There’s only one word we can think of to describe Lisa Boyle… yuhmmi. The former Playboy model can be credited as an early pioneer of web 1.0 who carefully crafted one of the most successful model sites to date. Now, working behind the camera, the delicious model/actress turned photographer is captivating us with her stylishly sleek photography that’s sexy as all hell. Models… be ready to be schooled.

Tell us how you got started as a model.

I got started in modeling about 1994. I was working as a waitress and bartender and actually, one of my regular customers at the Hard Rock Cafe suggested I try and get into acting, so he bought me my first set of headshots. I took a few more pics and went to an agency. They took me on, put my zed card on their wall, and got booked for my first Playboy Book of Lingerie off that. That shoot was also my very first cover for Playboy as well!

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You can’t talk about the world of modern day pinups without mentioning the lovely Heidi Van Horne. Intelligent, beautiful, and extremely driven, Ms. Van Horne not only shines in front of the camera, but behind the scenes as well. Whether she’s posing for a magazine cover like Barracuda or for her very own playing cards, Heidi makes our mouths water. She’s a special treat we can’t get enough of. YUHMM readers, here’s a taste.

How did you get into modeling and what made you pursue a career in Pinup as opposed to more commercial modeling?

I’ve been an actress since I was a kid doing tv, movies and commercial work so I had done some modeling when I was younger. I enjoyed it but ultimately fell more into the acting side of it than the “girly” modeling stuff. When I was about 24, all my acting peers were doing Maxim style shoots, and I decided that I wanted to get some sexy images in my book and for myself while I’m young but wanted to do them my way. I had always loved pinup as a kid - old Gil Elvgren Coke ads, Vargas girls, bomber nose art, etc. In my mid 20’s, it finally seemed appropriate to try it out myself. These days, even though I do the rare fashion assignment or pin up shoot, I’m more about commercial clients than any other print work. Well, and my own projects, too, of course! (Like the new Playing cards, my 2010 art-inspired pinup Calendar and a couple book projects!)

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Whether it’s capturing L.A.’s mean streets or Hollywood’s elite, Estevan Oriol does it with ease. The L.A. icon graciously finds the time between juggling his clothing line, his new store Last Laugh, and dreaming up movie concepts with super-producer Brian Grazer to talk about his 2009 calendar, L.A. Woman.

Tell us the concept behind L.A. Woman.

I’ve always shot women, but it wasn’t until the last few years that I started putting those photos out there and getting recognized for them. I did a group show called L.A. Woman a couple years ago in LA at the Lab 101 Gallery with photographers Greg Bojorquez, Patrick Hoelck, Tony Ward, and artist Mr. Cartoon that went real good for us. I decided to take my collection of girls I had archived forward to do the L.A. Woman calendar and a soon to be coffee table book published through Drago Publishing in Italy.

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We always thought the yuhmmiest thing in Austin was the dry rub flavored bbq from the Salt Lick until we were introduced to the photographic genius of 666 Photography. Photographer Gayla Partridge and her crew create retro and pin up portraits that are distinctly lush and magnificently constructed. Booking a session with Gayla is about as hard as sneaking into a SXSW showcase without a pass. So, book now while the waiting list is only 4 months long.

The name 666 Photography… Is Satan part of your creative team?

We here at 666photography love puppies, little children, and fluffy bunnies. Oddly enough, I was raised Southern Baptist. Satan has no power here! ;)

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Porn’s wunderkind and Vivid-Alt founder Eon McKai and his army of auteurs are taking adult entertainment to new heights it may not be ready for. All we know is that we’re fans… and you fucking should be too.

When you made the jump to Vivid in 2006, there was speculation that moving to a mainstream corporation would inhibit your creative freedom. Has that been the case?

It was like when some indie band got a sweet deal out of one of the meager labels back in the 90’s. Vivid knew that I was going to do things differently. From my early dealings with VCA, I knew all the issues that would come up, so I got everything in my contract. I insisted that my stuff hit the street totally unfiltered. Not to say that Vivid did not push me and my people to become better at what we do. It’s good to have a challenging voice sometimes, so you realize what is important to your work.

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