Ken Howard and the Bournemouth Beauties
Ken Howard was based in Bournemouth on the south coast in the county of Dorset. From 1967 until the end of the ToCo dynasty some ten years later, with the final editions of all the magazines in October/November 1976, he was by far the most prolific photographer for the series of titles; virtually every issue in the 1970s contained something by him.
Models he photographed, and may well have discovered, include Nicola Taylor, Marilyn Ward, Liz Harvey, Laura St John, Marie Graham, Pauline Gorvin, and several others. As is the case with Fullarton before him (see J.B. Fullarton), quite how and where he found his girls is tantalisingly elusive. Many of them were beauty queens – Marilyn Ward became Miss UK – so perhaps he was a beauty contest groupie, turning up with his camera at every event in the hope of discovering a star. Or, and perhaps more likely, it was just networking.
The content of his shoots are quintessential Spick and Span – up-skirt, stocking tops and knickers, though brought up to date to reflect the new age of fashion, with many of his girls wearing tights; and he managed to make them just as alluring and sexy, even with no suspenders to drool over (the outdoor sets with Marie Graham and together with Nicola Taylor are mouth-watering). But his style was different – somehow more wholesome and less furtive – and yet more intentional revelations of such delicious items rather than surreptitious flashes: more “cop a load of this” than “oh you naughty boy! You’re looking!” And, like Fullarton, he also put his models into directoire knickers – though I suspect this was at the request of the ToCo masters. I doubt very much that any girls of their age were wearing them to excite their boyfriends, but they were the subject of many readers’ letters in Fullarton’s days and ToCo, mortified to see circulation falling, may have been desperate enough to try all the old tricks in an effort to survive. Another indication that times had changed was that some of Ken’s models had no qualms about getting their bra off for us, though not Nicola Taylor, who was never seen topless. Fullarton managed it with some of his girls, but they were never published. And Ken worked in the Swinging Sixties!
Another similarity with his Scottish counterpart is that every reader was very familiar with the inside of his house, even though they had never been there. Perhaps sequences of girls draped over G-Plan furniture were another ingredient that ToCo staff thought was indispensable. No photographer seems able to resist the temptation to get a pretty girl to lounge across the bonnet of a motor car. But more permissive times or not, Ken Howard went to as much trouble not to reveal his entire number plate as Fullarton did.
After the demise of ToCo, Ken turned to religion and hung up his camera. By all accounts, he would rather forget about that side of his life.
We, however, will never forget it
Below is an article taken from the April 1967 edition of Practical Photography. This gives us a little insight into Ken Howards work and life before he took up working with Town and Country publications later that same year.
Ken Howard Article Practical Photography April 1967
Ken Howard, now living in Ensbury Park, Bournemouth, was born in Leicester on 18th February 1933, apparently during a snow storm. He was married in November 1954 and has three daughters, Rachael, Jackie and Pam, aged 11, 9 and 6 respectively.
He became Seriously interested in photography in 1951 whilst serving in the R.A.F. in Malaya where the elementary facts of D. & P. were first learned in the station education department darkroom. During this period, his Kodak Brownie camera was given away to a colleague, an Agfa Isolette II was purchased. The results from this camera were a vast improvement on his earlier ones but were only really a pictorial record of Malaya and its people. He made no attempt to create pictorial landscapes, an action now very much regretted. This Isolette camera gave sterling service until 1954, when Mr. Howard, on holiday, left it on a train and never saw it again. He bought another.
From 1954 until 1957 all films and prints were processed by the local chemist, then, in 1957, Ken Howard obtained a contact print kit. When he realised how much the chemist was making out of him, he decided to undertake the whole of the Processing sequence himself.
Mrs. Howard, for a birthday present, donated a Beta II enlarger and other presents including a developing tank, darkroom lamp, and trays. To ensure good results a Wray f/4.5 3, 3/4in. lens was obtained at his own expense.
The same enlarger, lens and tank are still being used, the only addition being an extension column to ensure extra big enlargements. The darkroom was then the bathroom and much paper was wasted in learning to enlarge. A neighbour then taught him the art of enlarging and also recommended the use of Adox RI7 film, followed by development in Beutler’s solution made up by himself. The results were a big improvement and Ken Howard was trying to create pictures, rather than shooting at everything and anything that caught his eye.
