Although this is an unapologetic celebration of the sensuality of the female form, it is more than a collection of appealing body parts. Each image is crafted with an aesthetic that embodies the spirit of passion by embracing line, shape, and pattern. Those expecting pornography amongst these pages may find themselves in unfamiliar territory. This collection was photographed with an emphasis on composition and each image painstakingly selected from amongst thousands of options. The subjects were chosen for their portrayal of confidence and unabashed self-expression.
Volume One Introduction
The images of Volume One of this erotic art photography book leave much to the imagination, imparting a subtle impression on the viewer rather than provoking a reaction.
In the canon of human beauty, there is an array of features and body types. This collection is curated from a narrow band of that spectrum, based on my perspective. I neither create nor document elegance, but pay homage to it. My images are a glimpse at an alternate reality, not a captured moment from life. Although the camera is thought of as not lying, it is always my intention to create a fiction that exists in my mind, not that which exists in front of the lens. The women I collaborate with are equally complicit in this masquerade, as an actor on a stage might take an audience willingly to suspend disbelief—to see her as the character whom she portrays. I prefer an image that becomes more interesting as it is studied to one that relies on a sudden visual impact. Striving for this elusive goal is a process of constant evolution.
Photographers have many tools available to orchestrate illusion: modified lighting, lenses that distort, and software. Despite a plethora of possibilities, my images use one of two techniques that I have developed. One I call “false color” and the other is “tonal manipulation”. False color can, initially, appears like a normal image, but the coloration is other worldly. Tonal manipulations may look black and white, but have a range of subtle hues.
I reserve my creative energy for the portrayal of the subject. My goals are independent of my medium—the same as if I were working with oil paints. I strive to create artwork, not photographs. I feel as though I owe no particular allegiance to traditional concepts of what a photograph should be.
Volume Two Introduction
The second volume of Erotiche contains images that are provocative with an emphasis on the aesthetic appeal of the form. The compositions explore both the psyche and the physical, speaking to the longstanding relationship between creativity and sensuality. They examine not only the nature of the viewer’s desires but those of the subjects, as they express themselves in multiple facets. This collection seeks to captivate rather than shock, so nuance is employed to keep the emphasis on beauty rather than extremes in taste.
The themes in this erotic art photography book range from playful to thoughtful. Some images are to be taken just as you see them and others are layered in meaning and ambiguity. There is the occasional embrace of two figures or the interplay of props, but most of the images are of an individual model, displaying an original perspective in terms of pose and attitude. These images convey a positive energy as something you are meant to see.
I have chosen to keep color to a minimum in this erotic art photography book, to steer the viewer towards the lines and shapes presented on each page. I feel this encourages the viewer to consider the creative process rather than merely the subject. The overall effect should be less voyeuristic than regular color images. They may resemble black and white or sepia tones, but have more complex color schemes than that. A range of subtle hues is rendered among the lights and darks. I often choose cool shadows and warm highlights to accentuate depth.
When it comes to poses, my tendency is to keep the erotic art photography book suggestive rather than explicit; this allows the viewer to complete the meaning in their imagination more elegantly than I can render on the page. It is an undefinable line between two gray areas. I feel the difference is not in what is shown, no part of the body has been kept off limits, but rather in how it is shown. A medical text, for example, shows every uncensored aspect of the body, yet without a sensual component. Erotic art, on the other hand, has the challenge of presenting the sensual in a strictly aesthetic context. The abundant availability of low-quality erotic imagery means that erotic art is often challenged by skeptics to offer a definition of legitimate art. Tolstoy might have said that art is something that unites us. I have quipped that “the difference between erotic art and pornography is that people hide their porn.”
I feel obligated to strive for a fresh perspective on my subject matter. My aim isn’t just to document alluring women, but to craft each image with such care that the presentation itself worthy of admiration.
The erotic art photography books are organized into visual themes. Each volume is introduced with a brief essay from the artist. The goal is to be expressive by displaying images that intrigue, not to provoke for the sake of shock value. This collection is about aesthetics, unrestrained by conventions of modesty.