That is an exceptional picture, Jollyrei! I'm not what you were going for, but I like what you got!
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Alice Kiss - Crux Legend
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That is an exceptional picture, Jollyrei! I'm not what you were going for, but I like what you got!
Gibbs505
SERVORUM DOMITOR
Smiling on the cross, enough to make a centurion mad!
Gibbs505
SERVORUM DOMITOR
Great pic!!
Repertor
Artifex Imaginum
The semi transparent girl is what Alice is seeing in her imagination. It's a nice effect.
Yes, that's the one.
I like to do something a bit different, and leave the Roman arena scenes to others. Madiosi does those much better than I do, for example.A lovely image - the field is surely full of lavender,
a refreshing and relaxing scent to be crucified with!
Well, I won't say my work here is done, but I am glad people like it.That is an exceptional picture, Jollyrei! I'm not what you were going for, but I like what you got!
I shouldn't imply that I want to be overly self-critical - I am quite pleased with the picture, but I have something else in my mind as well, and I'm trying to work out how to portray it.
Makar observed that Alice was very busy modelling for numerous sites at the time he approached her for the 'Crux Forrest' project. Following her MPL debut, she was much in demand by the studios throughout 2007, and it seems that was her busiest year. At least twenty of her photo series were published during 2007, and several of her shoots which appeared in later years were actually photographed during 2007 - 2008.
Some Rylskyart sessions were published as late as 2015, but since Rylsky was working with Alice in 2007, the later releases are likely to have been posed much earlier. Just Teen Site's 'Drizzle' (#1) published on 13 December 2008, was produced from a photo shoot which also yielded MPL's 'Drops of Rain', released six years later on 2 November 2014.
Some of Femjoy's outdoor series by Valery Anzilov were published soon after their shooting sessions in 2007. Several of these are location shoots in the attractive scenery of the Crimea, and the results suggest that Alice enjoyed the experience. It gave her a break from the Moscow studios, a few short weeks before the Cruxdreams engagement. The first of these attractive Femjoy series was published two days after the Cruxdreams shoot on 22 June 2007 (MPL and Femjoy both released photo shoots of Alice that same day - #2.) Further series compiled from the Crimea location shoots were released periodically up to March 2008.
Most of Alice's work with photographers Rigin and Rylsky, for Met Models and Metart, received timely publication during 2007, although Rigin's 'Red Velvet' series had to wait until publication by Erotic Beauty in April 2014 (#10.) Whilst I am not aware of any Alice photo shoots released after 2015, I suspect there are more sessions as yet unseen. The publication of Alice's second MPL shoot, 'Basic Instinct', coincided with her nineteenth birthday. Two years later, Vadim Rigin celebrated Alice's twenty-first birthday with the release of 'Mirror' (#7) on 13 May 2009.
Releases of photo shoots by Vadim Rigin, illustrated here by covers #3 - #10, were spread over seven years between 2007 and 2014. Alice always appeared as 'Olga' in Rigin Studio's publications, but Met Models released Rigin's pictures with the model name, 'Marina' (#3), and Erotic Beauty presented his work using the name, 'Alice Kiss' (#10.)
Some Rylskyart sessions were published as late as 2015, but since Rylsky was working with Alice in 2007, the later releases are likely to have been posed much earlier. Just Teen Site's 'Drizzle' (#1) published on 13 December 2008, was produced from a photo shoot which also yielded MPL's 'Drops of Rain', released six years later on 2 November 2014.
Some of Femjoy's outdoor series by Valery Anzilov were published soon after their shooting sessions in 2007. Several of these are location shoots in the attractive scenery of the Crimea, and the results suggest that Alice enjoyed the experience. It gave her a break from the Moscow studios, a few short weeks before the Cruxdreams engagement. The first of these attractive Femjoy series was published two days after the Cruxdreams shoot on 22 June 2007 (MPL and Femjoy both released photo shoots of Alice that same day - #2.) Further series compiled from the Crimea location shoots were released periodically up to March 2008.
Most of Alice's work with photographers Rigin and Rylsky, for Met Models and Metart, received timely publication during 2007, although Rigin's 'Red Velvet' series had to wait until publication by Erotic Beauty in April 2014 (#10.) Whilst I am not aware of any Alice photo shoots released after 2015, I suspect there are more sessions as yet unseen. The publication of Alice's second MPL shoot, 'Basic Instinct', coincided with her nineteenth birthday. Two years later, Vadim Rigin celebrated Alice's twenty-first birthday with the release of 'Mirror' (#7) on 13 May 2009.