At the suggestion of his neighbour Ken Howard joined the United Postal Portfolios, and is today in the same circle for large prints, having also recently joined the whole-plate circle in the same organisation.
The Agfa camera was sold to his brother-in-law and a 1934 Rolleicord 1A became the tool in his hands. However, after 18 months, he decided it was a little too difficult to focus because of the rather dull screen and it was part-exchanged for a Rolleicord Va. About that time Mr. Howard started taking Popular Photography magazine and was also being asked to take portraits of people’s babies, (although now looking back to these prints he wonders why people ever bought them).
On 11 May 1959 Ken Howard visited the Photo Fair and bought the first edition of Photo News Weekly. Since then he has not missed an edition of this or of Practical Photography Magazine. A course was undertaken with Mallinson’s School of Photography and Journalism and he began to submit his work to a few magazines. The people at work—he was a building society clerk—began to provide him with a good number of portrait sittings and as most of the sitters were the office girls it’s not difficult to see how he became interested in the photography of women. To this day nothing gives him more pleasure than portrait or glamour work.
Mr. Howard went to Bournemouth in January 1960, to live and take up the job of staff photographer on a women’s magazine. This was short lived. Six months later the boss rang to say that Ken Howard was a luxury he could no longer afford and shortly afterwards the magazine ceased publication. It was then that he decided that he preferred to keep photography as a hobby and joined a finance company as a correspondent, his present occupation.
Whilst working for the women’s magazine he became used to Kodak materials and to this day has not changed. His favourite films are Veri-chrome Pan and Tri-X Pan Professional, both developed in D76. Prints are on Kodak Bromide or Bromesko paper, developed in DI63, according to the purpose for which they are intended. In 1964, the Rolleicord camera was traded in for a Rolleiflex with f/3.5 Tessar lens which he still has, and to this was added a Mamiya C2 with 105-mm Sekor lenses in 1965.
Until recently Ken Howard had no inclination to join a camera club, but a friend invited him to the local club and he realised that perhaps he could be of some help to others, rather than getting something out of it. He now finds it most interesting.
The majority of Ken Howard’s work that has been published has appeared in Photo News Weekly or Practical Photography magazine, although several cover pictures have appeared on other magazines, and a few illustrated articles have been used elsewhere. In 1966, 92 films were used by Mr. Howard, the majority of them weddings and portraiture sessions, leaving him too few hours in which to take, prepare and submit work for magazines. Nothing gives him greater pleasure than to see his work in print and this, together with the urge to try to produce attractive pictures, is the main reason for his output increasing each year by leaps and bounds.
Living in hopes. Ken Howard has entered most of the national competitions each year but has not been successful in bringing off any of the major prizes. His biggest disappointment was the lack of success when submitting pictures to the national press, when his model Ann Sidney became Miss World in 1964. Not one picture was sold at this time, although many of the shots taken of Miss Sidney have appeared in Photo News Weekly and Practical Photography. Ken’s most recent model and friend of the family is the reigning Miss Thames Valley, Dianne Church of Morden. The picture of her in this feature is one of Ken Howard’s Personal favourites, showing her in the New Forest setting during a session where the emphasis was on modem clothes; glamour without the use of the usual swimwear.
Ken Howard’s “darkroom” is a 6-ft. square portion of the main bedroom which contains a “wet” table and a large cupboard which carries the enlarger and all the papers and developers. Before each session water has to be carried in from the bathroom, but this takes very little time. As his bungalow has central heating he has little trouble in keeping the Chemicals at the right temperature. On large wedding orders, Mrs. Howard is an invaluable assistant in developing the large quantity of prints. The same bedroom becomes a studio, the hall of the bungalow is used for the same purpose and for full length shots a roll of background paper is used on one of the lounge walls, allowing a 16-ft. room length for photography.
The lighting equipment for these “studios” consists of three 7-in. reflectors and one of 9-in. Two are clip-on types, on wooden poles, set in old Nescafe tins full of cement. The other two are both home-made, but also are of copper pipe and extendible. Visitors are most surprised to see the simple equipment he uses and the small area in which photography takes place, but whilst the results are satisfactory he has no need to enlarge his darkroom-studio.
