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In Ken was approached to be the first American photographer for Penthouse magazine shortly after publisher Bob Guccione challenged and overturned the ban against total nudity in the U.
This decision allowed portrayal of the human body in its entirety for the first time in America. Ken was amongst the first photographers to legally explore this new creative arena.
His early pictorials were fantasy images of erotic and civil rights themes involving couples and models photographed through heavy, soft focus diffusion.
This technique, while popular during the early part of the 20th century, had not been used in publication since the early s. Ken crafted his own homemade diffusion filters at the time there were none available on the commercial market.
Penthouse' s fully nude pictorials created quite a stir in the publishing world as circulation broke all prior records. The massive publicity rapidly transformed Ken into one of America's most famous glamour photographers.
In , Ken left Penthouse to become the West Coast Contributing Photographer at Playboy magazine, replacing several of their staff photographers. This free-lance relationship lasted for over 11 years, with Ken often shooting more than days a year.
During that time he produced 41 Playmate layouts, over calendars, covers and editorials and twice received Playboy' s 'Photographer of the Year Award'.
In Ken ended his relationship with Playboy because of new copyright and work-for-hire policies that the magazine had imposed. Ken held strong beliefs regarding artists ownership of intellectual properties and copyright.
Shortly thereafter, Ken began shooting pictorials and centerfolds once again, for Penthouse. Throughout his career, Ken Marcus has maintained an academic interest in photography.
For almost 25 years, he has lectured, taught seminars and conducted intensive study workshops for photographers. A regularly featured speaker at national photo conventions and expos, Ken's presentations drew large crowds and receive the highest reviews.
More than 10, photographers have attended Ken Marcus seminars for an insight into the complex world of professional glamour and nude photography.
Sponsored by corporations including Kodak, Hasselblad, Dynalite and Canon, and professional photographers' organizations, Ken's lectures and seminars were presented to professional groups throughout the world.
As an addition to his personal appearances, he has produced an award winning video series The Ken Marcus Glamour Workshops. This highly-successful, award-winning three volume video series on professional glamour techniques is considered the 'bible' of glamour photography.
These videos explain professional production techniques for both studio and location glamour photography. Originally interested only in the landscape Ansel Adams' influence , Ken began taking serious interest in nude photography as art during the time that he was working with Playboy.
His controversial images of nude models in nature were originally banned by the government, but are now shown as part of the museum's permanent collection.
Early in his photographic career, Ken Marcus was one of only two official photographers at the Monterey Pop Festival.
He put the negatives in a box and forgot about them until , when a studio remodel prompted the rediscovery of the negatives. Live at Monterey ", to be released October 16, About the Monterey Pop Festival prints: The film has been lost for almost 40 years.
Recently, while remodeling my studio we found the box containing the negatives. We had long thought the images were lost. Here was Jimi Hendrix, onstage for the first time in America, setting fire to his guitar and blowing everyone's mind.
When he went onstage, hardly anybody knew who he was. A few minutes later when he left the stage, he had established himself as a legend in rock n' roll history.
This picture shows Jimi in his most decisive moment. Retrieved on 20 May About his start in glamour photography: I was rather shy around women as a young man.
It was a girlfriend who introduced me to the artwork of Gustav Klimt , particularly an image he had done of two women together that struck me with unusual force.
From that inspiration, I first got interested in doing nude photography with the idea of exploring relationships between people.
This was coinciding with the sexual revolution that was going on at the time. Here were these other photographers coming from all over the world to study with Ansel, and when they realized there was a Playboy photographer in their group they started asking me lots of questions that did not relate to what the workshops were supposed to be about.
So, at that point I stopped attending his workshops and the following year I began teaching seminars and workshops of my own, and continued doing so for about another 25 years.
You started so young, and with Ansel Adams no less. How did that happen and what was it like? Ansel was an amazing human being with this wonderful grey haired wife that used to cook and bake on a wood-burning stove in their Yosemite cabin.
I remember thinking of them like Santa Claus and Mrs. Of course, I never told them that. I started taking pictures when I was about 5 years old and took to it right away.
I had a small darkroom in the basement and later my dad built one for me in the garage. I really started getting serious about photography when I started junior high school.
It was at that point my parents enrolled me in an Ansel Adams workshop. I was studying with him throughout many of those years as his reputation, name and publicity continued to grow.
I learned an enormous amount from him, both technically and philosophically, I learned about business and the importance of self-promotion, as well as other important things that have helped me make wise decisions throughout my career.
I was studying with Ansel while I was in junior high school, and then all throughout high school. You had to be a high school graduate with a couple years of college to qualify for that.
Ansel was kind enough to write a very nice letter of introduction to let these people know that even though I was very young, I could function on an adult level and recommended they allow me to attend classes there.
I studied fashion, product design, architectural photography, product photography, food photography, and classical nude photography—all of the same curriculum that they had for their full time students.
When I graduated high school I just assumed I would go straight into Art Center full time, but they informed me that I still needed to have two years of college.
