Zungur
Governor
Patricia Velasquez comes to mind, the stunning lady who played Ankh Sun Amun in The Mummy 1 & 2.
Or someone of similar type.
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Cam's Camera: Mythology
- Thread starter bobinder
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Or someone of similar type.
Silent_Water
Tribune
By the way, I just read that there were parts of ancient Greek mythology in Disney's "Hercules", I have never heard of before to be found in it but I have also never seen this movie:
www.indy100.com
I think, I will have to look into my movie archives in order to know what I will think about this discussion ...
Disney fans shocked after spotting apparent depiction of sexual assault in Hercules
A scene from Disney’s classic 1997 animation Hercules has raised eyebrows amongst fans after an apparent hidden detail emerged that paints part of the film in a whole new light.
I think, I will have to look into my movie archives in order to know what I will think about this discussion ...
Whilst fleeing from a lustful Apollo, Daphne seeks assistance from Zeus, who turns her into a laurel to preserve her chastity. Kam presents us with something of a meta concept - illustrating Daphne in the act of blending into a laurel - by blending Lily into the background foliage! I like the effect of the root systems spreading up her legs and downwards over the breasts. These give a very organic impression to the metamorphosis of human and botanic forms, and they appear to have been manually painted, with considerable care.An attempt at illustrating the myth of Daphne, with sweet Lily in the role. I was thinking of adding some good-looking Apollo in the background but they're hard to come by. Any and all suggestions welcome ...
Lily appears in one of her signature poses with both arms overhead and one knee raised. She assumes the attitude quite naturally and her pose retains a sense of relaxation, making Daphne's transformation appear willing and effortless. Locating her behind the fern contributes to the impression of depth in the scene.
The Cenevols figure source was photographed against a wall covered in blue graffiti, and Lily's skin tone contains red shadows in relatively high saturation, possibly due to the use of a compensating filter. The redness makes a complimentary contrast against the green foliage of the new background, marking a distinction between human flesh and plant leaves. Whilst this may be intentional, in this environment the natural effect would be for green reflections to appear on the skin rather than red ones. On the other hand, we are not exactly witnessing a natural phenomenon here.
There are evidently several layers of laurel leaves and branches in the composition, which have been cut out very carefully. The occasional repeats of identical leaves are not obvious unless the viewer is actively searching for them. I only found them because they have been employed in the same way that I would use them myself! The human form has been flipped to present diagonal emphases towards the upper right, which is in harmony with the exposed branches leaning towards Daphne. As a compositional device, this also makes sense of her off-centre location.
There are a couple of dark recesses which might provide suitable locations for a distant figure of Apollo, but perhaps we are witnessing the scene through his eyes, in which case his portrayal is superfluous. I happen to know that this picture has been under development for several weeks, and it has evidently required some delicate cutting and painting processes. As always, in a successful manipulation, the work involved is not apparent because the result looks so convincing. Lily's fifth appearance in a Kamerijk (CamCrux) manip certainly makes for yet another attractive scene from mythology. Well done, Kam!
CamCrux
Magistrate
Thank you Bob for a very careful analysis of general effect and detail !Whilst fleeing from a lustful Apollo, Daphne seeks assistance from Zeus, who turns her into a laurel to preserve her chastity. Kam presents us with something of a meta concept - illustrating Daphne in the act of blending into a laurel - by blending Lily into the background foliage! I like the effect of the root systems spreading up her legs and downwards over the breasts. These give a very organic impression to the metamorphosis of human and botanic forms, and they appear to have been manually painted, with considerable care.
Lily appears in one of her signature poses with both arms overhead and one knee raised. She assumes the attitude quite naturally and her pose retains a sense of relaxation, making Daphne's transformation appear willing and effortless. Locating her behind the fern contributes to the impression of depth in the scene.
