill was sensitive to the feelings of new figure models and he suggested this arrangement precisely because he knew I would feel safe.
Sunday afternoon, Bill shot about twenty photos in my bedroom. (He shot two of my son and me also, to give my mother. Bill could see that she was a bit anxious about my nude modelling, and he did this, he said, to “please her.”) A week later he gave me copies of some of my “test photos” (as well as the ones he shot to please my mother). During this shoot, Bill used only one strobe light in addition to the natural daylight streaming through my bedroom window. For props, he made use of my basic bedroom décor. It’s obvious from the photos below that he wasn’t a professional photographer, but he was good enough to provide an indication of how I appeared in front of a camera.
Second Set of Test Photos
Bill phoned a couple of days later and said he wanted to take some better photos of my face using natural daylight. Given my work schedule, this had to be done the following weekend. These photos, taken outdoors in a “friend’s” backyard turned out to be among my favourites. My all-time favourite is the top one. In it, I am wearing almost no makeup, just some neutral lipstick and eyeliner. In couple of photos, Bill tried to get me to look more “sultry” and I am wearing a bright red lipstick and have filled in my eyebrows. Bill also took a few full-length photos of me wearing dresses. The patterned dress was my favourite; I have pictures of me in it taken in the summer of 1959 – 3½ years earlier than these photos were taken. (In the 60s, I didn’t have lots of money to purchase clothes and so tended to wear the same few dresses to work.) The oriental dress was one that I kept for “evening dates.”
I like the above picture because it is a good rendition of me in everyday life. I have personal pictures of me taken in this dress dated June 1959 (3½ years before the above photo was taken). The shoes were the same ones I wore every day to work — note the two-inch heels, I didn’t wear anything higher. I wore only light lipstick and my hair was this carefree all the time. The only extra makeup I’m wearing in the above photo is eyeliner. I liked the look that eyeliner gave my eyes but it also irritated them, so I only wore it on special occasions, like dates or when modelling.
I purchased the above dress in October 1959; I have a picture of me wearing it just before going to a Halloween party. I also have a picture of me wearing it on my 23rd birthday (July 27, 1963). So this was another dress that lasted more than 3½ years. I only wore it on special occasions.
Note that the bra and panties worn in the top photos, and the gold shoes in the bottom photo, appeared in several magazines over the years. These were accessories that I possessed before I started modelling. The panties finally gave out near the end of my blond modelling period, but the bra and gold shoes stayed with me until the very end of my career. You’ll see them in Elmer Batters pictures of me, in Michael LeRoy photos, in Ron Vogel photos, in Phil Jacobson photos and in Jim Sullivan photos. The gold shoes are in pictures taken on my last day of modelling.