Or he’s wondering how one attached a silencer to this long-barreled antique piece?
Or, another possibility is that he’s thinking of silencing her. She’s been complaining nonstop all day long. It’s enough to drive any guard to extreme measures!
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Cam's Camera: Slave Girls
- Thread starter CamCrux
- Start date
Or, another possibility is that he’s thinking of silencing her. She’s been complaining nonstop all day long. It’s enough to drive any guard to extreme measures!
Whippingginga
Assistant executioner
I believe that i already know your work, and i am a big fan of yours. These images are amazing and hot, thank you for sharing.
Whippingginga
Assistant executioner
I specially enjoy how she lowers her eyes, humilliated, without loosing conscience of her atractiveness, and power that to be desired gives her over those who dominate her.Thanks for the CF exclusive!
A beautiful interior scene, lit by soft, filtered sunlight and a subtle hint of moisture on the skin, suggesting she has taken a surreptitious dip in the pool.
I think her decorative chains have been neatly applied in a separate layer? Nice blending, Kam!
The publication of a new Lily manip is an exciting event, and CamCrux has become quite familiar with his model. I believe this is the ninth appearance by Lily in his gallery. The use of Rudolf Weisse's painting is consistent with the Orientalist theme for Kam's slave girls. Dating from 1888, the painting is a highly detailed example of photo-realism. The treatment of fine furnishings, marble and stained glass contrasts with cracked, painted plaster on the walls to produce a convincing environment to portray the original subject - the palace guard.
The Palace Guard is a painting by Rudolf Weisse, here completed by the sweet figure of Lily in the background.
I am not sure at all how to interpret the scene and what's going on here. All suggestions are welcome.
I have little information about Weisse, although he is believed to have been influenced by observations of life in Cairo, and he exhibited at the Paris Salon between 1889 and 1927. His palace guard examines a flintlock pistol, which would probably have been considered an antique at the time of the painting. Either Weisse is depicting an earlier period, or the guard is armed with an old weapon. His sword and helmet are placed within easy reach, and like the pistol, these items display decorative craftsmanship. Indeed, Weisse delights in his representations of engraved metalwork, inlaid wood and embroidered fabrics. All have realistic textures, enhanced by the soft, ambient lighting with its rosy colour reflecting in the decorated walls and floor tiles.
The window seat is a twin design with a dividing armrest, although this fact is partly disguised once the figure of Lily is inserted. Her presence is the only new feature in the picture, and she has been inserted sympathetically, in the background, apparently trying not to attract attention. The figure source was photographed by Laura Ambriz and Richard Allan Dulkin, and published in their 'Rad Rascal' gallery on DeviantArt in 2014. Lily's posing appears natural and unselfconscious - entirely appropriate for this background role.
Kam has flipped the figure to obtain a perfect fit with the perspective orientation of the seat. Her shoulder is obscured by the guard's sleeve, a compositional device which allows her to blend into the scene realistically. She has been carefully extracted with much of her original shadow translating directly into the painting. A small amount of additional shadow has been introduced as required. Most impressive is the overall colour adjustment of her skin tone, to reflect the pink light falling from the window above.
Lily is so neatly blended and unobtrusive that she seems to be a subsidiary part of the original composition. However, her presence has introduced a new narrative element, and we wonder why she has been placed under guard. Wearing only her red hair binding and toenail varnish, she has none of the additional embellishments which are so characteristic of Kam's slave girls. Perrhaps this indicates that she is a new arrival? Is she in danger, or is she in trouble? Kam invites us to speculate and several theories have been presented. Nice work, Kam.
CamCrux
Magistrate
(...)
Wow ! Thanks Bob for this new detailed review. It gives a whole new dimension to my simple manipulation ...Lily is so neatly blended and unobtrusive that she seems to be a subsidiary part of the original composition. However, her presence has introduced a new narrative element, and we wonder why she has been placed under guard. Wearing only her red hair binding and toenail varnish, she has none of the additional embellishments which are so characteristic of Kam's slave girls. Perrhaps this indicates that she is a new arrival? Is she in danger, or is she in trouble? Kam invites us to speculate and several theories have been presented. Nice work, Kam.
That bastard Wragg may think he can steal my Lily....
Seriously, Cam, that is an amazing image. I wouldn't touch her, guv - I can see she's safe in your hands!
Aka the Harem Guard - he looks like he's been helping himself to the hashish - no wonder Lily's uneasy ...