The Cenevols figure source was photographed against a wall covered in blue graffiti, and Lily's skin tone contains red shadows in relatively high saturation, possibly due to the use of a compensating filter. The redness makes a complimentary contrast against the green foliage of the new background, marking a distinction between human flesh and plant leaves. Whilst this may be intentional, in this environment the natural effect would be for green reflections to appear on the skin rather than red ones. On the other hand, we are not exactly witnessing a natural phenomenon here.
There are evidently several layers of laurel leaves and branches in the composition, which have been cut out very carefully. The occasional repeats of identical leaves are not obvious unless the viewer is actively searching for them. I only found them because they have been employed in the same way that I would use them myself! The human form has been flipped to present diagonal emphases towards the upper right, which is in harmony with the exposed branches leaning towards Daphne. As a compositional device, this also makes sense of her off-centre location.
There are a couple of dark recesses which might provide suitable locations for a distant figure of Apollo, but perhaps we are witnessing the scene through his eyes, in which case his portrayal is superfluous. I happen to know that this picture has been under development for several weeks, and it has evidently required some delicate cutting and painting processes. As always, in a successful manipulation, the work involved is not apparent because the result looks so convincing. Lily's fifth appearance in a Kamerijk (CamCrux) manip certainly makes for yet another attractive scene from mythology. Well done, Kam!
Yes the red tones of the skin contrast with the green of the background but they do look a bit unnatural here and I could have toned them down a bit ...
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Lissa makes a wonderful, messianic figure, complete with her titulus (reading 'LNRI' for Lissa) the thorns and a spear wound. The bindings are neatly applied, and the pose, with crossed ankles, evokes traditional iconography. Interestingly, nails have not been used. The figure is defined by strong, directional lighting from the right, which is in accordance with the background, and provides a dramatic atmosphere. This is enhanced by the rough texture of the rock which contrasts with the smooth skin of the female form. The slight inclination of the securely planted cross is a very convincing detail.I'm reposting this here from the "my first crucifixion" thread which seems to be half deserted.
The landscape has been modified to disguise the original manipulated features, and the eye in the clouds is a very subtle detail. Since the background is entitled 'Golgotha', the crucifixion presents a logical development of the scene. Whilst not quite the first CamCrux crucifixion (which was published in your DeviantArt gallery) this is a stunning image to present as your crux debut on Cruxforums. I believe this is the first time in six years that we have seen this particular model on a cross, her previous experience being as the subject of a 'Via Appia' crux manip. So now we have both crucified Lissa, but you have achieved a beautiful result with your lighting. Great work, Kam!
A beautiful manip, Cam. The bright colours and sharp contrasts are perfect for the model, crucified in an erotically stylized manner, almost as if she's doing it to show off, or part of a dance or exercise routine. It's a teasing image where the girl knows she has an effect on the observer. It fits nicely into that erotic sex and death trope. I think I'm rambling, trying to figure this out, but I think that speaks to the quality of the image that it can evoke a number of stories in the imagination. Very nice work.
CamCrux
Magistrate
Thank you Bob !Lissa makes a wonderful, messianic figure, complete with her titulus (reading 'LNRI' for Lissa) the thorns and a spear wound. The bindings are neatly applied, and the pose, with crossed ankles, evokes traditional iconography. Interestingly, nails have not been used. The figure is defined by strong, directional lighting from the right, which is in accordance with the background, and provides a dramatic atmosphere. This is enhanced by the rough texture of the rock which contrasts with the smooth skin of the female form. The slight inclination of the securely planted cross is a very convincing detail.
The landscape has been modified to disguise the original manipulated features, and the eye in the clouds is a very subtle detail. Since the background is entitled 'Golgotha', the crucifixion presents a logical development of the scene. Whilst not quite the first CamCrux crucifixion (which was published in your DeviantArt gallery) this is a stunning image to present as your crux debut on Cruxforums. I believe this is the first time in six years that we have seen this particular model on a cross, her previous experience being as the subject of a 'Via Appia' crux manip. So now we have both crucified Lissa, but you have achieved a beautiful result with your lighting. Great work, Kam!
