Cam's Camera: Slave Girls

[CamCrux]

The Inspection (revisited)

The original painting by Ludwig Deutsch, dated 1883, is entitled "The Inspection" and shows a "moor" inspecting a richly decorated helmet among a bric-à-brac of luxurious goods, possibly in a bazaar : upload.wikimedia.org/wikipedia…

This "revised" version replaces the helmet by a young woman, with model Lissa in the role. The moor, possibly a eunuch, is now inspecting the rich spoils brought back by his master from a victorious campaign, his attention focused on the young captive.

Note the strange error and partial correction in the perspective of the tiles at the bottom of the painting.

 

[bobinder]

The Inspection (revisited)

The original painting by Ludwig Deutsch, dated 1883, is entitled "The Inspection" and shows a "moor" inspecting a richly decorated helmet among a bric-à-brac of luxurious goods, possibly in a bazaar : upload.wikimedia.org/wikipedia…

This "revised" version replaces the helmet by a young woman, with model Lissa in the role. The moor, possibly a eunuch, is now inspecting the rich spoils brought back by his master from a victorious campaign, his attention focused on the young captive.

Note the strange error and partial correction in the perspective of the tiles at the bottom of the painting.

As previously observed on DeviantArt, this is certainly one of the finest manipulated images of Lissa that I have seen. The character interaction is excellent, and it is hard to believe the original painting shows only a single male figure. Lissa has been photographed outdoors, but her source image has been successfully translated into the painting of an interior scene, illuminated by soft lighting. Her pose is wonderful, reaching upwards with arms and legs crossed and entwined. She displays the required exposure for her inspection, but preserves a sense of physical and emotional tension.

The original picture is from 'Lost Highway' by MPL Studios (who presented her as Kamilla) and whilst very little adjustment has been required, there are significant changes involving the removal of jewellery items and very careful repainting and blending of the skin tones. A beaded necklace and a matching bracelet from the left wrist have been deleted so successfully that there is no trace of their previous existence. The quality of the repainting is excellent.

The nude figure may have received a subtle application of filter treatment (e.g. low opacity lens blur with 'noise') in order to blend into the painting, but I cannot be sure about this. The blending is exceptionally good, with both photo and painted elements having the same texture. Indeed, we are seeing remarkable attention to detail in this manip.

​

The floor tiles are an interesting feature of the original painting, which you have identified. Whilst I suspect the presence of an accidental, linear mark on the painting, the defects are partially resolved by the addition of Lissa's feet and the blanket to the floor area. I believe the blanket conceals the unfortunate fact that her right toes are cropped out of the original photograph. This lovely manip makes a perfect compliment to your preceding Deutsch-based picture of Lily - beautiful work! Well done, Kam.

 

[Loinclothslave]

As previously observed on DeviantArt, this is certainly one of the finest manipulated images of Lissa that I have seen. The character interaction is excellent, and it is hard to believe the original painting shows only a single male figure. Lissa has been photographed outdoors, but her source image has been successfully translated into the painting of an interior scene, illuminated by soft lighting. Her pose is wonderful, reaching upwards with arms and legs crossed and entwined. She displays the required exposure for her inspection, but preserves a sense of physical and emotional tension.

The original picture is from 'Lost Highway' by MPL Studios (who presented her as Kamilla) and whilst very little adjustment has been required, there are significant changes involving the removal of jewellery items and very careful repainting and blending of the skin tones. A beaded necklace and a matching bracelet from the left wrist have been deleted so successfully that there is no trace of their previous existence. The quality of the repainting is excellent.

The nude figure may have received a subtle application of filter treatment (e.g. low opacity lens blur with 'noise') in order to blend into the painting, but I cannot be sure about this. The blending is exceptionally good, with both photo and painted elements having the same texture. Indeed, we are seeing remarkable attention to detail in this manip.

View attachment 1075083​

The floor tiles are an interesting feature of the original painting, which you have identified. Whilst I suspect the presence of an accidental, linear mark on the painting, the defects are partially resolved by the addition of Lissa's feet and the blanket to the floor area. I believe the blanket conceals the unfortunate fact that her right toes are cropped out of the original photograph. This lovely manip makes a perfect compliment to your preceding Deutsch-based picture of Lily - beautiful work! Well done, Kam.