So far a total of 105 pictures and 13 letters have been published, 80 of the pictures and all the letters in our Iris Press publications. Given sufficient time in 1967 he hopes to spread his interest to a few more magazines and sell some colour taken during the last six months. Whether he sells many pictures or not in 1967, one thing is certain. He will enjoy taking the pictures; a good enough reason for taking them.
This is Ken Howard’s favourite photograph, a picture of “Dianne” taken on a Mamiya C2 camera equipped with 105-mm Sekor lenses. Verichrome Pan rated at 125 ASA, 1/125 sec. at f/5.6, flash on camera.
Practical Photography – April 1967
The Glamour Book Interview
Like many keen photographers, Ken Howard works in an office from Monday to Friday. But on Saturdays, at his bungalow in Bournemouth, the lounge becomes a studio.
Glamorous girls travel up to a hundred miles to the quiet housing estate, where they are photographed by one of Britain's most successful “amateur” glamour photographers.
Despite the disadvantages of working as a part-time freelance, Ken Howard has managed to find a regular market for his work. Photographs taken in his home studio have appeared on the covers of Amateur Photographer and Practical Photography, and have been used in national newspapers and foreign magazines. During the last twenty years, Ken Howard has proved that it is possible to break into some of the major glamour markets without being based in London, and without becoming a full-time professional.
It was in 1951, on a boat to Malaya, that I first became interested in photography. I was a regular serviceman - one of the idiots that signed on!
An Ensign Ful-Vue was my first camera, soon followed by an Agfa Isolette. I found out all about developing and printing films in the RAF station photographic section as a sort of hobby. This hobby continued after I left the services. At first, I could only make contact prints from the roll-film negatives, but persistent hints finally produced the much-needed enlarger as a present one Christmas.
Early subjects were the usual family snaps and landscapes. People liked the sort of work I was doing, though, and I soon started receiving requests from neighbors to photograph their babies and kids.
From these beginnings, I progressed to photographing girls from the typing pool at work I am not too sure of the connection. I just fancied women, I suppose!
So far, all my indoor pictures had been taken with a single Photoflood Bulb in a small Photax reflector.
This was fitted with a clip, so that it could be attached to the back of a chair, or shelf. Something a little more professional was obviously called for, so I found two large tins, stuck a pole in each and filled them with concrete. Then I bought another clip-on reflector to go with these new lighting stands.
One of my very first glamour sessions was on a Photo News Weekly outing to Hastings. We had great times on the beach, though you took pot luck with the weather.
I submitted some of my beach shots to Photo News Weekly shortly after - and one of them was published.
It was this success which encouraged me to answer an advertisement in Photo News Weekly. "Photographer by the sea," ran the heading. ‘Would you like to be the staff photographer on a woman's magazine?"
My application was successful and I moved down to Bournemouth early in 1960.
Miss World and Magazines
Within a couple of weeks of joining the magazine, I had a row with the editor about covering a local beauty contest.
‘You’re a woman’s magazine,” I argued. "If a local girl wins, it's good publicity. Why are you haggling about it?"
In the end, the editor agreed. “But don't make a meal of if" he warned.
It was at this contest that I first met Ann Sidney, who went on to become Miss World!
But things were not going so well for the magazine. One day, I got a call from the editor. "Howard, you are a luxury I can no longer afford," he said. “Go out and get yourself a job. When I've got more money, I might take you back”
So, it was back to office work. But at least I now had a few contacts. I continued to photograph Ann Sidney, and she was the subject of my first cover success with Amateur Photographer.
However, when Ann won the Miss World title, I lost my model. But quite a lot of my work had been published by now and was getting known. I actually had girls coming and asking me to photograph them!
By today’s standard, my photography sessions with Ann Sidney would hardly qualify for the glamour label, there were no topless shots. But a new model agency opened in Bournemouth and I hired two or three of the girls, submitting the pictures to magazines such as Parade.
Then I started having some success with Spick, Span and Beautiful Britons publications. I received commissions from them nearly every week - the old stockings and suspender stuff mostly.
Every commission came with a shooting script. This was fine to a point, though it became a bit of a bore after a while.
But the shooting sessions could always be relied on to liven up the area. I remember one where I was photographing a local beauty queen riding a bike. The first part went as planned. I put a small stone down on the road so that there was something for me to focus the camera on. Then I told her to ride slowly by with her right foot on the handle bars and the left foot down on the pedals. She had to show her briefs, you see. And as she passed over the small stone, I pressed the shutter release to capture the picture.