CamCrux
Magistrate
Deleted scene from the Rome TV series
In episode 6 of season 1, Atia wanted to make amends with Servilia, whom she calculated she would need "when Caesar was defeated" : she bought Servilia a set of lavish gifts, including a nude and well-endowed male slave, and a gold tortoise, and enlisted her daughter Octavia to convey the gifts. Servilia, however, greeted the gifts coldly.
In the next episode Atia was to make another gift in a renewed attempt at conciliating Servilia. Thinking that a girl might be more to Servilia's tastes, she sent a young female slave. Unfortunately the scene was cut out in the final editing. I am happy to present it to the small crowd of CF connaisseurs.
In episode 6 of season 1, Atia wanted to make amends with Servilia, whom she calculated she would need "when Caesar was defeated" : she bought Servilia a set of lavish gifts, including a nude and well-endowed male slave, and a gold tortoise, and enlisted her daughter Octavia to convey the gifts. Servilia, however, greeted the gifts coldly.
In the next episode Atia was to make another gift in a renewed attempt at conciliating Servilia. Thinking that a girl might be more to Servilia's tastes, she sent a young female slave. Unfortunately the scene was cut out in the final editing. I am happy to present it to the small crowd of CF connaisseurs.
Thank you, Cam, for putting right this most inconsiderate act by the Rome editors!Deleted scene from the Rome TV series
In episode 6 of season 1, Atia wanted to make amends with Servilia, whom she calculated she would need "when Caesar was defeated" : she bought Servilia a set of lavish gifts, including a nude and well-endowed male slave, and a gold tortoise, and enlisted her daughter Octavia to convey the gifts. Servilia, however, greeted the gifts coldly.
In the next episode Atia was to make another gift in a renewed attempt at conciliating Servilia. Thinking that a girl might be more to Servilia's tastes, she sent a young female slave. Unfortunately the scene was cut out in the final editing. I am happy to present it to the small crowd of CF connaisseurs.
View attachment 1167666
fumetto
Governor
Must have missed this great thread, fantastic artwork, I really like this style, we have a very similar taste.Deleted scene from the Rome TV series
In episode 6 of season 1, Atia wanted to make amends with Servilia, whom she calculated she would need "when Caesar was defeated" : she bought Servilia a set of lavish gifts, including a nude and well-endowed male slave, and a gold tortoise, and enlisted her daughter Octavia to convey the gifts. Servilia, however, greeted the gifts coldly.
In the next episode Atia was to make another gift in a renewed attempt at conciliating Servilia. Thinking that a girl might be more to Servilia's tastes, she sent a young female slave. Unfortunately the scene was cut out in the final editing. I am happy to present it to the small crowd of CF connaisseurs.
View attachment 1167666
This reconstructed scene is very much in the classic mould of a Kamerijk slave girl manip. The model's identity is given as Hannah on DeviantArt, and in fact, Kam has linked to a selection of her pictures, to allow us to see more of her - https://www.elitebabes.com/model/hannah-5/
The pose is attractive, rising on her toes, with visible tension through the calf muscles, to meet Servilia's gaze. The resulting eye contact provides some challenging character interaction, as Servilia examines the new addition to her household.
Kam's inserted figures always make narrative sense within the scene, and the blending takes account of relative scale and lighting direction. The lighting on the slave girl is correct for the background, and her shadow has been added to fall convincingly in the same direction as the other shadows on the floor. Whilst she appears quite tall, this is an effect of the low point of view, which is half way down the picture, at the height of the table top (as confirmed by the position of the distant figures). Indeed, the background elements have been carefully observed prior to inserting the new figure.
Further details which are characteristic of the artist's work include the metal adornments being worn by Hannah - a necklace, bracelet, anklet and a set of fine chains around her waist. These items have been applied individually, in a manner so sympathetic as to appear to be parts of the original figure. Nice work, Kam!
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CamCrux
Magistrate
A Roman Flower Market was painted in 1868 by Lawrence Alma-Tadema, a Dutch-born artist who settled in Britain. The painting, 42.1 × 58 cm, is now kept by the Manchester Art Gallery in the UK.
I thought that the quiet scene, bathed in refreshing shade on a hot late summer afternoon in Rome, offered a good setting not only for the luscious plants but also for the display and sale of a few slavegirls - a theme that Alma-Tadema never addressed in his art, although he is known for some 'historical' paintings. The low stone platform looked like an invitation to line up more beauties than just potted plants.