I have not used nails because the position of Lissa's hands did not readily lend itself to being nailed. Addtionally, I did not want to maim this delicious godly incarnation too much ...
CamCrux
Magistrate
Thank you for your appreciation and comment Jollyrei !A beautiful manip, Cam. The bright colours and sharp contrasts are perfect for the model, crucified in an erotically stylized manner, almost as if she's doing it to show off, or part of a dance or exercise routine. It's a teasing image where the girl knows she has an effect on the observer. It fits nicely into that erotic sex and death trope. I think I'm rambling, trying to figure this out, but I think that speaks to the quality of the image that it can evoke a number of stories in the imagination. Very nice work.
Lissa's pose helped a lot of course and I am indebted for it to AristippustheYounger of DA who directed me to a collection of pictures of Lissa / Kamilla which he posted on (http://ralphus.net/thegimpforum/viewtopic.php?f=2&t=770&start=230)
CamCrux
Magistrate
La jeunesse de Bacchus
I am indebted for this picture to French painter William Bouguereau (1825-1905), a specialist of female nudes in antique settings, here showing the revelry around young Bacchus in La naissance de Bacchus (1884), and @bobinder who kindly made this great picture for my birthday and whose figures of Alice and Lily I have re-used here.
I only had to adjust brightness, contrast and saturation on those two figures, and submit them to some slight 'gaussian blur' and 'oil painting effect' to insert them reasonably convincingly - or so I hope - into the scene...
I am indebted for this picture to French painter William Bouguereau (1825-1905), a specialist of female nudes in antique settings, here showing the revelry around young Bacchus in La naissance de Bacchus (1884), and @bobinder who kindly made this great picture for my birthday and whose figures of Alice and Lily I have re-used here.
I only had to adjust brightness, contrast and saturation on those two figures, and submit them to some slight 'gaussian blur' and 'oil painting effect' to insert them reasonably convincingly - or so I hope - into the scene...
Congratulations on a nicely balanced composition. The colour adjustments and treatments on Lily and Alice have worked out very well, presenting a change from the previous indoor lighting to the brighter outdoor scene of Bouguereau's painting. Alice started in bright sunlight, and this was a compromise in my Rochegrosse manipulation, but she has blended into your picture quite comfortably.La jeunesse de Bacchus
I am indebted for this picture to French painter William Bouguereau (1825-1905), a specialist of female nudes in antique settings, here showing the revelry around young Bacchus in La naissance de Bacchus (1884), and @bobinder who kindly made this great picture for my birthday and whose figures of Alice and Lily I have re-used here.
I only had to adjust brightness, contrast and saturation on those two figures, and submit them to some slight 'gaussian blur' and 'oil painting effect' to insert them reasonably convincingly - or so I hope - into the scene...
Lily has translated into the new background remarkably well, due partly to her ambient lighting, which is consistent with the new scene. The new figures appear to belong in the painting, with their tambourines raised overhead, and their dancing poses which reflect those of the existing painted figures - particularly the male on the left. Placing Alice's foot behind the leaves of a plant locates her precisely in the scene, with a convincing sense of spatial depth.
Bougereau's male figures are nude, whereas most of the females are at least partially clothed - but not all of them. The two in the centre are quite naked, which is consistent with Alice and Lily. One female has fallen on the ground whilst dancing with her friend, and I wonder if this is an allusion to the effects of celebrating with the god of wine? You have produced a very sympathetic variation on the original composition - well done, Kam!
CamCrux
Magistrate
The Cave of the Storm Nymphs is a painting by British artist Edward Poynter, depicting three nude sirens or nymphs from Greek mythology that lure sailors to their deaths. There are two versions, with minor differences, dated 1902 and 1903.
In Greek mythology nymphs were beautiful maidens as well as minor deities, associated with a particular place such as a fountain or river or forest. The nymphs in Poynter's painting would be Nereids, or sea nymphs. Humans could on occasion catch of glimpse of nymphs, dancing or bathing in a stream or pool. Such encounters could cause dumbness, besotted infatuation, or madness for the unfortunate watcher.