Then we came to the last shot, where it had to look as if she had fallen off the bike. She sat on the road and I lowered the bike on top of her. She lay spread-eagled, showing all she had got. And just as I was about to take a picture, a tractor and trailer with a load of hay came around the corner of the country lane. So, I had to lift the bike up and drag her to her feet. We stood there on the side of the road while he drove past very slowly, staring at us as if we were something off another planet - he just could not believe what he had seen.
He kept looking and looking - until he drove straight into a ditch - tractor, trailer, hay and all!
I put the girl back on the ground, took the final picture and then cleared off home as quickly as possible.
Originally, very few of these magazines featured nude or topless models. It was mostly glimpses of underwear, which quickened the pulses of purchasers.
Then a new type of magazine started to appear - and the girls they featured were definitely not wearing briefs and bra. Or much else!
Some of the magazines I was working for felt they had to offer their customers a little more, but I decided I did not want to get involved Some of the requests were bordering on pornography and I did not want my girls getting into that kind of work.
Model Girls and Fees
So now I was on my own again. There were no magazines finding models for me, and no ready market for my photographs. I had to work hard to build up both areas.
These days, a lot of girls arrive through personal recommendation. One of my recent sessions, for example, was with a friend of my favorite model.
But I still scan pages of local papers for winners of beauty competitions. Usually, the name and address are given, so you can look through the telephone directory for their number.
I phone them up and invite them round to meet my wife and have a look at some of my photographs.
Sometimes, I get girls writing to me after seeing one of my photographs in print. Now, though, I follow the view that sales are going to be lower if you use the girl-next-door. The more professional the girl, the better your chances of selling some of the photographs. A professional model knows all about makeup and posing - she probably saves you money in the long run. But you cannot always afford to pay a professional.
Some time ago, I put a proposition to a local model agency. ''Look," I said, “I can't afford to hire your girls, but if you’d like to send them to me for a photo session, I will supply a whole portfolio of pictures - providing I can also sell these photographs for publication.”
The arrangement worked well for a while - until the agency closed down. Now I have a similar arrangement with an agency in Bristol. Their new girls come to me free in return for photographs. If the girls have been modelling for a while, then I pay them about £50 for a day, and also supply a few pictures. For an established model, I have to pay the full day’s fee.
Bournemouth might seem a long way for a Bristol girl to travel when she is not being paid very much, but the setup seems to be working very well. The only problem is that the girl will not turn up if she is suddenly offered another assignment for more money. You almost come to expect the phone call from her before it arrives. It is a bonus if the girl turns up.
£100 for a day with a good model is a reasonable figure. If the girl is doing “page 3” work and I sell one picture, then I am in profit. And that is just from one shot - you can do a lot in a day. Of course, if you have got a mediocre model, then you are gambling,
However, I do not part with £100 for every photo session. If I am photographing an inexperienced local girl, then she does not get paid at all It is another of my arrangements.
After the session, all the girl gets is a set of contact sheets from all the films shot, so that she can choose a few free prints. But whenever I sell any of these photographs, she gets 40% of the fee.
Some people may frown on this system, but I prefer it from a financial point of view.
In some ways, it can also give you better pictures. If you are paying a girl for the day, she may start clock-watching towards the end You will not always get the best out of her during the last hour. However, if the girl knows that every photograph you take could mean more money, then you are going to keep her attention to the last minute.
Of course, one problem with this percentage method is that girls tend to move from one town to another. But it is up to the models to keep in touch with me and forward their latest address.
Some girls can also be a bit impatient. They see their photograph in print and expect the money to arrive a couple of days later. It does not work like that. It can be a month or more before the magazine pays the reproduction fee, and it can take even longer to reach me if the photograph was sold through my agent.
The girl just has to learn to wait She is paid as soon as I have been paid.
Advantages of an Agent
Is it worth using an agent to sell your photographs?
I think so. Maybe it is a gamble, but I have been with one now for fifteen years and I am quite happy.
My agent takes 45% of the fees earned by the photographs (most take 50%). Out of this comes all his expenses, so I get a clear 55% of the reproduction fee.
An agent is particularly useful if you produce work that might sell overseas. I do not have any contacts abroad and if you post photographs to foreign magazines, there is a risk that they might be used without you being any the wiser.
