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FORBIDDEN MAGAZINE: THE RADICAL CANDOR BEHIND ITS ORIGINAL & COMMISSIONED PHOTOGRAPHY RU EN ES

Avoided Stock Photography

Unlike many adult mags, Taboo relied almost entirely on original, commissioned photography—each issue felt tailor-made.

It was published monthly from 1982 to 1994, initially under the name "Taboo, The Forbidden Magazine," and its editorial stance was one of radical candor. It didn't shy away from explicit sex acts, drug culture, fetishism, BDSM, group encounters, and more. And it also avoided stock photos, which were often used to illustrate these themes because they were cheap and easy. But the magazine's editors wanted to make sure that their readers knew they weren't just seeing what anyone could find online. They wanted each issue to feel like an intimate experience with an artful layout and thoughtfully chosen images that reflected the unique perspective of the publication.

To achieve this goal, they invested heavily in photographers whose work had never been featured in other magazines. Some of the most notable contributors included Helmut Newton, who shot an infamous story for Taboo's first issue; Annie Leibovitz, who captured a couple having anal sex in front of a fireplace; and Richard Kern, whose haunting portraits helped define the magazine's look. These artists all shared a desire to create something truly special—a visual feast that would captivate readers page by page.

Of course, there were challenges. Many models were hesitant to pose nude or participate in risqué scenarios for fear of public exposure. But the magazine's editors were relentless in their pursuit of fresh talent. They traveled across the country scouting newcomers at strip clubs and bondage parties. And when they found someone they liked, they offered big bucks to bring them on board.

The strategy paid off: every issue was a collector's item. Readers loved Taboo because they felt like they were getting an exclusive glimpse into the world of sexuality that no one else was privy to. And thanks to its commitment to original photography, they could trust that what they saw in each issue was real and genuine—not just some stock photo from a catalogue.