Wow, this is like being in an Arts class. I’m learning a lot about how these manipulations work, and an insight into the genuine artistic skill involved in making a successful render. I’m loving that, @bobinder your analysis makes appreciating @CamCrux ’s work all the more enjoyable, as well as recognising his consummate skill.

Thank you both!

 

[CamCrux]

The Birthday Present.

This picture was inspired by a passage from Harem Girl, by M. Saalih :

“The slave trader washed and groomed me and gave me a loose fitting white
cotton gown to wear, before he brought me before a seated well-fleshed
woman of high rank. Her attending eunuch stood at her side. The slave trader
opened the front of the gown to reveal my breasts and then peeled it back from
my shoulders and let it fall to the floor about my feet. Both the woman and the
eunuch asked many questions about my previous duties and knowledge and
then the eunuch took me into a small room. With my hands behind my head,
he poked and parted me, sharply slapped and pinched my breasts, buttocks
and thighs, and opened my mouth to examine my teeth. An ivory rod, inserted
deep into me and then withdrawn, tested the sweetness of my musk.
“A price was negotiated; I was bound, and the woman and her eunuch took
me to the old palace at Buraydah. Given to Ali as a present to mark his fourteenth
birthday, I was his first slave.”



The model is Maxa, the setting borrowed from the Red Fort in Jaipur.

 

[CamCrux]

The Birthday Present.

(...)

The model is Maxa, the setting borrowed from the Red Fort in Jaipur.

Or more accurately, the Amber Fort in Jaipur.

 

[bobinder]

The picture provides an attractive complement to Saalih's text. I am unable to identify the source image used for Saloma/Maxa, who has been photographed without her characteristic bikini tan lines. She is a current model, aged 22, from Russia, and at 5' 10" she appears suitably tall compared to the other characters in the illustration. I believe this is her first appearance in a Kamerijk manipulation, and I hope we shall see her again in future works.

​

The theme, composition and setting are all reminiscent of an earlier CamCrux picture, 'A Captive For King Minos'. Whereas that picture shows the slave girl in a rear view, on this occasion, we see her in full frontal nudity. Her expression is uncertain, and entirely appropriate in the circumstances. The sense of tension is reinforced by the tight grouping of the figures, who are overlapped, adding to the illusion of depth in the ornate room.

The character interaction is convincing, and the scale looks correct with the figures occupying the lower half of the picture, beneath a high ceiling. With everybody's feet out of sight beneath the lower edge, we obtain a close-up view, over the shoulders of the clothed female with her back towards us. Such an intimate arrangement avoids the need to project shadows, although close attention has been paid to the lighting.

Sunlight enters the room through the windows on the right, illuminating Maxa on her left side, and the back of the male standing on the right of the group. The other two figures, closest and furthest from the viewer, receive ambient light since, unlike the first two, they are out of direct sunlight. All of the figures appear to be derived from different sources, and the relative fine tuning for brightness and contrast is the kind of delicate operation which the artist is now tackling with confidence. Yet again, this is beautiful work, Kam!

 

[CamCrux]

The picture provides an attractive complement to Saalih's text. I am unable to identify the source image used for Saloma/Maxa, who has been photographed without her characteristic bikini tan lines. She is a current model, aged 22, from Russia, and at 5' 10" she appears suitably tall compared to the other characters in the illustration. I believe this is her first appearance in a Kamerijk manipulation, and I hope we shall see her again in future works.

View attachment 1079288​

The theme, composition and setting are all reminiscent of an earlier CamCrux picture, 'A Captive For King Minos'. Whereas that picture shows the slave girl in a rear view, on this occasion, we see her in full frontal nudity. Her expression is uncertain, and entirely appropriate in the circumstances. The sense of tension is reinforced by the tight grouping of the figures, who are overlapped, adding to the illusion of depth in the ornate room.

The character interaction is convincing, and the scale looks correct with the figures occupying the lower half of the picture, beneath a high ceiling. With everybody's feet out of sight beneath the lower edge, we obtain a close-up view, over the shoulders of the clothed female with her back towards us. Such an intimate arrangement avoids the need to project shadows, although close attention has been paid to the lighting.

Sunlight enters the room through the windows on the right, illuminating Maxa on her left side, and the back of the male standing on the right of the group. The other two figures, closest and furthest from the viewer, receive ambient light since, unlike the first two, they are out of direct sunlight. All of the figures appear to be derived from different sources, and the relative fine tuning for brightness and contrast is the kind of delicate operation which the artist is now tackling with confidence. Yet again, this is beautiful work, Kam!

