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Josh Humble. Photo: Ernest Collins (image supplied) Josh Humble. Photo: Ernest Collins (image supplied)

Arts & Culture

The photographer who likes an artful nude

Josh Humble. Photo: Ernest Collins (image supplied)

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I caught up with Josh Humble to talk about life on both sides of the camera.

What led you to start exploring the world of modelling?

I started modelling a little before I began shooting, but I didn’t do lifestyle or clothed modelling for agencies until my thirties. I’d always done nude modelling here and there for photographers, for friends. Art nude has always been just beautiful to me.

Did your passion for photography develop at the same time, or is that something that came later?

Even though my art modelling has gotten busy the past couple years, I’ve always been a photographer first, and it’s how I make my living. I picked up a camera in high school, and been obsessed with light, composition, shape and form ever since.

Would you describe your work as erotica?

I think there’s a little erotica to all of it. Just like art nude, erotica is beautiful as well — and, if portrayed as art, can be very separate from what’s considered porn.

Who are some of your photography heroes or inspirations?

I like the standard set by Ansel Adams for landscapes and the deep tonality he used. Robert Mapplethorpe’s daring style was so great — I like to be daring but tasteful in what I present.

What are some of the challenges in photographing the naked male physique?

A lot of guys refuse to bare all, and that’s understandable. It’s a risky, scary world, and life can really change for anyone who takes it all off.

What do you hope that people feel when they look at your photos?

I hope that they see art and the male form in a way they hadn’t previously. The male nude has a much harder time with the public that the female nude, and with that, there’s also so much poor photography and posing of men which turns people off. I think a lot of people just want to get naked — never mind the art.

My rule is to only work with photographers who can make beautiful results. The best model in the world can be portrayed poorly if the photographer can’t light them well. Naked is great, if it’s artfully done and used sparingly.

What are some of your goals and ambitions for the remainder of 2018?

To expand and travel — I want to work with a variety of photographers and see where this goes. I’m so grateful and flattered to have the support I’ve had from people so far.

Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Jay Alan Rickard (image supplied)
Josh Humble. Photo: Tom Nakielski (image supplied)
Josh Humble. Photo: Tom Nakielski (image supplied)
Josh Humble. Photo: Ernest Collins (image supplied)

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“In a fictional universe I would wield magic”

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Artwork by Stefano Junior (image supplied)
Artwork by Stefano Junior (image supplied)

I caught up with artist Stefano Junior to talk art, illustration, and super-powers.

When did you start to explore your passion for illustration and art?

I’ve been drawing as far back as I can remember. According to my parents, I drew a very convincing female figure from my imagination at about three or four years old. From then on, when I wasn’t at school, watching cartoons, or voraciously reading comic books, I’d be drawing. My parents eventually enrolled me in a fine arts weekend program at a local college — I studied there for several years while going through grammar and middle school.

What is it about superheroes that appeals to you?

In hindsight, apart from the obvious colourful allure of superhero adventures, it was the transformative nature that is the basis of most superhero narratives. As a child, in suburban 80s America, with my penchant for the arts, girls toys, and a foreign name, I was bullied extensively — superheroes provided a means to escape, I could imagine that I might one day extricate myself from that oppression.

Books like Chris Claremont’s X-Men, which were ripe with soap-opera-like drama, reassured me that my ‘latent’ powers weren’t things to be ashamed of. Roger Stern’s run on Superman affirmed my beliefs that though people could be cruel and misguided, it didn’t mean that I should have to sacrifice my ethics and sense of what’s right. George Pérez’s Wonder Woman — that she was an immigrant appealed to me as a first-generation Italian, and she never lost her compassion for even her greatest foes.

Growing up with older sisters and a strong Italian matriarch may have influenced me gravitating to female heroes. But there was also the allure of the outrageous 80s feminine glamour of heroes like She-Ra, or the many fantastic mutant women of the X-universe who all played such pivotal roles in the series while donning fantastic costumes created by amazing artists like Paul Smith, Arthur Adams, and Marc Silvestri.

I love your drawings of Sorceror Stefano — is that an alter ego?

I’ve been developing an illustrated version of myself over the years. I’m currently studying cartooning at the School of Visual Arts — comic legend Phil Jimenez was one of my instructors my sophomore year. Our mid-term assignment was to create a fictionalised life drawing of ourselves in a turnaround. So I photographed myself, and further developed the design of my Sorcerer self. As an artist, the process of creation feels like sorcery, so were I to exist in a fictional universe, I would definitely wield magic. I’d also like to be physically invulnerable.

Who are some of your art heroes or inspirations?

My inspirations are pretty vast. From the art world it includes Bernini, Gabriel Rosetti, and Waterhouse. From comics it includes Esteban Maroto, Garcia Lopez, Marc Silvestri, Brian Bolland, George Perez, Phil Jimenez, Adam Hughes, Colleen Doran, Art Adams, and especially Alan Davis — both for the aesthetic beauty and elegance of his art, and as a draughtsman and storyteller.

If you could do a life drawing of a male super-hero, who would you choose?

Henry Cavill as Superman.

Your moustache game is pretty strong — what does your moustache say about you?

At its most base, it’s a homage to the machismo of the 1980s — particularly my hero, Tom Selleck as Magnum PI. He’s the epitome of masculine idealisation.

I grow it and shave it constantly — it’s spawned its own cartoon of my creation. You can follow the exploits of me and my moustache — Mr. Mustardo — on Instagram. It’s absolutely vain, but it allows for me to be humorous in a single panel cartoon form that deviates from the more representative work and superhero storytelling that I’ve primarily been focused on.

What are some of your goals and ambitions for the months ahead?

I hope to further develop an original comic that I started in the Fall, that centres around a complex heroine and a magical discovery. Plus there’s some newer humorous cartoons that Id like to serialise online somehow — one that follows the exploits of a majordomo in an early 20th century hotel, another that follows a boy through multiple mediums and circumstances that end badly.

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