Holly Bower

Holly Bower pretty much kicked down the door for women in the motion picture industry. She wasn’t just the first woman union still photographer—she fought tooth and nail for that spot. After a battle with Local 644, IATSE, she finally snagged her union card in October 1974, thanks to Title VII of the Civil Rights Act. Not long after, Sydney Pollack tapped her for "Three Days of the Condor," trusting her with the moody, solitary shots that defined Faye Dunaway’s character. Those images? They’re not just filler; they’re woven into the fabric of the film. Bower didn’t stop there. By 1980, she made history again—first woman ever elected to the Executive Board of Local 644. That’s no small feat, considering just how locked-down those circles were. Over the years, she’s worked on more than forty features and TV shows, always behind the camera, always making everyone else look good. Her reputation’s got this legendary edge—Dustin Hoffman even snapped a photo of her on the set of "Kramer vs. Kramer," scribbling a note that basically said she belonged in Fellini’s world. Which, honestly, sums it up: Bower made her own rules, and Hollywood noticed. Her work isn’t just about pictures—it’s about breaking barriers and leaving a mark that sticks.