Through my agent, I have recently had several pictures published in a South African magazine I had never heard of the fee was £208.1 would sooner have 55% of that than nothing at all.
As you might guess, I have a special arrangement with my agent. After each photo session, I produce two sets of contact sheets. The girl has one set and I keep the other. I make enlargements of all the photographs that might sell to photographic magazines and local papers, and I print up the pictures the model wants. Then the negatives go off to my agent and I forget all about them
If I am shooting transparencies, I keep back any I can handle, and then send the remainder off to him.
I deal directly with the photographic magazines, where I have good contacts. They do not pay big money - not like a daily paper, for example - but I have got to know some of these magazines quite well over the years so my agent is quite happy to let me carry on with them.
Anyway, I like to feel that I am doing something. It is nice to have an agent who is selling abroad, and maybe the national papers, but I like to do a bit myself then I feel that I am on the right road.
I am also selling direct to some of the puzzle magazines at the moment I have made a break into one or two and now they ring me up and ask for certain types of picture - winter photographs and things like that.
It is nice when you get people asking for your work. Some time ago, Amateur Photographer called to say that they had some of my pictures and would I write an article to go with them By the next Friday! It turned out that my feature was for a special glamour issue which included work by Patrick Lichfield.
How do you find yourself an agent?
I simply wrote to several that were listed in the Writers' and Artists’ Yearbook. I found an agent, then dropped him because I was producing work that kept coming back. It was not right for any of his markets. But I went back to him when I started using the girls that suited his clients.
Of course, an agent is not always right. After one photo session with a new girl, I sent my photographs off as usual, and was surprised when they all came back "Don’t like her," said my agent. “She won't sell"
I disagreed and started submitting the photographs direct to magazines. So far, one has appeared on the cover of a puzzle magazine, while another has been used by Amateur Photographer.
It is just one of those things. What my agent likes and what I like are two different things. But he knows his markets better than I do.
I certainly recommend an agent, if you are producing enough work. It is very expensive dealing direct with magazines, even in terms of postage. And then you have to buy several copies of each magazine, to see what they are using, and try and follow their style.
For me, that is too cumbersome. It is too expensive an operation.
I am always scanning the local and national newspapers for stories which might offer a fresh face for my glamour photography. Here is an example of just one incident which illustrates the value of following up a simple lead.
There was an article in the News of the World about a blonde girl who has been deaf since the age of five, when she had meningitis. It finished by saying that she wanted to be a model, but that no professional photographer would spare the extra time needed to show her how to pose in front of a camera.
Well, I have lived next door to deaf and dumb people for fifteen years, so I am used to communicating with them. And I liked the look of the girl from her photograph in the paper.
Fortunately, I know one of the photographers on the News of the World and he agreed to give me a reference if I wrote to the editor. So, I sent a letter to the newspaper, asking if they would put me m touch with the girl.
The result was that the girl came down one Saturday with her mother and father. After about half-an-hour, they realised everything was satisfactory and went off into Bournemouth. The two of us worked solidly for the rest of the day. We had not really finished by the time her parents came back in the evening.
The communication problem was nil. I showed her how to pose and turn. She picked up ideas quickly. I got a beautiful set of pictures from the session.
As soon as my agent received the shots, he placed one with the Sunday Mirror. They ran a story about her being a member of a rhythmic gymnastics team - quite a feat for a girl who cannot hear the music.
Then there was some trouble because she was a finalist in a beauty contest, and the organizers had not known she was deaf, they tried to drop her from the finals, but the Sunday Mirror picked this up and ran another story - using another of my photographs. I ended up giving my views about the whole thing on local radio, too.
She has now appeared on the cover of Amateur Photographer and the cover of a puzzle magazine, and she is going to be one of my biggest sellers. And all this came from a story I happened to see in the News of the World.
Remember this next time you throw the Sunday papers away. If you see something, follow it up. This business is all about getting off your backside and doing some work. If you just sit there thinking, you will never do anything.
I have always believed in one thing. If you want something, you ask for it. There are only two answers - yes and no. If the answer is no, hard luck If it is yes, that is a bonus.
This is the way I like to work.
Cameras and Accessories
My early Agfa Isolette camera was soon replaced by a series of twin-lens reflex models. A Rolleicord VA was the first, followed by one of the Rolleiflex cameras. Then two Mamiya flex C2 models led to my present Hasselblad 500CM.
