Las Vegas Photographer John Copeland



Up until now my life has been one lucky stroke of Serendipity after another. I can only hope it can continue. My trip in becoming one of the Best Photographers in Las Vegas (for what I do…) has taken many interesting turns. I am a lucky guy. It’s not work when you love what you do.  I got into photography at age 18 while a soldier in Vietnam. I have been photographing people, mainly women, of all ages, shapes, sizes, and ethnicities ever since. It has been my one and only “job” since 1978.

I worked as a Staff Photographer for the US edition of Penthouse magazine during its biggest years from 1978 to 1988 while concurrently on the staff of the German edition of Penthouse 1981-1985 and on the staff of German Playboy magazine from 1985 through most of 1987.  From 1978 to 2000 I had hundreds of photo layouts published in men’s magazines around the world.

I consider myself to be very fortunate to have had so many great experiences in my life, and to have done photography for men’s magazines during their “golden years”.

Since 2005 I have, with my wife Christiné, who is one of the best makeup artists in Las Vegas, operated, and I am one of the best photographers in Las Vegas.


life is a long and winding road and mine has been a most unlikely trip…

Oregon Country Boy

I grew up in Oregon’s Willamette Valley 15 miles north of Eugene in the midst of cornfields and cow pastures. It was a good place to be a kid.  I have very good memories of those early years.

Moved to Los Angeles

At age 12 we moved to California.  Canoga Park, in the San Fernando Valley in NW Los Angeles, was a bit of culture shock for a country boy.

We lived in a lower-middle-class neighborhood there. No boys my age to play with and only some “tough-guys and older kids” living around us. I became shy and found solace in drawing pictures of sexy women from magazines and building model cars.

My parents did not get along divorced a couple of years later. It was a tough time for all of us. My Mom pulled my sister and me through it all with her hard work, class, and grace, but it was very difficult for her.

All Photos ©John Copeland-childhood home

Teen Years were tough

I became a bad student in California. I cut classes and didn’t do my homework. I had always been good in Oregon. I still liked learning things but I wasn’t very social and I didn’t like doing homework or participating in class. Drafting, Architectural and Technical Illustration were my favorite classes. The only ones I actually got good grades in.

I started working after school as a busboy at age 15. I wanted to have money so I could get a car.  When I got out of high school I worked as a gas station attendant, pumping gas at the local Chevron stations. Cars were my only big love. I was a total “car guy” and worked 60 hours a week to keep my cars running and looking good.

When I was 18 yrs old I got a small inheritance from an aunt. Against my mother’s wishes, I blew it all on a car. It was a great car. A hot-rod built-up 1962 Corvette! It cost everything I earned to keep it running, but I have no regrets. It was the highlight of my youth.

Basic Training Fort Polk 1967

The Army comes calling

It was 1966 and the Vietnam war was going strong. I got my draft notice and there were no “bone spurs” for me. I had no real plans for my future. College was not in my plans.

I sold the Corvette and enlisted in the Army to become a Technical Illustrator. (so the recruiter “promised”) However, Nine months later I was in Vietnam drawing maps from aerial photographs for the artillery and infantry.

It was there, working in a mobile van printing aerial photographs that I got into photography. I purchased a Nikkormat FTN at the Post Exchange and I was hooked. Many of my photos from that time were lost but you can still see many of them on the website I built after 9-11 for my old company the 569th Engr. Co. Topo Corps


They say, “The Army makes a man out of you”.  It made me realize what I was capable of, what was important, what was not, and what I wanted to do with my life.

Because of my army photo lab training, I was able to get a good-paying union job as a graphic arts cameraman.  I took advantage of the GI Bill and signed up for Commercial Photography at Santa Monica College. I didn’t sleep much back then.

I was always girl-crazy, but before the Army, I was shy and had no confidence. It was different now. Work, school, party, sleep.

As the ’70s progressed and glamour photography continued to evolve, so did the explicitness of the centerfold and feature photos in Penthouse. Even Playboy jumped in for a short time as did all the other men’s magazines that had come into the market.

I wasn’t offended in the slightest. I liked doing sexy shoots. It was in late 1974 that one of the girls I had done nudes on asked me to submit her to Playboy. I submitted her and showed them other work that I had done. I hoped they might want me to shoot for them, but at that time, it was not to be.

