© Carl Warner

Explore some of the most inventive and radical body photography we’ve published in recent years. William Farges deconstructs the human body, creating elegant symmetrical forms, while Chloe Rosser turns limbs and torsos into “strange fleshy cubes.”

Anastasia Pottinger photographs centenarians, some of them nude, capturing the countless stories etched in their skin.

Meanwhile, Carl Warner offers a series of “landscapes” made of limbs, flesh, and other obscured body parts, while Daisuke Yokota brings us into the darkroom, creating sensual photographs of bodies intertwined. 

William Farges constructs elegant, symmetrical diptychs out of the nude human form.

© William Farges

Daisuke Yokota captures mysterious body photography in a dark room.

© Daisuke Yokota

“Yokota creates his images through a method of developing, fixing, and reshooting his photographs, raising the processing temperature to produce mounting degrees of noise with each printing. Yokota uses film and an elevated level of grain to heighten the tangibility of his prints, the textures of his black and white tones made to mimic human cells.”

Carl Warner takes an artful, original approach to body photography.

© Carl Warner

“’Each image in the series uses only one person’s body, shot from different angles,’ Warner says. ‘I am interested in the form and structure that brings a sense of place to the body as the space in which we dwell.'”

Anastasia Pottinger captures the beauty of models over the age of one hundred years old.

© Anastasia Pottinger

“During their photo sessions with Pottinger, the models were each invited to undress, but they chose how much to reveal. One woman chose to sit completely nude, and another man decided to stay almost totally clothed.”

Chloe Rosser makes us question our assumptions about the human body.

© Chloe Rosser

“I took one photo which really changed the direction I was going in. The photo was of just a torso from behind, with no legs, arms or head showing, so that it was this strange fleshy cube. It was so inhuman and grotesque, while also being very much alive. I was struck by it. I then started planning and shooting other poses that had this inhuman quality to them.”

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