Despite the title, Probst is only partially concerned with naked bodies engaged in erotic acts. His view is wider, positioned just behind and to the side of the pornographer's lens, adding context to images already contextualized by perfect bodies, their poses, their visible states of arousal. It's a natural progression for the artist, a New York native and former fashion photographer who preferred shooting models backstage rather than on the runway. He explains that off the catwalk, surrounded by their ilk, models were much more approachable, human, comprehensible, funny. So several years later, when he was asked to participate in a nationwide project entitled A Day in the Life of Gay and Lesbian America, porn seemed a reasonable choice of subject matter: another chance to go behind the scenes with the beautiful people. By then he'd relocated to San Francisco -- a major porn hub -- and he'd made some friends in the biz; soon, he was invited onto a set, and within a very short while, he'd become smitten by his new subject matter. The project quickly became a personal one, ultimately leading to Pornegrafik.

Probst's take on porn is often humorous, like plate 81, "Johnny Rey Waits for Wood," in which Johnny Rey poses, bent forward, engaged in the most popular activity of porn stars -- waiting: waiting for someone -- in this case, Donnie Russo -- to get it up and get it in; waiting for erstwhile pornboy Chris Green to adjust the lights so folks at home can witness the meat shot in all its glory; other times, waiting for a partner to work up a cum shot; waiting for more lube, more condoms, more poppers, a sandwich. We see it again and again: plates 79 ("Chance Peruses Penthouse"), 67 ("Trent Reed on Hands and Knees"), 61 ("Marc Turns Away"), and numerous others refute the story of porn's spontaneity a thousand words at a time.