My Calumet 4x5 View Camera

First Playboy Submit

First Playboy Submit

Playboy was interested in one of my models…

They wanted my model but said my work was “too Penthouse style” for them.

So I thought, hmmm… maybe I should try Penthouse. One of the girls I had photographed, said she would love to do Penthouse.

Back then Penthouse had an office on Sunset Blvd, just a couple of blocks west of the Playboy building. I told her we would need something more explicit for Penthouse… and she said that was “not a problem…”

Penthouse magazine was coming on strong (and sexier) at the time. My photos got a much better reception there.


First Playboy Submit

First Playboy Submit

Photography was expensive and Penthouse did not pay for test shoots. I had only the money I made at the newspaper and from the GI bill.  My apartments were turned into budget-mini-studios. (rent was cheaper in Venice back then)

I was rear-ended on the freeway one morning and it led to an $8000 settlement. I managed to buy a three-light studio strobe setup, a new Nikon F2AS with motor and lens, and an RB67. The film and processing were still expensive, but I had very good equipment to start.


Cover of the December 1978 Penthouse magazing

December 1978 Penthouse

About Centerfold Photographer John Copeland and First Published Centerfold

Notice in newspaper

My Life Changed Forever

The office staff at Penthouse were very positive with me even as the first girls I submitted were rejected by the publisher, Bob Guccione . It turned out Mr. Guccione actually liked my photography. (I admit to copying him) My life would be changed forever. Ken Marcus had just left Penthouse to work for Playboy and Guccione wanted another L.A. based photographer. I was in the right place at the right time.  I reached out to Ken and he was gracious with some good advice.

I had several new girls I submitted, and they were approved for shoots. About 6 months later I  had my first layout, a centerfold, Amber Ramsey, published in the December 1978 issue of Penthouse.

My mother was so very proud of me. She was suffering from lung cancer at the time and would die from it in 1979. She was always very supportive. Shooting centerfolds was a pretty outrageous thing for a son to do in those days.

The newspaper, where I had worked for some 5 years in the photo lab while going to school, actually published a blurb about my first layout. All my friends and associates who probably snickered behind my back finally realized I was serious, and my photography was not just about meeting girls. Finding new models got much easier after that.  

In 1980 I was asked to go to Italy to help jump-start the New GERMAN Language EDITION OF PENTHOUSE MAGAZINE.

In 1980 I met with Marilyn Grabowski and Gary Cole the photo editors at American Playboy and said I would still like to shoot for them.

They gave me a good girl and I did a test shoot for them working with their location, stylists and makeup and hair people. I was having a good run at Penthouse and they knew my name now and at least gave me the time of day.

Coincidentally, (or maybe not? The women in the L.A. Penthouse office knew I did the test shoot for Playboy) Penthouse called me a few days later and asked if I could go to Italy to shoot 5 centerfolds for the new German-language edition of Penthouse. ..uh… Yeah!!!

I didn’t even have a passport at that time and they wanted me ASAP. I got a rush on my passport and picked up some new travel cases and prepared for the assignment. I stopped and met first with Mr. Guccione in NY and he gave some instructions on how to shoot one of the models and off I went.

I had no idea what to expect, and was I ever surprised.

The Location was Amazing!

The German Penthouse licensee was a major German-language publisher with many magazines.  He owned a castle, a real castle, in Loano Italy on a hill overlooking the city and the Mediterranean.

It is now known as Castello Doria ( a Must See video) It was an amazing experience for me. The castle was an incredible place to shoot.  I was treated very well and the publisher, his family, and the castle staff were wonderful people. All of the models were great too. The grounds were huge and I worked without an assistant but they gave me 4-5 days with each girl.

I went back to the castle a couple of more times, photographing 4 or 5 centerfolds every time. It was a great time and I was very well paid. 🙂

Those times in Loano living in the castle changed the way I thought about everything. I was introduced to a way of life I had never known. I had time to go into the village below during festivals, to eat at local eateries among the local people. I went with the chef from the castle to shop for fresh vegetables and meat.