I do not use 35mm very much - I have always been a large-format man. I used to have a Kornca camera for holiday pictures, but I gave this to my son-in-law in return for decorating the kitchen. I hardly ever used it for glamour work. Now if I need a 35mm, I borrow my wife's Olympus Trip.
A Hasselblad is the camera most amateur photographers would like to own, but few can afford it. I would not have one now if I was not making money by selling photographs - not at the price they are today. You are talking about well over £1000 for the camera body, 80mm lens and the 150mm Sonar.
But I keep one of the old Mamiyaflex cameras, which still gets used from time to time. I had a problem with the Hasselblad at a wedding recently, so it pays to keep a second camera, just in case.
For studio work I use a Bowens 400 outfit - two electronic studio flash heads, brollies and snoot. Most of my pictures are taken with just these two lights, though I sometimes supplement the set-up with an old Braun EF3 flash pack
I bought this Braun for £25 about ten years ago from a professional photographer who was selling up. In addition to the main gun, it has an extension head with a nine-foot cable.
The main head of the Braun gets used for halo lighting.
It is taped to a stand - a pole fixed in a tin of concrete. I have made a cardboard shield which fits round the reflector and cuts down the area covered by the flash, and there are different gels which can be fitted in front to give coloured haloes round the head of the girl.
Anyone who has tried setting up a studio at home will have discovered one of the main problems of an average lounge. The light-coloured walls and ceiling bounce a lot of light around, making it difficult to control special effects. At first, I found it impossible to keep a black background, black but now I have the answer.
I have two 8x4 foot pieces of hardboard which I have painted dark brown. I wedge them either side of the room, about four or five feet from the background. They stop the light bouncing around quite so much. If the two studio flash units, with their brollies, are positioned right to the sides of the room, the light from these is shielded from the background by the hardboard. The result is a background which is really black
For backlighting, I use both heads of the Braun EF3 unit, one on either side of the background, pointing in towards the back of the girl. Here, the hardboard has another use - it stops the backlights shining directly into the camera lens.
It all works very well the only problem is moving the hardboard about - it is heavy!
For backgrounds, I use Colorama paper. I have about six rolls, in different colours. It is not cheap, but it is no use trying to make do with sheets. You need the proper thing.
Avoiding creases in the paper is the main problem - you cannot throw them out of focus very much in a small room. At first, I used to lay the roll of paper on the floor at the foot of the wall and lift the loose end up to the ceiling. The paper was held in place by nails.
But then there were so many holes in the wall that I was frightened the plaster would fall out! Now I use proper background stands. I have only had these a short time, but they are fantastic. Previously, there was a limit to how far I could run the heavy roll of paper along the floor. There was a crockery unit on one side and a fireplace on the other which got in the way.
But now it is the heavy roll of paper which is supported on the stand and the loose end which runs along the floor. I can cut the paper away round the fireplace so that there is a complete floor covering. This means that the girl can come further away from the background.
I lengthen the life of the Colorama paper by having another 8x4 foot sheet of hardboard on the floor under the background. This stops models in high-heeled shoes from punching dozens of little holes through to the carpet.
One accessory which is invaluable is a flash meter, though this gave me problems at first.
I found that it was fine for black-and-white film, but always gave me underexposed transparencies. I now open up half-a-stop for transparency films, and the results are perfect.
Another useful item is the Polaroid back, which I have just bought for my Hasselblad camera. I can shoot a Polaroid picture and see the result within a minute to check lighting effects. The print often shows up faults which might otherwise be missed, saving the valuable transparency film.
Other accessories include a soft-focus filter, though I do not use this much
When it comes to the actual photo session, I usually have a few ideas about what I want, but rarely shoot with any specific magazine in mind, I set up the background and maybe a few props, and then let the session develop as the model begins to pose.
Later on, I will spend an evening going through the contact sheets and the pictures will throw up an idea for an article. Sometimes I will write a feature and send it off with the photographs, sometimes I will phone an editor and ask if he might be interested in anything on that theme.
One area where I have not done very well is in competitions. I have only won prizes in about three. I always read the rules carefully, so it must be that my pictures are not what the judges are looking for. I often come close to winning, but not near enough for my liking.
I will keep on trying.
"The Glamour Book" (1982) - BFP Books - ISBN 0 907297