1957 was also the year that George Harrison Marks launched Kamera. Like Rock 'n' Roll, the public had never seen anything quite like it before. Kamera was launched  with a cover price of 2/6 (half-a-crown in 1957 prices or 12.5p in modern money, but that was equivalent to around £2.75 at today’s prices). The original print run of 15,000 copies sold out within two days of the launch, so an immediate reprint had to be ordered. Again that sold out in days and, in all, over 150,000 copies of issue No.1 were sold in the first five weeks. George and his partner and model, Pamela Green, knew they were on to a winner. Their share of the proceeds, after deducting printing and distribution costs, was 1/- (One shilling - 5p) per copy sold. That is equivalent to about £1 by current prices. They went on printing Issue No.1 but Issue No.2 had been prepared. It was decided to bring the publication date forward and so Issue No.2 was published six weeks after Issue No.1 had hit the streets. According to Harrison Marks it sold a quarter of a million copies. From this point on it was decided to publish Kamera monthly. If   the figures are to be believed, by the end of the first three months Kamera had netted Kamera Publications about £20,000, which is getting on for a quarter of a million pounds in today’s terms.

The photographs reproduced in Kamera were retouched, where necessary, to disguise any sign of the model’s pubic hair or genitals, in order to try and avoid the danger of falling foul of the British obscenity law, which was pretty ambiguous in those days. This was the case throughout the 12 years that the publication of Kamera spanned. The reader could have been forgiven for thinking that all the models had shaved off their pubic hair. In fact probably less than half of them had. If they wanted to find out for sure then readers could write in for 10"x 8" black and white, ‘un-retouched’ prints of any page in the book, but they would have to ask for them or they would be retouched like the magazine. Prints cost 5/6 each then or six for 25/-. These days such prints have, like Kamera itself, become collectors' items.

By Issue No.5 George and Pamela were confident enough in their ongoing success to announce the first Kamera Calendar. The 1958 calendar was to be a single photograph of Pamela Green, 2’ 6" deep printed in full colour on high quality art paper with a tear-off calendar block. A series of similar calendars were produced each year well into the sixties. They were often overprinted with the company names  to be used as promotional Christmas gifts and proved particularly popular with the motor trade and in the world of engineering. However, from 1959 a smaller wall calendar with a colour photo for each month was also produced. Harrison Marks claimed that sales of the ring-bound 'Kamera Calendar' became an annual phenomenon.

The sales success of the magazine throughout the late fifties demonstrated that Kamera offered a format that the public of the time wanted. Before long girls were queuing up for the opportunity to be photographed in the hope of appearing in the much publicised magazine. George made a point of interviewing all of them and photographing most of them. Only a small proportion of them ever made it onto the printed page of course. Some of the models who appeared in later editions - June Palmer, Paula Page, Lorraine Burnett, Vicky Kennedy, Marie Devereaux, Pat Rose and Rosa Dolmai – like Pamela Green, went on to become celebrities in their own right.

The success also made it possible to acquire additional studio space in the Gerrard Street premises. The combination of George's photographic skills and Pamela Green's creative flare changed the face of glamour photography. There was nothing crude or seedy about their photographs. With the expanded studio area it was now possible to build new sets. George's fascination with theatre and cinema and Pamela’s talent for set design and artistic composition gave the photos that followed a dramatic and lively quality that set them apart from contemporary glamour imagery. Many of their nude studies, which emphasised the perfection of the female figure, had genuine artistic merit. Kamera may have been titillating, but it was also tasteful and graceful in the way it portrayed the feminine form. Without doubt this had a considerable influence on others in the field. The models featured were chosen carefully by George and Pamela, who not only had the eye to select appropriate models but had the talent to get the best from them in the images they created.