Priceless memories. My times in Europe really did change my life.


NOTE: I never went back to American Playboy again and I did not hear from them. While I was in Italy after doing the test for them, Dorothy Stratten was murdered. Playboy had much more on their plate than my test shoot. The girl I tested was eventually a Gatefold and I was told photos from my tests ended up in the Playboy flats. (Girls of Playboy Special Editions) I did receive a check for it but I never saw any of the shots from the shoot.

Shooting in Paradise

I always wanted to shoot in Hawaii. A good friend had just bought some property on Kauai and introduced me to a wonderful guy who became a lifetime friend who was born and raised on the island of Kauai.

He organized a house for us on the beach in Poipu, a VW bus, and took us to places the tourists never see. I made 4 trips over there in the early 80s. I shot two times on Kauai and once on each Oahu and the Big Island.

When you worked for Penthouse you were more than just “the photographer”, you were also “the producer” and responsible for every aspect of the shoot.

Every trip was a drama and there were always unforeseen problems. To make the trips possible and stay within the frugal expense allowances that Penthouse would reimburse I had to come back with multiple layouts on multiple models.

The logistics were always a challenge but the memories and photos and friendships I made outweighed the cost over-runs that invariably came out of my own pocket.


“Bluest Lagoon” Penthouse Photo Crew, Secret Beach Kauai

Kristen Knudsen and Tommy Penthouse magazine Love Set

Kristen Knudsen and Tommy Penthouse Bluest Lagoon Love Set

1982 Hawaii Big Island Marcia on Lava-Flow

1982 Hawaii – Big Island. Marcia in Kilauea volcano Lava-Flow

Penthouse Collector Edition The Erotic Photography of John Copeland

The Erotic Photography of John Copeland

In 1992 Penthouse published a Collector’s Edition of “The Erotic Photography of John Copeland”

I felt honored that they felt the shoots I had done deserved a special edition. I think many who work in creative fields are always a bit insecure about what they produce. Getting positive re-enforcement seems to validate that what we do has meaning.

When I first started shooting for Penthouse the great photographer Stan Malinowski called me and invited me to lunch. He had photographed some of my favorite Penthouse layouts, always including scenics with the model and telling a story. His photography was special and I loved the layouts he shot. I was surprised that he even knew who I was. I was competing and he gave me a pep talk.

He wanted to make sure I understood that if Penthouse was buying my photos it was because they were good for the magazine and would be profitable to Penthouse. He told me to never under-sell my work. That is something that every creative should always remember.

He was in town doing editorial shoots for Vogue and was staying in a nice room at the Beverly Hills hotel. He always had a kind word for me and I never forgot his advice.

Uschi Borsche, Don Steffens, Angie Thomas in Rome

Uschi Borsche, My Assistant Don Steffens and Model Angie Thomas in Rome

Working With Uschi Borsche

In 1982 I worked for the first time with Uschi Borsche. Uschi had taken over as the producer for the German Penthouse photo productions.

We discovered we had the same birthday and we hit it off immediately. She saw right through me. She had my number and Uschi became very important to my successes. 

Uschi was a well known Makeup Artist and Hair Designer in German films and had been previously married to a top German film director. She was smart, independent and well-liked. She knew many people.

She put together great locations and wonderful designer clothing. We did shoots in Rome, St. Tropez, Zurich, Ibiza, and Munich.  I also continued shooting for the US edition of Penthouse during this time with multiple trips to Hawaii and Puerto Rico.

I flew a lot in those days. I had access to many models and began producing and syndicating my own private productions to other US men’s magazines and international publications. It was a great time.


In February of 1984, I moved to Munich to work directly with Uschi. She had a large studio and organized all the Penthouse photoshoots. Uschi got me different types of work and I did both some editorial and product photography in the studio for Penthouse. I owe to Uschi more than I could ever find words for.

I really liked living in Munich. I really liked Europe in general.  Penthouse got me work permission and Uschi helped me get situated. Uschi had a great new studio but for Penthouse we shot mostly on location in very nice, but small by American standards, private apartments. I learned how to work in small spaces and still get a good look to the photos. We always had great wardrobe and lingerie. 

short makeup artist standing next to a very tall model.