I attended Brooks for a few semesters, and soon felt that between what I had learned at Brooks, Art Center and Ansel Adams there was no need to continue.
So, at the ripe old age of 17 I acquired my business license, began working, and then a year later I found my studio. You were obviously very entrepreneurial to start a business at What role did your parents play, were you following in their footsteps somehow?
I come from a family where everyone is either an educator or a doctor. My mother was a political science professor in the state university system, and everyone else in my family are either doctors or associated with the medical profession.
There are no other artists in my family. I somehow ended up being the only one. That must have been hard for them to understand.
Did they even consider photography a real career? They were extremely supportive. Photography is not an inexpensive hobby for a child to have, particularly in the days of film, and the necessity to have a dark room with enlargers, and all of those costly items that go along with it.
When I was 15 or so, my father met a man named Haskell Wexler. My father was telling him about me, and that I was interested in photography.
My father told him about my attending Art Center and the Ansel Adams workshops. At least now he knew that maybe there was hope, and that his son might actually make a living with his camera.
That was one of those pivotal events that I look back on, that was very important in my life. I started earning money with my camera within the first month of getting my business license.
I was still living at my parents house and was sharing a studio with my friend Don Carroll, who did special effects photography. My very first job was to photograph a lamp for a local store.
For whatever reason they trusted this skinny year-old to photograph their lamp for a newspaper ad. I did such a good job, that I was then immediately given my second assignment, photographing their entire lamp catalog.
I went from photographing one lamp to photographing lamps. It put good money in my pocket, which was nice, and then as life sometimes does, you get thrown a strange curveball.
Out of the blue, my very next assignment came in as a recommendation from the lamp client to his friend that owned a burlesque theater in Hollywood.
The next thing I know, I was photographing the instruction book for the Pink Pussycat College of Striptease, where beautiful women came from all over the world to learn the fine art of peeling off a glove, 20 different ways of taking off a stocking, how to tease an audience, and how to prance across the stage and all the refinements of burlesque dancing.
I was 17 years old then. I was working with famous dancers from all over the world. Total nudity was completely illegal everywhere in America, but for a year-old, it was still more than anything I had encountered before.
Funny how things work out! From there I went on to shooting more lamps, products, architecture, advertising and food.
I think I made more money shooting food on a daily basis than any other kind of assignment I ever did.
We know you eventually went on to shoot for Penthouse, which I assume was far more controversial back then.
Did it ever get in the way of your commercial work? Not to any real extent. Speaking of Penthouse, tell us about your time there.
What inspired your use of soft-focus photography, and how did you do it? When I started working at Penthouse in the early 70s they had very low budgets.
My reason for working with them was because I thought it would be fun. I was doing the same sort of photography as everyone else was doing at the time—sharp, crisp, well-lit images, with all information available within the image.
I thought about what I could do to make my pictures different from all the others. The first challenge was to make the models and backgrounds look beautiful and sexy.
The other problem was to hide that fact and still produce fantasy images on a really low budget.
Everything had this soft glow to it, and the highlights were bursting and burning out. It seemed sexy for some reason even though it was just rocks, trees and water.
I thought, what better way to hide the lack of good makeup and props than to use a soft focus technique and concentrate on the sensuality of the model and the sexuality of the model?
Let everything else blur out. I remembered Ansel saying that you can achieve that effect without using a heavy, expensive soft-focus lens by putting a skylight filter in front of your lens and rubbing a little Vaseline on it.
So, for my very first Penthouse layout, I did just that, and Bob Guccione founder and owner of Penthouse loved the results and encouraged me to do more.
For the next three years almost every layout I did was soft focus. I learned the hard way that if you smear Vaseline on a piece of glass and then put it back in your camera case it makes a mess, so I looked for other other materials to use.
In those days there was black and white Polaroid that had these little coater brushes that you would smear across the image after it was developed, to sort of affix it onto the paper.
It was a clear substance that dried rather quickly, so I experimented and applied some to a skylight filter and then put it in front of my lens.
It created the very same effect as the Vaseline except it was dry, so I could now put it in my camera case and use it again and again. I made about 10 of them in different configurations and patterns, little dots and crisscrosses and all of that.
Later on I began experimenting with fabric and cloth because I heard somewhere if you stretch a silk stocking over a lens it will create a diffusion effect.
I found a variety of stocking material, and loose weave scarf material in black, because white flared things out.
Flesh color was nice for some things but it threw the contrast off. Black stockings and loose weave scarf material worked best for me, so I made a series of diffusion filters like that, and continued to use those for many years.
Almost everything I shot for Playboy for 11 years was with those black scarf-type diffusers. So the inspiration for that technique, came in part from Ansel, but what about the other ones?
This was long before the Internet, how did you come up with these ideas? I feel that if you learn something that benefits your life, there is an obligation to pass that information on to others.
I believe in passing on what I have learned from others. When I take the time to instruct others in what I do, it clarifies in my mind what it is that I really do.
Passing on the information benefits me in that way.