Of course the association of a flower shop and a slave trade is highly unlikely, as far as we can tell anyway, although they can complement each other nicely. But even more unlikely is the presence of cacti (or cactuses) and agaves, which of course came from the Americas only long after the fall of Rome.
Modelling are, left to right : Odele, Hannah, Ariel and "unidentified".
I thought that the quiet scene, bathed in refreshing shade on a hot late summer afternoon in Rome, offered a good setting not only for the luscious plants but also for the display and sale of a few slavegirls - a theme that Alma-Tadema never addressed in his art, although he is known for some 'historical' paintings. The low stone platform looked like an invitation to line up more beauties than just potted plants.
Of course the association of a flower shop and a slave trade is highly unlikely, as far as we can tell anyway, although they can complement each other nicely. But even more unlikely is the presence of cacti (or cactuses) and agaves, which of course came from the Americas only long after the fall of Rome.
Modelling are, left to right : Odele, Hannah, Ariel and "unidentified".
That's absolutely gorgeous, Cam! While some of the plants are, as you say, exotic, I think the setting is credible. Apart from the big public slave market in Rome, which certainly was much like any other livestock market, there was another, much more upmarket, district where top-quality slaves were offered for sale to 'high net worth' customers in private premises, and I'm sure such exclusive businesses would have ensured that their merchandise was displayed in a setting that enhanced their beauty and banished the body-odours that would have made the public market a noisome place.
As observed by Eul, the 'Roman Flower Market' makes a very attractive scene, and Alma-Tadema's painting is sufficiently photo-realistic to provide a setting for the inserted figures. Hannah provides a link with your previous picture, also with a Roman theme, and now we can see her face. Ariel is a model who has now made several appearances in your manips, but I do not recall if you have used Odele before? The unidentified girl looks rather like Lissa (Kamilla) although in that case you would certainly have recognised her, so she must remain unknown for the present.A Roman Flower Market was painted in 1868 by Lawrence Alma-Tadema,
Interestingly, some reproductions of the painting provide an alternative title of, 'A Street Scene in Pompeii'. The artist first visited Pompeii in 1863 while on honeymoon with his second wife, and this may have inspired the romantic theme of the flower seller and the young man who is a potential customer, as well as the setting. Alma-Tadema strove to present an authentic view of the ancient world, and he was probably unaware of the anachronism of the cacti at the time of painting. Meanwhile, the architectural style and decoration are reminiscent of Asellina's Tavern in Pompeii -
The addition of clothing to the models, in suitably muted colours, is very effective. I feel that it requires more skill to add clothing convincingly to a character, than the reverse process of transforming a clothed figure into a nude. Even the naked Odele has an item of clothing, which appears in the right hand of the man who has just removed it.
Whilst the various fabric elements are skilfully manipulated onto the figures with natural folds, perhaps more impressive is the insertion of Odele with a repeated layer of plants superimposed over her legs and stomach. This has required a significant amount of work, which would otherwise be missed by the casual viewer, because it is so accurate and simply blends into the scene. Whether the leaves and flowers have been masked or cut out, to reveal the lighter skin tone, the task has presented a considerable challenge and the resulting effect is entirely convincing. Well done, Kam!
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She is a very lovely model and is depicted by Hegre in a number of poses that would be suitable for manipping into harem or slave market images without too much trouble at all. I do like "ready to use", and if they're from Hegre, all the better. Anyway, thanks to Cam and Bob for calling attention to the lovely Hannah.
I agree, like many of A-T's paintings, it's a carefully accurate depiction of the kinds of shops, and the way they would probably have been used, in Rome or Pompeii - not, in fact, very different from older parts of cities in the Middle East and South Asia today. Though I am surprised he didn't realise those cacti would have been unknown, especially as he's painted them too so accurately, presumably from life, e.g. in the glasshouses at Kew. But his picture does strike me as strangely unbalanced, with a dark 'hole' in the middle - certainly that's the way such shops look when you're in the street outside, but it's crying out for some interest to be added at the focal point, and Cam has certainly provided it!
That is very true, Bob. Cam has done an amazing job with the clothes!
geolier
Tribune
I like this one: a rich and powerful (dressed) woman regarding a totally naked female slave (a former neighbour perhaps?)
CamCrux
Magistrate
From her looks and very blond hair I would assume that the girl who is displaying herself is one of those barbarian captives imported from the north, maybe Germania or the Mare Suebicum.