Christiné after doing makeup on a very tall model.

Uschi introduces me to the “Love of My Life”

One cold winter day in 1985 while I was editing slides in the studio, Uschi came in and introduced me to her new makeup assistant, Christiné.

Christiné was a cute, spunky, young thing with dark hair, dark eyes, and tight black jeans, leather jacket and boots.  She spoke pretty good English and we had a connection right off. She was also the assistant studio manager so we spent time together.

We were both told by Uschi not to “get involved” with one another. She was a “nice girl” and I was a “run-a-round-photographer-guy”.  So of course, we did. I doubt my actions would pass the “me too” workplace standards of today. But this was 1985… The Eighties! 

Christiné had previously worked for 5 years at a high-end Cosmetic Studio and Uschi had been a client there. Unbeknownst to me, Christiné had been doing the basic “prep work” on our models for some time. She did everything but the shoot makeup and hair at the salon before we ever started shooting. She did facials, waxing, acrylic nails, pedicures, manicures, lash extensions and wanted to do more makeup. I knew that if Uschi thought enough of this girl she must be something special. I started hiring Christiné to do makeup and hair on some of the models I was doing test shoots or private productions on. She did really well, was good with the models, and they all liked her.

Time to check out the German Playboy

The Editor of German Penthouse did not like me doing my own private production shoots to license to other magazines no matter that the publications were in other countries and photos credited under a pseudonym. He wanted me to stop. I had access to more potential models than he would approve or Penthouse could run. They were very picky and turned down many good models. If they didn’t shoot with me they would shoot with someone else.

I decided to contact the Editor of the German Playboy. German Penthouse circulation was almost even with German Playboy at the time and was gaining on them. We met over wine in his office with the art director and he told me he would be happy to have me come and work for them. He did not mind that I sold layouts to other publications providing I used a pseudonym.

This was early in 1986. I gave notice at German Penthouse.  By this time Christiné and I were living together so it was logical, she would come work with me at Playboy. I also had a good assistant and we were ready to go. It was exciting. Uschi was not happy with my move but as a business woman she understood.

I Start Working for German Playboy

The Playboy Gatefolds had to be shot on 8×10 cameras so it was a new experience. They had a nice studio with all the latest Broncolor strobes and they gave me four days to do just the gatefold shot! I was used to doing a full I centerfold 35mm layout in around 3 days.

I did shoots in both Ibiza and Mallorca and fell in love with those islands.

Unfortunately, the German Playboy art director did not like how I shot the women. He wanted them more child-like and innocent. He felt my photography was too aggressive and provocative for German Playboy. He started making my life difficult. I had to shoot and re-shoot the gatefold shots multiple times to please him. After each, I would have to take a polaroid up to his office and get his approval and he always found something in the shot he did not like.

I was not used to being on a tight leash. With Penthouse Uschi and I made the decisions.  The art director did not dictate how we photographed the centerfolds and feature layouts.


Photoshoots in Ibiza

Photoshoots in Ibiza out for dinner

working for German Playboy lasted a year and a Half

I managed to make it through the year and halfway into 1987 before the relationship became too strained. In that time I did 4 covers, 4 Gatefolds and 4 feature layouts. I was happy with all of the shoots.

The editor seemed to like me and “my story” OK but the art director not. I was featured in several German Photography magazines and a big TV show which probably did not help my popularity with other photographers working for the magazine.

Two things finally did me in AT PLAYBOY

The first was interviews I did for a “60 minute style” TV show that I don’t think made me look very good. I at first balked about being the subject as my German was not good and I was not comfortable in front of the camera. I was told not to worry and to “put on a bit of a show” as it would be good for the magazine.

The film crew followed us for 4 – 5 days. They filmed our return arriving at the airport after a trip shooting in Mallorca for 2 weeks.

They were the room for the review of the shoot with the art director and they caught his and my disagreements and discussions. They were with us as I planned our next shoot and the next day as we did it.

They interviewed me for what seemed like a couple of hours and then ran maybe 2-3 minutes of the most scandalous things I had said. They played up that I was American and my disagreements on the style of photos with the art director and that I was actually more of a Penthouse photographer.