Sirens on the other hand, originally half bird and half woman, and later assimilated to mermaids, were dangerous creatures who lured sailors with their enchanting music and sweet voices to shipwreck on the rocky coast of their island.
Poynter's figures appear to partake in both categories. One of them is playing music on an instrument made from a shell, having no doubt lured the ship caught in a storm to the rocky coast. The other two creatures are playfully and lasciviously enjoying the wealth brought to them by the shipwrecks.
Alice on the other hand looks thoughtful, or sad. Lost in her own thoughts, oblivious of the world and sitting in an immodest pose, is she perhaps mourning the death of a handsome young sailor she was unable to save from drowning ?
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I think Alice is the only one that shows much emotion. The other nymphs all seem a bit dispassionate and slightly bored with the whole affair. Just another dull Sunday afternoon. Casually wreck a ship, and then what?
Beautiful job with the manip. Alice looks like she originated in the painting.
So, Alice, nice music but you have to admit that you had some help from @Barbaria1 in the wheelhouse....
Not guilty. Starboard is left, port is right. Correct?So, Alice, nice music but you have to admit that you had some help from @Barbaria1 in the wheelhouse....
It seems that no sooner have I commented on my last Alice picture ('Reindeer Syndrome') about sources from her 'Shelter' series being rarely used in manipulations, than Kam identifies a pose from that very same series for blending into a new version of Sir Edward Poynter's famous painting. 'The Cave of the Storm Nymphs' has long been a favourite of mine, combining the genres of maritime painting and the female nude in a scene filled with awesome beauty and dramatic tension.
The Cave of the Storm Nymphs is a painting by British artist Edward Poynter, depicting three nude sirens or nymphs from Greek mythology that lure sailors to their deaths. There are two versions, with minor differences, dated 1902 and 1903.
In Greek mythology nymphs were beautiful maidens as well as minor deities, associated with a particular place such as a fountain or river or forest. The nymphs in Poynter's painting would be Nereids, or sea nymphs. Humans could on occasion catch of glimpse of nymphs, dancing or bathing in a stream or pool. Such encounters could cause dumbness, besotted infatuation, or madness for the unfortunate watcher.
Sirens on the other hand, originally half bird and half woman, and later assimilated to mermaids, were dangerous creatures who lured sailors with their enchanting music and sweet voices to shipwreck on the rocky coast of their island.
Poynter's figures appear to partake in both categories. One of them is playing music on an instrument made from a shell, having no doubt lured the ship caught in a storm to the rocky coast. The other two creatures are playfully and lasciviously enjoying the wealth brought to them by the shipwrecks.
Alice on the other hand looks thoughtful, or sad. Lost in her own thoughts, oblivious of the world and sitting in an immodest pose, is she perhaps mourning the death of a handsome young sailor she was unable to save from drowning ?
Elsewhere, I have been discussing Alice's portrayal of the femme fatale in recent works by @wikk and @Wragg , and this association is confirmed in the role provided here by Kam. Poynter's nymphs are as ambiguous as they are mysterious, assuming the qualities of both nymphs and sirens, a blend of types quite capable of luring a sailor for his pleasure as an alternative to his doom. Certain aspects and influences of the original painting were previously explored in Wragg's thread, 'Fit, Lovely Ladies Crucified' -
At the time that he was working on the painting, Poynter was a highly acclaimed artist at the height of his career, also being the Director of London's National Gallery and President of the Royal Academy. Whilst this particular work has provided inspiration for my own painting, Kam's introduction of Alice anticipates her impending role as a sirenesque character in an embryonic Bobinder project - a coincidence which is altogether remarkably prophetic.
I am pleased to see that Kam was able to work on a large scale for this manipulation. The painting is highly detailed, and justifies a large reproduction. Indeed, Kam has paid close attention to detail in terms of the scale, colour saturation and lighting of the new figure, and I am delighted to find my favourite muse so beautifully blended into one of my favourite paintings. The semi-reclining pose is perfect, and the melancholy expression seems to inspire the consolation of the painted figure beside her.
