Male Nude Photography- Manly Bare Feet

Photographer Nick Baer presents male model's bare feet. Eryk Elliott, Alex Bretz, Derek Davidson, Joey J, Mike Reddev, Preston, Ferral.
Table of contents

Closer by Elinor Carucci - - pages. Couples by Ellen Von Unwerth - - pages. Culo by Mazzucco by Raphael Mazzucco - - pages. Darkside by Urs Stahel, Fotomuseum Winterthur - - pages. David by Deli World Inc. Staff - - 48 pages. Diary of a thought criminal by Mark Chester - - 55 pages. Die Erotik in der Photographie by Erich Wulffen - - pages. Digital Kern by Richard Kern - - 96 pages. Doris Kloster's Demimonde by Doris Kloster - - pages. Early erotic photography by Serge Nazarieff - - pages.

Equator by Gian Paolo Barbieri - - pages. Eros by Linda Ferrer, Jane Lahr - - pages. Eros — Jeff Marano by Jeff Marano - - pages. Erotique by Rod Ashford - - pages. Erster Akt by Georg Guillemin - - pages. Exposed by Phil Braham - - pages. Christine Evans, Dr David Usher - - pages.

Female trouble by Bettina Rheims, Gina Kehayoff - - pages. Femalia - - 72 pages. Fetish by Tony Mitchell, Michelle Olley - - pages. Fetish by Tony Mitchell - - pages. Fetish Erotica by Fenton T. Ayrs - - 92 pages.

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Fictions by Anthony Goicolea - - pages. Frosty fire by Olaf Martens - - pages. Gianni and Donatella by Sante D'Orazio - - pages. Gods of earth and heaven by Joel-Peter Witkin - - pages. Heat by Roger Camp, Bert Yarborough - - 64 pages. Yatarofsky - - pages.

ДЛЯ ПОДТВЕРЖДЕНИЯ, ЧТО ВЫ СТАРШЕ 18-ТИ, ПОЖАЛУЙСТА, АВТОРИЗИРУЙТЕСЬ ЧЕРЕЗ ВК

Hogan, eric scot - - pages. In the Studio by Tom Bianchi - - 96 pages. Jack Pierson by Jack Pierson - - 68 pages. John Rawlings by Kohle Yohannan - - pages. In , though, Henson just seemed to roll over. In London at the time, he was briefed on the brewing storm in Adelaide and withdrew from the Biennial. Speaking for the first time about the incident, Henson tells me he could see the media ramping up its rhetoric, the government nervous.

He didn't want to jeopardise the gallery's public funding. His show next month at the National Gallery of Victoria is Henson's first in a large, publicly funded gallery to include adolescent nudes since We sit by a window in a corner of Henson's dark study, in front of his computer. The sun, filtering through wind-tossed leaves, is dancing across the desk and Henson's trousers.

It's like one of his photographs: He clicks through pictures for the forthcoming Melbourne exhibition.

He chose the collection, taken between and , for philanthropist Bill Bowness, who gifted them to the gallery. Some images have featured in previous commercial gallery shows. The young nudes with cadaver-white skin are there, as well as dramatic coastlines and a stunning volcano rising from the sea. Henson begins to talk about the images in a conversational style he calls "discursively wandering off". I call it a master class in art history. And that's very much the dynamic between us during this visit: To give you an idea of how Henson's brain works within the Bill Bubble, take his explanation of one image: The boy, Henson says, could be imagining the girl; like a gender-reversed depiction of death and the maiden a common artistic trope of a semi-nude woman and the angel of death.

He cites Austrian symbolist painter Alfred Kubin, who produced a particularly good death and the maiden, then quotes French sculptor Auguste Rodin on the beauty of destroying the beautiful. He follows up with a reference to wabi-sabi, the concept of imperfection in Japanese aesthetics. And finishes his answer citing the best musical version of the "sweet potential of life in the grip of death", composer Alban Berg's Violin Concerto.

Henson takes me on a tour of his collection of rare books, which Humphries once described as "one of the most interesting and scholarly private libraries in the southern hemisphere". There are novels by the late Irish writer Forrest Reid. There are tomes on Rembrandt, a Nabokov collection, the poems of W. Most of the books have "Bill Henson" pencilled inside, except a volume on Egyptian architecture, which reads "Billy Henson".