What can I say Bob, but thanks again for your careful, perceptive and indulgent analysis ...

 

[CamCrux]

An Assyrian concubine

This is another collaboration with @sclava, who wrote the story.
The picture is mine, inspired from a painting by French artist Georges Antoine Rochegrosse entitled "Nouvelle arrivée au harem" (also known in English as "The Arab Guard") (1890) and model Chanel Fenn.

---
Everyone said that our family was not Midian, that we were outsiders. I don't know. Neither my mother nor my father told me anything about our family's past, and when it came up, they were terribly angry. Yes, I was different from my peers, not only with my blond hair, the color of ripe wheat, but also with my very light skin. Many men had asked me to marry them. But I loved only him, my beloved and dearest Dayaukku. And he loved me and give me rich presents, which is not surprising since he was the son of a local ruler. My future was cloudless, bright and pure like dew or an oasis in this desolate area.

All my dreams were shattered when our castle was attacked by the Assyrians, that swiftly growing giant. I remember the blood, the ringing of brass, and the pleas to the gods for help. I remember trying to escape. I remember being caught.

A month has passed since that day. As I know, almost two thousand men were taken from the city to Ashur. Two thousand of my countrymen were taken into slavery by the treacherous Sargon. I was not taken into slavery. I was given to the traitor of my city, a man I knew personally, who for his service to Assyria became the satrap of his now renamed hometown from Kishloo to Kar-Naba. I became one of his many concubines, in my hometown. Having no choice, not wishing myself dead, I perform my first dance before him, before he takes me to his chambers for the first night with a man in my life. Where are you Dayaukku? Are you alive? I wish so much that you would save me and we would flee to the ends of the earth, as you promised, to live there in peace and happiness for the rest of our lives.

 

[bobinder]

An Assyrian concubine

This is another collaboration with @sclava, who wrote the story.
The picture is mine, inspired from a painting by French artist Georges Antoine Rochegrosse entitled "Nouvelle arrivée au harem" (also known in English as "The Arab Guard") (1890) and model Chanel Fenn.

---
Everyone said that our family was not Midian, that we were outsiders. I don't know. Neither my mother nor my father told me anything about our family's past, and when it came up, they were terribly angry. Yes, I was different from my peers, not only with my blond hair, the color of ripe wheat, but also with my very light skin. Many men had asked me to marry them. But I loved only him, my beloved and dearest Dayaukku. And he loved me and give me rich presents, which is not surprising since he was the son of a local ruler. My future was cloudless, bright and pure like dew or an oasis in this desolate area.

All my dreams were shattered when our castle was attacked by the Assyrians, that swiftly growing giant. I remember the blood, the ringing of brass, and the pleas to the gods for help. I remember trying to escape. I remember being caught.

A month has passed since that day. As I know, almost two thousand men were taken from the city to Ashur. Two thousand of my countrymen were taken into slavery by the treacherous Sargon. I was not taken into slavery. I was given to the traitor of my city, a man I knew personally, who for his service to Assyria became the satrap of his now renamed hometown from Kishloo to Kar-Naba. I became one of his many concubines, in my hometown. Having no choice, not wishing myself dead, I perform my first dance before him, before he takes me to his chambers for the first night with a man in my life. Where are you Dayaukku? Are you alive? I wish so much that you would save me and we would flee to the ends of the earth, as you promised, to live there in peace and happiness for the rest of our lives.

This new collaboration between Sclava and yourself is certainly a welcome addition to your thread. Sclava recounts the details of her recent capture with the economy appropriate to a person who is still in a state of shock, and trying to come to terms with her drastically changed circumstances.

The Orientalist painting is transformed by the addition of Chanel Fenn, portraying the dancing slave, which has become a successful character type within the range of your subjects. Her pose and expression are perfect for this scene, in which the original Arab guard becomes the master, appraising her performance.

The canvas has been flipped in mirror image, presumably to preserve the model's correct orientation and direction of lighting. She is carefully positioned to receive bright light from the entrance, but without requiring the addition of much new shadow on the floor. By her feet, a bundle of what appears to be her clothing, is neatly disguising the appropriate alterations to accommodate her shadow.

The attention to detail extends to the single bracelet, which has been added to the figure, as a separate component. This is another good example of your sympathetic blending with convincing values of colour saturation, contrast and scale. Well done, Kam and Sclava!