Releases of photo shoots by Vadim Rigin, illustrated here by covers #3 - #10, were spread over seven years between 2007 and 2014. Alice always appeared as 'Olga' in Rigin Studio's publications, but Met Models released Rigin's pictures with the model name, 'Marina' (#3), and Erotic Beauty presented his work using the name, 'Alice Kiss' (#10.)
Yes, it is extremely comprehensive. Are these published photo series still available somewhere? Presumably via subscription to MetArt or somewhere, I suppose, eh?
Thanks Jolly. Access to full sets of high resolution images generally require membership of the relevant sites, although there is a certain amount of material on free sites. I am hoping to post more examples from the modelling shoots eventually in this thread, so watch this space! Meanwhile, here's a nice one of Alice and Freya from a Metart shoot ('Baci') roughly contemporary with Cruxdreams and published on 11 August 2007.
I was wondering how you posted it so quickly!
Now I understand - that will be useful!
Damian
Governor
Actually, there is no more unconvincing expression than to be smiling up on a cross, leaves me cold anyway!
I'm sure you mean they're unconvincing if you're looking for 'realistic' enactment of the experience of 'really' being crucified,
especially if you're wanting to use them for manips for 'authentic' Roman-style scenarios, and I'm sure you're right,
if any crucified prisoner ever smiled, it would have been a grin of desperate defiance, or madness.
But I strongly defend the right of girls like Alice to thoroughly enjoy their experience,
and I'm grateful that, occasionally, male photographers put that enjoyment on the record,
for this girl it's an important part of the pleasure of this site.
especially if you're wanting to use them for manips for 'authentic' Roman-style scenarios, and I'm sure you're right,
if any crucified prisoner ever smiled, it would have been a grin of desperate defiance, or madness.
But I strongly defend the right of girls like Alice to thoroughly enjoy their experience,
and I'm grateful that, occasionally, male photographers put that enjoyment on the record,
for this girl it's an important part of the pleasure of this site.
It's encouraging to know that they got some fun out of what they were doing, as well as money.
I suspect some of them felt it was all a bit daft, but I suppose they reasoned that if someone was happy to pay them for hanging on a cross it was a least a refreshing change from having to give a blow job or making a cream pie video to pay the rent.
Makar liked to record the whole crucifixion experience, including 'behind the scenes' views of his models, valuing pictures which for many other photographers would be out-takes. Having said that, he did not generally expect his models to undergo flagellation, and posed depictions representing corpses in the aftermath of crucifixion are rare in his oeuvre. The title sequences at the beginning and end of 'Alice and Koshka in the Crux Forrest' show the girls playing dead, lying still on the ground. But apart from screen shots, I have not seen any photographs of these poses.
An important element of the crux experience for Makar was the theme of the Via Dolorosa, which he frequently recorded in variations entitled, 'The Walk'. These pictures show the last, restricted movements of girls prior to crucifixion, whereupon they will (theoretically) never again feel the ground beneath their feet. 'Making Movies 2' (#1) is presented as a 'behind the scenes' view because it includes the camera which has been filming Alice and Koshka walking to the execution site. But we can choose to ignore the camera in our appreciation of the picture.
Alice's feet were shackled in this scene, her ankles chained together, and so she looks at the ground, taking awkward steps whilst carrying her patibulum lashed across her shoulders. Her expression is not just a frown of concentration. She is performing in role and her furrowed brow reflects the anguish of a condemned girl approaching the cross. She is probably also genuinely concerned about how she will deal with the following scenes - this is nothing like an outdoor shoot for Femjoy or Amour Angels!
During the walk, Alice looks up periodically and the screen shots (#2 - #4) demonstrate her awkward movements as she precedes Koshka. In 'Carrying' (#5) she is looking down again with her pained expression. Saintjohny has used this evocative pose in three of his manipulations. The first is a forest scene (#6) not unlike the original 'Crux Forrest' setting. Falco's crux girl and Makar's Sveta have already been crucified on the trees. Saintjohny exploits the filtering sunlight as it catches Alice's shoulders and highlights the following girl. I have not been able to identify her although this time she is not Koshka. There is a sense of inevitability as the girls make their way to their own crosses, without escorts, and in sight of the previously crucified figures.