The editing killed me with the Playboy art director and made it seem I liked Penthouse more. (which was true…)

About Centerfold Photographer John Copeland

 Cover Shoot with Centerfold Photographer John Copeland

Failed Hawaii Photo Trip

The second was a failed shoot in Hawaii. One model who was flying in later never showed up as her visa was turned down. Once in Hawaii we had rain the whole two weeks we were there. I only managed to get one good usable shoot out of the trip. Weather is always a danger in the islands. I got blamed for bad preparation and things got testy.

NOTE: Years later I was told by an insider why it took 4 days for the final Gatefold shot. The photographers could bill for more money and then “kick some back” to the art director. I have no proof of that, but it is very believable. I was told I made the other photographers look bad because my billings for shoots were around 20%-30% less. Some people in the offices were not overly happy about an American photographer working regularly for the magazine and perhaps rightfully felt they should use German photographers.

Rainy Day in Hawaii

Rainy Day in Hawaii with crew

Wedding Day Kiss

Wedding Day Kiss

Married in Munich

I wanted to go back to the states. I was starting to feel like an outsider in Germany for the first time. I was anyhow making more money off of my private productions than from either Playboy or Penthouse.

But by now Christiné and I were in love. We had lived together for over a year and I could not imagine living without her. I told her I thought we should get married and go back to L.A… She said OK. We had a Justice of The Peace style ceremony August 17th, 1987, and then a farmhouse party for friends the next week. Not a very romantic proposal on my part, but we are still together after all these years.


Back to the USA

In November of 1987, we moved back to Los Angeles. We took a while to decompress and think about the future.  We did a few magazine shoots and set up a little studio above a hair salon.  The salon owners lost their lease. Another photographer I knew was moving so we took over his photo studio on La Brea Avenue in L.A. just south of Hollywood.  The place needed a lot of work, but in 1989 we were rolling again.

I continued producing my own centerfold layouts and syndicating them to magazines around the world.  It was a great time for this.  Models were readily available and I had many connections for selling limited and specific rights to many different men’s magazines in different countries and languages around the world. We also did actor and model headshots, portfolios, and portraits of all types as well as commercial jobs.  We worked with PR companies and found ourselves also doing a lot of make-overs for Southern California businesswomen.  We would do business “portrait” shoots for their professional use, and then Christiné would give them a glamorous look and I would photograph them as if they were celebrities or models….. something wild and glamorous just for their personal use.

Labrea Ave Studio 1990 - 1994

La Brea Ave Studio 1990 – 1994

Welcome to Las Vegas

Welcome to Las Vegas

1992 Riots and 1994 Earthquake – Time to Leave L.A. — Hello Las Vegas!

In 1994 after two years of unrest in Los Angeles we decided it was maybe time to leave LA.  The riots of 1992 and the earthquake in January 1994 took a toll on our studio neighborhood.  I grew up in L.A. I had been through riots and earthquakes before. We wanted to buy a house and L.A. was just getting too expensive for the places we would want to live. I felt it was the right time for us to move on. A friend suggested we look into setting up a photography studio in Las Vegas.  We made several trips, found a great house and moved to “Vegas” in June of 1994.  It turned out to be a wonderful decision.   We first set up a studio just off the Las Vegas strip and went right back into working as we had in LA — except now as one of The Best Photographers in Las Vegas. The magazine business was slowing but Las Vegas was full of dancers and we still did a lot of magazine-shoots the first few years. 

1995 And The Internet Was coming quick

I was being frequently approached to sell my photos to a variety of new start-up Internet Adult websites.  In 1992 I had already licensed large numbers of my Playboy style images from my independent productions for some of the first digital CDs of that type ever produced. I still didn’t quite understand how or why it all worked at the time, but the royalties from sales, especially from Japan had been huge. I felt is was the future.

Having no idea what I was about to get into, I knew I had 100’s of fully released photoshoots and decided to start my own Internet adult website. I contacted a long-time friend who was always looking for new adventures and PIXOTNA (short for pictures of “t and a” was born.  It began a new chapter in my life.  

Like many at the time, we hoped to become Internet millionaires. That did not happen, however, it was an amazing experience to get so deeply involved in such a new and challenging field. There was a tremendous amount of work in putting it together and operating it and I found myself shooting less and sitting at the computer running the business more.