 

[messaline]

without leaving DA, for the mome,nt at least.

For all those who are ejected out off deviantart !

Come back under another name :
I did it and it does !!!

I was "ElfGris", I'm now "Paskell2" ...
... and those "dumb" have not seen anything ...
​

PS : of course, you have lost all what you posted before but you'll be always at deviantart ! And more, you could re-post the pics for what you were ejected : I did it and it DOES !!!

 

[CamCrux]

For all those who are ejected out off deviantart !

Come back under another name :
I did it and it does !!!

I was "ElfGris", I'm now "Paskell2" ...
... and those "dumb" have not seen anything ...
​

PS : of course, you have lost all what you posted before but you'll be always at deviantart ! And more, you could re-post the pics for what you were ejected : I did it and it DOES !!!

Thanks Mess ! I haven't been ejected from DA yet (my pictures are not objectionable enough maybe, or more surely no one noticed them ...) but I will follow your advice if i'm ever done the honour.

 

[CamCrux]

Last sale this year ! Don't miss it !

Marchand d'esclaves by Horace Vernet (1836) is yet another of those 'oriental scenes' mixing exoticism and eroticism that were cherished by the 19th century (and beyond ?)
It was painted in 1836 and was sold to Wagener, a Berlin banker. It is now kept at the Alte Nationalgalerie in Berlin. Vernet visited Algeria and was genuinely curious of a culture which, so he thought, hadn't changed much since biblical times. He also painted 'historical' scenes, including napoleonic battles.
I have introduced model Deserea into the scene, much against her will I suppose. I also had to clip the original painting's lower part, as Deserea's picture stopped at her knees.

 

[bobinder]

Last sale this year ! Don't miss it !

Marchand d'esclaves by Horace Vernet (1836) is yet another of those 'oriental scenes' mixing exoticism and eroticism that were cherished by the 19th century (and beyond ?)
It was painted in 1836 and was sold to Wagener, a Berlin banker. It is now kept at the Alte Nationalgalerie in Berlin. Vernet visited Algeria and was genuinely curious of a culture which, so he thought, hadn't changed much since biblical times. He also painted 'historical' scenes, including napoleonic battles.
I have introduced model Deserea into the scene, much against her will I suppose. I also had to clip the original painting's lower part, as Deserea's picture stopped at her knees.

Vernet's 'Slave Market' presents a wonderful variety of ethic types, to which Deserea contributes a pale black female. Whilst her gaze is averted deferentially, she provides a good sense of character interaction with the dealer, who has instructed her to present her assets by disrobing. Her bright pink chemise matches the colour of a shawl and headgear worn by other characters in the picture. The colour saturation and ambient lighting are consistent, making for a comfortable blend of painted and photographic elements. Nice work, Kam!

 

[CamCrux]

The Tribute (after Ludwig Deutsch)​

Ludwig Deutsch (13 May 1855 – 9 April 1935) was an Austrian painter who settled in Paris and became a noted Orientalist artist. The Tribute is considered a landmark in the genre.
An extract from Sotheby's web page describes the scene : "Rich in details, the work defines the ‘constructed realism’ of which Deutsch was the master. A cortège of four figures approaches an entrance guarded by a Nubian sentinel to pay their tributes. Leading the retinue is a bearded elder with an elaborately patterned turban and babouche slippers; in his hand he bears a scroll in a protective case; its message can only be guessed. Following behind are a nobleman and a soldier. The soldier wearing the peacock-feather helmet carries a Persian Qajar ivory-hilted jambiya in his belt and an Ottoman shamshir sword with a curved blade in his hand. They are accompanied by a servant carrying the gifts to be presented, including a Qajar gold-overlaid helmet and an Ottoman yataghan as worn by the Janissary Guard. The well-armed sentinel standing guard, his yataghan exposed, carries not only a kindjal dagger but an Ottoman flintlock pistol and a powder flask in his belt."
More can be read here : www.sothebys.com/en/buy/auctio…

I have added my own contribution to the tribute : four slavegirls, obviously European captives, who have been stripped and chained and are waiting near the entrance to the palace.

 

[bobinder]

The Tribute (after Ludwig Deutsch)​

I have added my own contribution to the tribute : four slavegirls, obviously European captives, who have been stripped and chained and are waiting near the entrance to the palace.