Saintjohny uses the same image of the unescorted, patibulated Alice in the hauntingly beautiful clifftop scene, entitled, 'Alice in Wonderland' (#7.) The sun casts long evening shadows across this coastal view, evoking the end of the day as a girl approaches the end of her life. Her sense of isolation in her predicament is visually reinforced by the landscape and seascape which dominate her. A beautiful day in Wonderland is ending ominously in an atmosphere of dream-reality.
The same pose is reversed, left to right, in saintjohny's Symbolist image, 'The Endless Circle' (#8 ) which has been discussed previously in this thread. Here the dreamy atmosphere persists, but is combined with the reality of the escorting legionary. As well as Roman retribution, the lonely Alice is now dominated by ethereal visions of her impending crucifixion. Whilst saintjohny employs Alice yet again as a repeating motif, I am not aware of any other manipulators who have used her for such powerful interpretations of the theme of 'The Walk.'
An important element of the crux experience for Makar was the theme of the Via Dolorosa, which he frequently recorded in variations entitled, 'The Walk'. These pictures show the last, restricted movements of girls prior to crucifixion, whereupon they will (theoretically) never again feel the ground beneath their feet. 'Making Movies 2' (#1) is presented as a 'behind the scenes' view because it includes the camera which has been filming Alice and Koshka walking to the execution site. But we can choose to ignore the camera in our appreciation of the picture.
Alice's feet were shackled in this scene, her ankles chained together, and so she looks at the ground, taking awkward steps whilst carrying her patibulum lashed across her shoulders. Her expression is not just a frown of concentration. She is performing in role and her furrowed brow reflects the anguish of a condemned girl approaching the cross. She is probably also genuinely concerned about how she will deal with the following scenes - this is nothing like an outdoor shoot for Femjoy or Amour Angels!
During the walk, Alice looks up periodically and the screen shots (#2 - #4) demonstrate her awkward movements as she precedes Koshka. In 'Carrying' (#5) she is looking down again with her pained expression. Saintjohny has used this evocative pose in three of his manipulations. The first is a forest scene (#6) not unlike the original 'Crux Forrest' setting. Falco's crux girl and Makar's Sveta have already been crucified on the trees. Saintjohny exploits the filtering sunlight as it catches Alice's shoulders and highlights the following girl. I have not been able to identify her although this time she is not Koshka. There is a sense of inevitability as the girls make their way to their own crosses, without escorts, and in sight of the previously crucified figures.
Saintjohny uses the same image of the unescorted, patibulated Alice in the hauntingly beautiful clifftop scene, entitled, 'Alice in Wonderland' (#7.) The sun casts long evening shadows across this coastal view, evoking the end of the day as a girl approaches the end of her life. Her sense of isolation in her predicament is visually reinforced by the landscape and seascape which dominate her. A beautiful day in Wonderland is ending ominously in an atmosphere of dream-reality.
The same pose is reversed, left to right, in saintjohny's Symbolist image, 'The Endless Circle' (#8 ) which has been discussed previously in this thread. Here the dreamy atmosphere persists, but is combined with the reality of the escorting legionary. As well as Roman retribution, the lonely Alice is now dominated by ethereal visions of her impending crucifixion. Whilst saintjohny employs Alice yet again as a repeating motif, I am not aware of any other manipulators who have used her for such powerful interpretations of the theme of 'The Walk.'
Yes, walking barefoot through the forest calls for care even when you're used to doing it -
and when your arms are disabled, tied to a heavy plank, and your ankles chained
even with a reasonable length between them, there's quite a high risk -
if she were to trip, she could hurt herself badly. So I think her expression was
a mixture of playing the part, anticipating what she was going to have to cope with soon,
and simply concentrating on not coming a cropper!
and when your arms are disabled, tied to a heavy plank, and your ankles chained
even with a reasonable length between them, there's quite a high risk -
if she were to trip, she could hurt herself badly. So I think her expression was
a mixture of playing the part, anticipating what she was going to have to cope with soon,
and simply concentrating on not coming a cropper!
Love this one. Is this a St Johnny?