The first years showed great promise but as the whole world got involved and hackers and criminals entered the industry, the promise quickly faded. It became incredibly demanding and from 2000 to 2005 I had little time for photography… It was one of the most difficult and unhappy periods of my life. It is a whole other story. After almost 10 years fighting it out in the “Wild West” of the Adult Internet, shooting less and less every year, sitting on the computer way too much, I finally “extracted” myself from the Adult Internet business in 2006. 



Logo for Las Vegas Studios dot com is born

 In 2005 we officially started I was so happy to leave the Adult Internet behind. I had learned a lot about building and hosting websites and I still had been shooting content for our sites but I wanted and needed to again devote more time working together with Christiné, and get back doing my photography full-time. I had registered the domain name LasVegasStudios many years prior and decided I should put it to use.

We still have our own dedicated web server and I still do web hosting and a bit of simple website design and maintenance for some long-time friends and family.  I still enjoy working on computers and the Internet.  However, as cliché, as it sounds, photography has always been my one overriding passion. Making our clients look good and making them happy is the most rewarding of all. Shooting Portraits, Glamour, Fitness and Boudoir Photography here in Las Vegas is what we enjoy doing more than anything we have ever done. Once finished I hope this website to be a testament to that.

Behind Every Successful Man is a Woman

At least ONE and probably MORE.  I want to give credit to the talented women I have worked within my early men’s magazine photography days. Before Christiné, there was Gigi, Alicia, Jasmine, Debbi, Debra, and Uschi Borsche. They were the Producers, Makeup Artists, Hair Stylists, Wardrobe Stylists, Assistants, friends and “cheerleaders” (and most were all of those) that helped me so much to give my early photography a “look and style” that helped catch Bob Guccione’s attention.

And of course the models. All of the women I photographed. All of these young women were a special type. They were the girls of the 80s! A new type of woman. They were adventurous, they were brave and independent and they had goals. It goes without saying they were beautiful on the outside but most were beautiful inside as well and for the most part very smart.

Men? I have had several very good assistants over the years who I also owe thanks to. There were some that saved my butt more than once.

Without these people in my life, I would be just another guy with a camera. I could not have done it without them.

I thank them.

Those greats whose work has inspired me over the years.

There are many great photographers I have long admired the work of. Those that influenced me the most were Bob Guccione, Mario Casilli, Richard Fegley, Ken Marcus, Jeff Dunas, James Baes, Francis Giacobetti, Stan Malinowski, Helmut Newton, Guy Bordin, Antonin Kratochvil, Herb Ritts, David Hamilton, Yousuf Karsh, Victor Skrebneski, George Hurrell, Hiro, Dick Zimmerman, Harry Langdon, Avedon, Suze Randall, Earl Miller, Philip Dixon… and there are surely others I can’t think of right now.

Personal Information

Time goes quickly and I love to keep busy. When I am not shooting, editing shoots or working on our websites and all of the other responsibilities of self-employment, I am spending as much time as possible keeping our house and yard in order and try to find times for going through my 30+ years of photo archives.

With close to 200,000 slides and negatives in my archives, it is a never-ending job organizing, cataloging, scanning and restoring early works. I used to think that my images from the 70s, 80s, and 90s would be of some value down the line in the gallery, fine art, nostalgia, photography market, but now I mainly look at it as a vanity project that I will surely never finish in my lifetime.

Photography has changed dramatically in the last 20 years and the way I work and how I shoot has evolved as well. Magazines, calendars, and posters are no longer my clients. Everyone has their own personal “magazine” to say and show what is important in their lives and we help them by making them look the way they want to look for all of their followers. Individuals are the clients of today and I like it so much more.

John Christiné and Lola

John, Christiné – a Selfie with Lola

“New Lease on Life”

In April of 2011, after many years of pain from a progressively worsening arthritic hip I had a total left hip replacement. All the years of schlepping equipment and moving furniture around putting together photo sets, followed by years of sitting at the computer had taken its toll. In 2017 I had the second hip replaced. The surgeries have been a great success. I thank the doctors and the Veteran’s Administration in Las Vegas for their great work and for giving me a “new lease” on life. Since then I have been able to resume a full work schedule and feel great.