I picture the serious nine-year-old Billy, his head filled with the wonders of a land so far and foreign to south-east Melbourne's Glen Waverley, back then a place, he recalls, of "unmade roads, orchards and dairy cattle". Henson was closer to his mother than his furrier father, whom he describes as "a little bit mystified by this odd, art-obsessed child". They divorced when he was a teenager. His sister, Elizabeth, is five years younger. We head down the dark stairs and into the studio where Henson works, sometimes for years, on each worthy negative.

It's where he "tickles" out the images from a giant 1. Framed prints — centimetres wide by centimetres tall — are stacked on trolleys, piling up like "sedimentary layers", he says.

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We leave this room, emerge into the sunlight, and walk across some white gravel to a large, open-door shed. It's here that he brings his young models and their parents. He works with each model for years, as their teenage bodies transform. He photographs adolescents, he says, because "it's a floating world of growing independence and exponential growth; pregnant with meaning and potential for things to go well or not so well".

The Age art critic Robert Nelson says: One of his models, from early in Henson's career, is now approaching Looking out from the open door of Henson's studio, we admire his magnificent walled garden, with palms and ferns nodding over a rectangle of white gravel. At the garden's end is a gate that leads to a backstreet. In the eye of the storm, with the media parked outside for days, this was one of his escape routes.

His neighbours were helpful, too. When they saw one of the media's white station wagons in the street, they phoned him: On my second visit Henson is dressed more casually: I tell him there appears to be a parcel shoved in his letter box, which he retrieves. This time, up the stairs and into the darkness, we sit opposite each other at a wooden table.


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A piece of thick paper has been attached, like a skirt, to the light above us, muting it. The effect is like a Cold War interrogation setting, which suits my plan: I've read everything about the controversy — including journalist David Marr's book The Henson Case — and I still had many questions. An image called Untitled 30 — chosen by Henson — was featured on the invitation. It was of a girl who became known as N, a year-old whose nipples were just budding into breasts and whose waist was still quite girl-like. As Marr writes, it was the budding breast — "rarely seen and almost never celebrated" — that initially caused such a fuss.

Henson had been photographing young nudes for years, and controversy had wafted around him, but this time it hit him with full force.

Bill Henson: 'I am quite comfortable with the fact my pictures disturb people'

Senator Derryn Hinch, then a Melbourne radio presenter, fretted that the image of N would be "drooled over by paedophiles". Sydney shock jocks went into overdrive. Police raided the gallery, seizing 32 images. The NSW Labor government, recovering from the sentencing of former minister Milton Orkopoulos on child-sex and drug charges, denounced him.

Police marched into galleries all over Australia to inspect Henson photographs. The controversy exposed a fault line, one David Penberthy neatly characterised in as "the poseurs versus the plebs": People were suspicious of Henson; he appeared to want to operate outside society's rules because he was an artist. As I researched this piece, most of my male friends — intelligent, considered people — told me they find Henson's work troubling.

It may even be great art," says one. But he has that effect. Society tells us not to find children or adolescents attractive, says Nelson, and Henson's pictures challenge this: For people of insecure ethical mettle, that could be really worrying. In response to the furore, NSW changed its child pornography laws in , removing the defence of artistic purpose, and the Australia Council issued protocols for artists working with children. Since then, we've had regular eruptions of anxiety over children in art. The most serious was in , when artist Paul Yore was charged with producing and possessing child pornography because his exhibition at St Kilda's Linden Centre depicted children's faces superimposed on male bodies performing sex acts.

A magistrate dismissed the charges. To Henson, these sorts of controversies reveal that we've lost the ability to see children in a neutral, non-sexual context. It's a national pastime. In , Henson, unfamiliar with self-doubt, remained calm. None of his opponents' arguments gave him pause.

The rest of it just comes down to taste. Do you like it or don't you? Is it porn or is it art? He felt comfortable because he says he knew, as much as he could, that none of his models had ever regretted working with him.