The overall effect produces a subtle, sensitive and sympathetic modification of the original composition. Poynter's figures lead the eye through a gentle curve up and down the picture, from upper middle distance to foreground, and back again. The compositional flow still works with Alice occupying the inside of the curve, although she now provides an alternative route for the eye to follow.
The source was photographed in bright sunlight at a wooden snow shelter on Ay Petri, and Kam has effectively reinterpreted these lighting conditions to complement the combination of backlighting and ambient light in the painting. This has been achieved by making colour and contrast adjustments to emulate the golden skin tones of the painted figures. The effect becomes more convincing once we observe the new shadows, carefully applied beneath Alice's legs. Equally important to the blending process is the use of a noise filter treatment which gives Alice's skin a vibrance and texture which approximates the influence of the woven canvas texture on the painted figures.
Kam's work also scores highly in terms of character interaction. Poynter depicted his nymph tossing a handful of gold coins in the air. The pile of coins is visible beside Alice's left leg, and now the nymph is caressing her hair. The airborne coins become slightly incongruous, but these are small details. Existing features are employed to disguise the fact that Alice's fingertips and toes are cropped out of her source photograph. And so her right foot disappears behind a pile of sea shells, and her left fingers are partly concealed behind her friend. Her right hand is visible in the source photo, between the buttocks and heels, but Kam has elected to delete this, and the hand is assumed to occupy a different position, somewhere out of sight.
Whilst Alice delivers the lascivious pose required by Valery Anzilov's erotic remit for Femjoy, her relaxed expression appears natural, suggesting some slight discomfort. This is consistent with the cold, breezy conditions on the exposed mountainside, which have produced goose bumps all over the model's skin, and particularly on her breasts. I tend to indulge most of the available opportunities to talk about Alice, and indeed Kam has employed her in some very original ways to date, but I hope the background detail helps to illustrate the high quality of the manipulator's work on this occasion. This is absolutely one of your finest interpretations, Kam.
CamCrux
Magistrate
Thank you so much Bob for taking the time for this detailed review....
Kam's work also scores highly in terms of character interaction. Poynter depicted his nymph tossing a handful of gold coins in the air. The pile of coins is visible beside Alice's left leg, and now the nymph is caressing her hair. The airborne coins become slightly incongruous, but these are small details. Existing features are employed to disguise the fact that Alice's fingertips and toes are cropped out of her source photograph. And so her right foot disappears behind a pile of sea shells, and her left fingers are partly concealed behind her friend. Her right hand is visible in the source photo, between the buttocks and heels, but Kam has elected to delete this, and the hand is assumed to occupy a different position, somewhere out of sight.
Whilst Alice delivers the lascivious pose required by Valery Anzilov's erotic remit for Femjoy, her relaxed expression appears natural, suggesting some slight discomfort. This is consistent with the cold, breezy conditions on the exposed mountainside, which have produced goose bumps all over the model's skin, and particularly on her breasts. I tend to indulge most of the available opportunities to talk about Alice, and indeed Kam has employed her in some very original ways to date, but I hope the background detail helps to illustrate the high quality of the manipulator's work on this occasion. This is absolutely one of your finest interpretations, Kam.
You are quite right about the 'incongruous' coins falling from the nymph's hand (from nowhere in my altered picture), and I thought only after posting the picture that I could very well have erased them. I still can.
Also there was no good reason to cut off Alice's right hand and I will take the opportunity to correct this at the same time.
E-DigitalFantasy
Tribune
Amazing work of art Kam.
What an amazing collection of exceptional art and detailed discussion this thread has! I barely feel qualified to comment but I must thank @CamCrux for the amazing art and @bobinder for his detailed analysis and insights into both the processes and the models behind the imagery. I watch with great interest, even if I fear to post again because I don’t want to interrupt the high level discussion!