Masters of Fetish Photography

Last month I bought Richard the Fetish Photo Anthology Volume 5 for his birthday. O.K. I must admit that this was as much for me as for him, as fetish is much more to my personal taste than some other types of nude photography.

This epic volume weighs in at a staggering 1.82 kilograms, and is jam-packed full of the world’s best fetish photographs. Jürgen Boedt obviously put his heart and soul into collecting the images and publishing this book, and his hard work really shows. Incidentally, there are only going to be 2000 copies of this collection printed, so if you want one, you’d better move fast.

There are some truly outstanding images within this hefty tome. Photographs that simply take your breath away. It has taken me a month to write this because I’ve been too busy thinking about the pictures, admiring and drooling over the glossy art. This book just oozes good taste.

My unashamed personal favourites were Hans Gössing’s sub/dom shot on page 146, Scott Gerth’s pinwheel shot (page 136), Dennis Keim’s nude on a chair (page 207 – but was it fetish?), Hikari Hesho’s bondage set (page 210, but his name is spelled incorrectly in the index) and Christine Kessler’s head-brace shot (I think that’s what it is, page 217). These were the ones that rocked my world - but you’ll all have different favourites, I’m sure.

Congrats to everyone we don’t know who made it into the book, and also to those that we know and worship who do appear within. Rich knows the work of most of the featured photographers better than I do, nevertheless there are many famous artists that even “little ol’ me” has heard of. Of those we are actually more familiar with on a more personal level, my special congrats to John Tisbury (one of the undisputed champions of nude photography in the UK, and not featured nearly enough in this book, I might add), also Nad Iksodas and BT Charles who produced some stunning images, and their status as “Masters” is well deserved.

I was also delighted to see several familiar faces we know. I did love the images of Iris Dassault, and of Wescott (with whom we hope to be working shortly). I’m sure I saw some other models I recognise, but sometimes it’s very difficult to positively identify someone’s posterior or boob in close up shots, unless it’s Iris, whose fabulous curves I know nearly as well as my own rather un-fabulous ones, after devotedly following her blog for well over a year now.

However……
C’mon, this is me. When have I ever not had a “however”….

As with the Taschen’s New Erotic Photography, this collection can be judged as much by the photographers who weren’t featured, as by those that were.

I’m not sure how the selection process works for this book. I do know that photographers are invited to submit their work for consideration, so I guess if you don’t enter, there’s a highly reduced chance of being a featured artist. This might explain why some photographers were omitted from the book who really ought to have been in there, such as D Brian Nelson who runs what is probably one of the world’s most famous nude blogs, and if girls tied up and/or diddling themselves in hotel rooms isn’t a major fetish that appeals to the masses, then I don’t know what is, although he doesn’t do standard glossy fetish, so maybe that’s the reason?) And don’t even get me started on Johnny Flamethrower and Melvin Moten. A fetish anthology without them is like the state opening of parliament with half the royal family missing. These two really “get” what fetish really means – they feel the passion and live the lifestyle. They are both amazing photographers. Why on earth aren’t they in there?

Is self-submission the only method of entry? Does the editor also approach other (non-self-pimping) artists himself if he likes their work, and ask to feature them? Who selects the final line-up of featured artists anyway? Who says who makes the grade and who doesn’t? However I do feel for Jürgen Boedt. If it is him and him alone who decides who makes the cut and who doesn’t, then it’s inevitable to miss someone who should be in there. You can’t please everyone. And much will depend on the editor’s own personal taste.

There are two things I will say to Jürgen. Firstly, do please let me help you pick them next time! Although I suspect I’ll be at the end of a very long queue of volunteers. Secondly, for the love of all that is sacred in Fetish Photography, PRINT IT IN COLOUR!!!

Fetish photography is designed for colour. This collection of art is incomplete without it. Fetish is all about emotion, depth, vibrancy – the black and white fetish photographs are stunningly beautiful of course, and b+w is appropriate for some of the photographs, depending on the original intentions of the photographer. However many of the images are clearly designed for colour, but must have been converted to black and white for this book. IMO the de-saturation of certain photographs has killed the depth and emotion of some images stone dead, and this detracts from what would otherwise have been probably the best collection of fetish photography for a very long time.

O.K. I get it, the book is in black and white because this is cheaper. But cost should be irrelevant in art. Sure, colour is more expensive, but find a way! Sell your granny if necessary. The final result would be worth it.

As Gucci say, “Quality is remembered long after the price is forgotten.”



The image is by Ronny Thiele