​

Initially I faced a challenge in identifying the four inserted figures from a three-quarter rear view, although I was reasonably confident that Ariel was on the left of the group, and Melena on the right. With Kam's assistance, we were able to make positive identifications of this group of Hegre models. Left to right they are - Ariel, Mira, Marika and Melena (presented as Melena-Maria by Hegre.)

The collar and chain details are neatly applied, and the receding scale and perspective within the group work very well in the new environment of the painting. The girls seem to form a guard of honour for the original characters, their complete nudity contrasting with the opulent fabrics being worn by the clothed figures.

Comparison with the source image reveals the extent of the manipulation work. Not only have the straps of the swimming costumes been replaced with painted skin tones, but the increased brightness and contrast adjustments have ensured that the figures are lit consistently with those in the background. The paintings of Ludwig Deutsch are now providing a familiar canvas for Kam's manipulations, and yet again the photographic components make a sympathetic blend with the realistic style of painting. Nice work, Kam!

 

[CamCrux]

Deleted scene from the Game of Thrones TV series



Melena Maria, having newly arrived at King's Landing from the North, was in search of a means of existence. She heard of Lord Petyr Baelish's (aka Littlefinger) renowned brothels and decided to apply. She is now being auditioned by Littlefinger himself.

 

[bobinder]

Deleted scene from the Game of Thrones TV series



Melena Maria, having newly arrived at King's Landing from the North, was in search of a means of existence. She heard of Lord Petyr Baelish's (aka Littlefinger) renowned brothels and decided to apply. She is now being auditioned by Littlefinger himself.

As previously noted on DeviantArt, the figure of Melena is neatly inserted into the scene with consistent lighting and colour saturation. In fact the oblique lighting on the side of her body is a perfect match for the prevailing conditions affecting the other figures and objects in the background. Her location between the table and the steps provides a sense of depth and scale. I have not yet identified the source image for Melena, although she is a prolific and widely published model.

Melena's pose displays her sinuous curves to good effect, and her expression is suitably apprehensive. She retains her distinctive, cat tattoo, but wears no additional ornamentation which would otherwise be characteristic of a Kamerijk slave girl. The character interaction between the two nearest figures makes for a convincing and highly successful manipulation.

Melena is well known for her frequent appearances in the 'Nude Out Of Place' thread on Cruxforums. She uses a variety of names and is most often presented as 'Melena A'. The variation 'Melena-Maria', used by Hegre publications, combines her familiar model name with her real name - Maria Ryabushkina. Nice work, Kam!

Nude Out Of Place

Working around the house The best lot of household slaves I ever bought!:cool: It's a real exciting pleasure to see them working!:rolleyes:

www.cruxforums.com

 

[CamCrux]

As previously noted on DeviantArt, the figure of Melena is neatly inserted into the scene with consistent lighting and colour saturation. In fact the oblique lighting on the side of her body is a perfect match for the prevailing conditions affecting the other figures and objects in the background. Her location between the table and the steps provides a sense of depth and scale. I have not yet identified the source image for Melena, although she is a prolific and widely published model.

Melena's pose displays her sinuous curves to good effect, and her expression is suitably apprehensive. She retains her distinctive, cat tattoo, but wears no additional ornamentation which would otherwise be characteristic of a Kamerijk slave girl. The character interaction between the two nearest figures makes for a convincing and highly successful manipulation.

Melena is well known for her frequent appearances in the 'Nude Out Of Place' thread on Cruxforums. She uses a variety of names and is most often presented as 'Melena A'. The variation 'Melena-Maria', used by Hegre publications, combines her familiar model name with her real name - Maria Ryabushkina. Nice work, Kam!

Nude Out Of Place

Working around the house The best lot of household slaves I ever bought!:cool: It's a real exciting pleasure to see them working!:rolleyes:

www.cruxforums.com

Thanks Bob. I found the picture of MelenaQ (as she is called there) on this page : https://www.elitebabes.com/melenaq-...nd-blows-our-minds-with-her-sex-appeal-42630/

 

[CamCrux]

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.

 

[Jollyrei]

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.

View attachment 1130796

Beautiful work. She fits into the scene like she was always there. Lily adds an enigmatic element, making us wonder why the guard is toying with his pistol. Is he in love with her, and knows he can't have her, perhaps because she is a favourite of the Sultan's harem. Is he going to kill her? Or perhaps his obsession with her is making him contemplate assassinating the sultan.