Christiné is a great cook and I enjoy baking. It is relaxing for us. She cooks healthy meals, I like baking desserts. We enjoy our Cabernets, Zinfandels and watching a bit of TV when we can. I am a big college football fan (Go Ducks!, C’mon Rebels!) and I am a bit of a political junkie. I am a strong moderate-liberal Democrat. I believe it is important to have a strong President but one who also cares about the little people and is honest and ethical.

We don’t have children but have had some great cats during our time together and currently have a couple of rescue cats born in 2006 that are holding up pretty good.  In 2014 we got a funny cartoon dog Shih-tzu-something-or-other-mix named Lola that keeps us smiling…. and who has added a new dimension to our lives.


2020 – The Pandemic and other nasty stuff

March of 2020 changed our lives. Not only did the pandemic hit, basically closing down Las Vegas, causing both of us to get a flood of cancellations for what had appeared to be a very busy year — but I was also diagnosed with oropharyngeal cancer. I had a sore throat that did not go away and it turned out I had a rather large tumor starting at the base of my tongue and going into my throat. The Petscan showed it was also into my lymph nodes and I was pretty much terrified. I thought my life was over or that I would survive only after major surgery that could leave me disfigured and unable to speak. The VA oncologist was much more positive. She warned me about the battle I would be facing but said with chemotherapy and radiation treatments we would beat this thing. It has been a battle for sure, radiation to the head and neck area causes all kinds of issues, but now, after one year I am feeling great. I just had my 6-month follow-up and there is no sign of recurrent cancer. I have been rehabilitating and have had my Covid vaccinations and we are ready for Las Vegas to open up again and for us to get back to doing what we love doing

Working to make great photos never gets old. Every shoot is a new experience and we love it when our clients challenge us to give them the photos they have always dreamed to have done. It keeps us young and always experimenting and trying new things. We are fortunate to be able to do what we do and we appreciate every day.

–John Copeland

Lets Do a Shoot

— 1977 – 1995 PENTHOUSE – American, Australian and German editions – 150+ pictorials, 65+ centerfolds, 50+ covers.
— 1978 – 1995 PENTHOUSE – All other International editions – over 65 pictorials, 35 centerfolds, 30 covers.
— 1986 – 87 – PLAYBOY Germany – 9 pictorials, 5 gatefolds, 5 covers.
— 1990 – PLAYBOY Australia – 5 pictorials
— 1978 – PRESENT – over 500 published features, Centerfolds, and covers in leading men’s magazines around the world.
— 1992 – 94 — Heavenly Bodies I, II, III, IV, V, VI CD ROM discs an anthology of early works.
— Various portraits, still life, Calendars, posters and advertising work.
— 4 images from German Penthouse on tour with “German National Art Museum’s” exhibit: “The Nude in Photography”
— Featured: ABC Los Angeles Affiliate: “Eye on L.A.” Eye on Centerfolds, 1981
— Featured: The Girls of PENTHOUSE #6, “The Erotic Photography of John Copeland”, 1982
— Featured: “Ibiza, Sonne, Licht, und Huebsche Maedchen” German COLOR FOTO magazine Feb. 1985
— Featured: “Shooting a PLAYBOY Cover” German PHOTOGRAPHIE magazine, Aug. 1986
— Featured: Profile and Portfolio “Maedchen” German PHOTOGRAPHIE magazine, 1986
— Featured: “Under our Roof” PLAYBOY documentary,German Television 1 ARD, 1987
— Featured: “The Best of John Copeland” Australian PENTHOUSE Feature, Oct. 1994
— Founded: PIXOTNA Productions Inc. Adult Oriented Internet Development Company 1995
— Profiled: EXOTIC DANCER Magazine, Photographer Profile, Summer 1996
— Started: — Adult Internet Content Production and Licensing 199
— Started: — Adult Content Lease Galleries 2000.
— Started: — Internet Hosting, Website Design, Programming, 2002
— Started: “Centerfold Photography — 2002” Seminar-Workshops
— Started: “” — 2006 – Present