:earl miller, ed fox, hank londoner, images, models, nude photography, photography, stephen hicks, suze randall
|Why nude photography?
I wanted to be an architect, but I couldn’t get into a school. I went to a newsagent and picked up a lingerie edition of Playboy, started flicking from the back, and by the time I got to the cover, I knew what I wanted to do.
What drives you to continue taking nude photographs of women?
What do you look for in a model?
How have you found working with the girls—their personalities—over the years?
Where do you find beautiful nude models?
|How did you get into the business?
I saw my first copy of Penthouse in 1972 and was blown away by its fresh approach to nude photography, as opposed to the Playboy look. I immediately hooked myself up with [Penthouse editor] Bob [Guccione] and we just connected.
What makes a good nude photographer?
Do you have a particular speciality?
Shooting Jennifer was like dealing with Mae West, she had a very earthy sense of humour and a classic face. She said Clinton had a little dick, he was a lazy fuck, but he gave great head. It was interesting getting this first-hand information about our President.
What are your thoughts on the Internet?
A good photograph or video must be hot and it’s got to be sexy…but for him to look at it again and again, it has to have merit on another level. The guys who are coming up now are mainly shooting digital for the Internet.
They don’t know anything about film and what it does, film has become a dinosaur. The stuff I do, in that sense, may be a dying art.
|Why nude photography?
I was a model in London and, after appearing in Vogue, my ego became quite inflated. I looked around at the photographers and decided that even I could be a photographer, so I bought a camera and started shooting my girlfriends.
Who did you work for in the early days?
What’s your best professional attribute?
Have you any advice for people who are looking to get into the industry?
|Why did you become a photographer?
I was 19 and had saved for a trip to California. My buddy couldn’t go at the last minute, so I decided to buy myself a 35mm SLR instead. The rest is history: complete love, surrender and devotion.
Why shoot nudes?
What about Penthouse? Were you a part of the Guccione clique?
What’s kept you shooting over the years?
And I love the digital revolution; it’s liberated me, and allowed me to be more complete as an artist. When I do shoot on film, it feels like riding a donkey to work instead of driving a Mercedes.
What do you take pride in?
I take pride in quality. And treating my staff and models with dignity; 95 per cent of photographers today don’t do it for a love of photography or art. I don’t think it’s for a love of beautiful women, either. They do it for money. Money, money, money.
Have the models changed over the years?
There are fewer good softcore girls now. Five, seven years ago, there was an amazing influx of Eastern European women who were mind-blowing in terms of beauty and attitude. But now the US government has laws that don’t allow them to come here.
|How did you get into the industry?
I was a fashion photographer in New York. I did fashion editorials for the biggest magazines in the country.
One day, the art director of Penthouse called me after one of their photographers got sick, and I took over as a favour. For 13 years, I travelled all over the world—any country, anything I wanted. All I had to do was get approval for the girl. It was the best years of my life.
What style of photographer are you?
There are two kinds of photographers: ones who take pictures and ones who make pictures. I’m a photographer who makes pictures. Everything I do is preconceived. I think about what I do. I plan it, I get the props, I drag them all over the world…in order to get the shot.
There needs to be a story—an element of danger, an element of humour, something exciting and original—instead of a girl sitting on a bed sticking her fingers in her pussy.
What do you think of magazines today?
So what’s the problem, specifically?
I was chatting with Bob Guccione once, and he asked me to shoot a girl-girl pictorial. Originally, I said “no”, that I’d pass out from nerves, and Bob said: “Mark my words, in 10 years it won’t be something people bother talking about”. I learned that it’s a lot easier to shoot two girls than one!
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