Maxim Jakubowski - The Mammoth Book of New Erotic Photography

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THE MAMMOTH BOOK OF

NEW

E

ROTIC

PHOTOGRAPHY

E DITED BY

M AXIM J AKUBOWSKI

Constable & Robinson Ltd

3 The Lanchesters

162 Fulham Palace Road

London W6 9ER

www.constablerobinson.com

First published in the UK by Robinson,

an imprint of Constable & Robinson, 2010

Copyright 2010 in photographs: individual photographers as listed on page 5

Copyright 2010 in text and selection: Maxim Jakubowski

Copyright 2010 Constable & Robinson Ltd

All rights reserved. This book is sold subject to the condition

that it shall not, by way of trade or otherwise, be lent, re-sold,

hired out or otherwise circulated in any form of binding or cover

other than that in which it is published and without a similar condition

including this condition being imposed on the subsequent purchaser.

A copy of the British Library Cataloguing in Publication

Data is available from the British Library

UK ISBN 978-1-84901-384-0

1 3 5 7 9 10 8 6 4 2

First published in the United States in 2010

by Running Press Book Publishers

All rights reserved under the Pan-American

and International Copyright Conventions

This book may not be reproduced in whole or in part, in any form or by any means,

electronic or mechanical, including photocopying, recording, or by any information

storage and retrieval system now known or hereafter invented, without written

permission from the publisher.

9 8 7 6 5 4 3 2 1

Digit on the right indicates the number of this printing

US Library of Congress number: 2009943392

US ISBN 978-0-76243-999-7

Running Press Book Publishers

2300 Chestnut Street

Philadelphia, PA 19103-4371

Visit us on the web!

www.runningpress.com

Printed and bound in China

Design and layout by Susan St Louis

Photograph credits

Imprint page: Michael Combs, contents page: Gary Breckheimer,

page 6: Elisa Lazo de Valdez and page 8: Gary Mitchell

list of photographers

introduction

Poets, writers, singers and painters throughout the ages

have worshipped women and sung their praises without

ever exhausting their fount of inspiration. Beauty is,

of course, highly subjective and it could be argued that

its only with the advent of photography that we have

been able to judge at first hand how beauty is seen by

others. The camera has been able to capture evanescent

moments in time, the curve of a shoulder, the spark

in an eye, the flow of hair against diverse backgrounds,

the colour of skin, the delicate texture of flesh and life

in its hypnotic lens like no other observer could before.

But as well as providing us with unforgettable visions

of female reality it has also simultaneously conjured

up a fascinating other world of fantasy images where

women become unreal, representations of lust and

innocence that can appear miles away from the

ordinariness of everyday life.

The initial volume in the Mammoth Book of Erotic

Photography series appeared in 2001, followed by

another in 2005, so a further five years have since

passed during which mighty winds of change have

blown across both the photographic and the publishing

world. The majority of photographers now active in

the field mostly work in digital format, although there

remains a wonderful hardcore of traditionalists who

intend to continue working with film. On a separate

note, Polaroids have come to an end. The landscape

has changed, to say the least. In addition, the Internet

has also become an added and valued source for

material and publication which was not as generally

available a decade ago.

But one thing has not changed: the sheer beauty

of the female form.

___

INTRODUCTION

It was often thought by primitive tribes that photographs

of people could steal their souls, while others believe

that the act of presenting images of women only serves

to objectify them, and skews our perception of their

essence, and demeans them. I disagree strongly with

both strands. There is an inherent lusciousness about

the body of women and in these books we have tried

to celebrate it, not exploit it. Its interesting to point

out that over the course of the three volumes we have

published, we have discovered an ever increasing

number of female photographers as we widen our net

for talented photographers and artists throughout the

world, and that actually many of these women enjoy

doing self-portraits in addition to taking images of

other models, many of which are not even professional.

So does the female eye differ from the male one? Its

a question others would answer better than me, but all

I know is that both visions are exquisite when talent lies

behind them and the hundreds of photos I have selected

for this volume prove to be a perfect demonstration.

I never cease to be amazed and pleasantly surprised

at the sheer amount of variations the photographers

we have selected this time around have been able to

conjure up. It might be assumed that the number of

poses, lighting combinations and angles at the disposal

of the photographers is limited, but they always come

up with something new, a novel way of catching the

uncatchable in their visual net and delighting us, the

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