Kanio Masajaki rabidstudio

Instagram.com/kanio.masajaki

This is my Patreon account where I exhibit my works.

patreon.com/rabidstudio

And this is my homepage

www.rabidstudio.com

"If a man or woman looks at my photos and wants to have sex with you, that is true art."

I have loved taking photos since I was a child. My primary subject was myself; I loved recording my own existence. I would spend hours in front of the camera, holding a remote or setting a timer, striking poses—often completely naked. Then, in 2013, I began photographing others out of a desire to capture women and sexuality. The women I met that day, one-night stands, or girlfriends I dated briefly—I was drawn to the provocation, the interest, and that simple, primal "perversion." That instinctive drive eventually became my profession. I earn a living through this now, but my essence remains unchanged: I am a profound pervert.

I love the curves of a woman's body. The thin fabrics that reveal the skin, tight clothes that constrict the form, and the secret tension flowing beneath a short skirt. Some may call this immoral, but I have been consistently honest about it since the moment I first picked up a camera. I hate "packaging" myself. Doing what everyone else does or following the same trends simply doesn't suit my nature.

There is a reason I lay out these explicit details. In my view, the vast majority of those who want to be called "artists"—especially amateurs who brag about expensive gear and grand studios—are perverts who simply don't show it. They all have the same "dirty" and "lewd" desire to photograph women. However, they refuse to acknowledge that desire, hiding behind the mask of "Art," only to surreptitiously indulge it when the opportunity arises. Often, the subjects are left in the dark about the true nature of the situation. Later, they say they were "victimized." I despise those photographers, and I have no respect for subjects who don't bother to grasp the reality of who is behind the lens. To me, that hypocrisy is far filthier.

Most photographers lack skill, sense, creativity, or even basic human charisma. Yet, with a professional camera and a bit of pretension, they act as if they are masters, intoxicated by mediocre results. Such work never lasts as "art." It is clear: given the chance, their ultimate goal is always the same—the female body, breasts, buttocks, and lingerie. There are only two types of photographers in this world: those who haven't had the chance to shoot those things yet, and those who do while making excuses for it in the name of art. This is why the majority of photographers are men.

I decided from the start not to sugarcoat it. To define my own unique style, I coined the term "SEXUALGRAPHY." While the "Boudoir" category exists, my work is far more raw and didn't quite fit that mold. If someone points a finger at me and screams, "Is this even art?" I will tell them, "No." If they say, "It’s so artistic," I’ll simply say, "Thank you." I have no attachment to those boundaries.

There is a practical reason for this honesty. I don't want people who expect a vague "artistic session" based on my photos' atmosphere to hesitate on set, saying, "I want to cover this part," or "Isn't this pose too much?" Such sessions only create unnecessary rules and stall the flow. I'm not saying they are wrong; I just don't want to waste energy on pretenses or arguments. Unless it's a simple pro-rate shoot, I must fully explain myself before we start—my purpose, theme, values, and beliefs. Otherwise, a client comes for 'A,' I have to persuade them for 'B,' and the emotional exhaustion of trying to reach my ultimate vision, 'Z,' is a nightmare for me. So, I ask you: do not see me as an artist. We must be people who stand on the same line, willing to embrace the same risks and discomforts.

I am simply a man honest about his desires, wanting to record the most private and explicit parts of a woman. Once a thorough agreement is reached through this lewd and perhaps uncomfortable dialogue, the shoot becomes free. I state clearly what I want, swinging the focus of the camera here and there, pressing the shutter without hesitation. Perhaps the moments caught by chance will look like "art" to others.

One of the things I hate most is shooting suddenly without serious communication. I dislike commercial shoots where a crowd interferes or follows a pre-set system. Of course, if it pays, I have to do it. This is my job and my business. But for someone like me, who works on individual sense and connection rather than a rigid system, those are the most difficult and undesirable tasks. My work is far removed from sessions with no communication or constant interference.

My work does not allow for ambiguity. It requires serious passion, focus, and above all, connection. It is better not to start at all if you're only half-invested. It’s not just about being "pretty or having a good body"; what matters is being a proactive person who knows how to reveal themselves boldly. Those who work with me will face a set far more explicit and decadent than any other. Discomfort may arise, and moments may occur that cannot be explained by social ethics or morality. Emotions may mingle, and it may lead to an actual relationship. I do not hide these possibilities. That is exactly why more dialogue and clearer consent are required.

This is why, when I am in love, I love photographing only that person. Because a deep connection already exists, I can pick up the camera without explanation, and the result is naturally beautiful. Photography is ultimately about capturing a fleeting moment, and I believe those moments are the most honest and powerful. To be honest, when I'm in love, I often don't want to work at all.

I seek thorough consent for everything during the process. I clarify what is possible and where to stop, and I never cross that line. I believe a photographer stands on the boundary between a creator and a criminal, and I intend to stand firmly on the side of the creator. I love the words of Nobuyoshi Araki: "Art is doing what must not be done." I love that sentence because of the awareness and responsibility it implies regarding that boundary.

To me, a photographer is not just someone who holds a camera. Even an elementary student can do that with a few minutes of instruction. A true photographer is someone who can persuade their subject to realize the vision they want to capture. The connection and tension created in that process of persuasion are what make the result. Once that is secured, technology is just a tool.

Returning to Sexualgraphy, I believe there is nothing more beautiful than a woman. If God took a human form, it would be a woman. Capturing your most "heated" self while you are even a year younger is undoubtedly valuable. As someone who shoots himself every year with a timer, I feel this deeply. I may not be a moral role model, but I am not a criminal. In today's world, I know I have a "dangerous" job—I am a man, the subjects are women, and the theme is sexual. But the results are certain. It’s a method you’ve never seen before, fueled by a perverse sensibility.

Stripping away pretension and packaging to leave only results and experience—that is what I do. All dialogues, processes, and raw files are kept under strict security and secrecy. My first priority is ensuring that the lives of those who become the backdrop of my work are not ruined because of my photos. I feel a heavy responsibility for all of it. I love expressing myself, whether through a camera or through words. That is why I want to protect the clients who trust and find me. That is who I am.