What you might call a 'Barb's eye view'?
But well might the viewers be settled in. Wild horses wouldn't have been able to drag me away! And now Jollyrei, decent chap that he is, has captured the scene so that I can spectate whenever I like!
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Filtered And Artistic Manips And Pictures Gallery
- Thread starter Jollyrei
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But well might the viewers be settled in. Wild horses wouldn't have been able to drag me away! And now Jollyrei, decent chap that he is, has captured the scene so that I can spectate whenever I like!
I like working with different perspectives, and it's fun to see what other people see in the image as well.
Sorry, Bob - Yana is indeed the model on the right. This is an image from her outdoor crux series. I have replaced the rather sorry looking 2x8 hardware store cross with something a little more rustic. On the left is a rather anonymous, but sensual pose from Milana/Ava, another model from Ukraine.
No worries. Always happy to help.
Loxuru
Graf von Kreuzigung
Interesting, well done two layer perspective, with the exciting curves in the front, and the onlookers in the back. I also interpret it as a crucified's viewpoint, watching the other condemned from rather closeby, and constantly feeling the eyes of the onlookers on one's self.
It is a real 'sh*t, my neighbours are there too' situation.
Inspired by @Barbaria1 's recent story "The Cardinal Bishop and His Female Pope" - https://www.cruxforums.com/xf/threads/the-cardinal-bishop-and-his-female-pope.9051/ - now available also in PDF format from our archive.
The Trial of Pope Innocent
The Trial of Pope Innocent
Just look at her. She looks innocent as hell!The Trial of Pope Innocent
Great manip, Jolly!
Loxuru
Graf von Kreuzigung
In Vatican language, 'innocent as hell' means : 'guilty beyond doubt'!
The shallow depth of field helps to focus our attention on the main character and the neatly defined bloodstains, as well as resolving the problems associated with a low resolution background. The contrast between nude and clothed figures seen in profile and full frontal aspect provides the composition with an implied sense of character interaction.The Trial of Pope Innocent
Nice work, Jolly!
That is a magnificent image, @Jollyrei!
It really made my day!
And, what's more, I'm not the only one
Then he encountered Barb
T
The Fallen Angel
Guest
Making The Sale (Hosted externally)
This thread was getting buried! This Orientalist painting was by Eduard Ansen-Hoffmann (Austrian 1862-1955) but there does appear to be various ways of spelling his name. You can still see his signature at the bottom left of pic.
This thread was getting buried! This Orientalist painting was by Eduard Ansen-Hoffmann (Austrian 1862-1955) but there does appear to be various ways of spelling his name. You can still see his signature at the bottom left of pic.
T
The Fallen Angel
Guest
Street Scene In India (Hosted externally)
Not Khabadami, but the same idea. This time the scene is in India by Edwin Lord.
Not Khabadami, but the same idea. This time the scene is in India by Edwin Lord.
The girl on the left appears resigned to being a slave. The one on the right not so much...
"Here's the girl you requested, Highness!"
"Thank you, Jollyrei, but I requested a naked girl! She's all dressed up in kilts and sporrans - I can hardly see her!"
"She's from Scotland, Highness. It's cold there. She's called Eulalia. You'll love her, Highness!"
"Naked, Jollyrei!" There was a dangerous edge to the Sultan's voice.
"Ah, now, Highness. This is the bit you will really love. The language they speak is a magical language, used for miracles like charming dragons, healing the sick, and beating the English at football. Just watch this!"
He raised his hand towards the unfortunate girl. "Bidh aodach à sealladh!"
POUF!
"There you go, Highness!"
"Jollyrei, thank you. How could I ever have doubted you? You never fail to deliver!"
"I endeavour to give satisfaction, Highness!"
We really need to refer to Rosati's original painting, in order to appreciate the extent of Jolly's modifications in this picture, otherwise, his rearrangement of the painted figures is so effective, it is simply not apparent to the casual viewer. Both of the dismounted male characters have been flipped, together with their tent, and placed on the opposite side of the canvas. This provides an area on the left, for reconstructing the empty sand dune to accommodate Marilu and her horse.The Bedouin Camp:
Based on a painting by Giulio Rosati.
Only the mounted horseman is responding to the presence of the naked female, and his friends are politely averting their gaze. Jolly has dealt with all of the usual challenges in blending photographic components into a painted scene, and succeeded to a high degree. The filter treatment applied to the new figures ensures that they have the same texture as the painted elements, and shadows have been carefully applied beneath their feet to locate them convincingly on the sand (I believe Marilu and her horse were standing on grass in the source image).
Jollyrei likes to show his characters engaging in a realistic manner, and we can almost read Marilu's thoughts as she looks towards the seated man in the corner - 'Are you pleased to see me...?'
Giulio Rosati was an Italian painter, working in the Orientalist tradition - not to be confused with the Pre-Raphaelite painter, Dante Gabriel Rossetti, who lived and worked in London. Yet again, very nice work, Jolly!
You should see what she can do when she whispers to the horse!
('The Horseman's Word' was passed on in the initiation ritual in a secret organisation of Scottish horsemen, it was supposed to give them a mysterious power to control the steeds)
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Choosing the Favourite (of the day).
Inspired by the orientalist painting by Giulio Rosati, who focused almost his entire career on orientalist painting. His original painting features what appears to be a new girl in the harem being examined by the Sultan. She seems suitably embarrassed in her new role, but one assumes she will come to terms with the idea sooner or later. Now, one might think that it is perhaps odd to do a modification of one of Rosati's most well-known works, but like many painters, he actually painted at least two different versions himself. In that sense I'm just augmenting or adding my own interpretation to the scene.
In this version, the Sultan is checking out a couple of new girls, to the delight of Barb, who figures she'll have the evening free now. Unfortuntately, since being sold off to the Sultan by Lord Wragg (who got tired of her nocturnal visits to the wine cellars of Cruxton Abbey), she has not had a great deal of time to explore, and I expect that her winsome smile will disappear shortly when she finds out that self-respecting Muslim Sultans don't actually have wine cellars in their palaces. There will be no Riesling today for Barb.
Inspired by the orientalist painting by Giulio Rosati, who focused almost his entire career on orientalist painting. His original painting features what appears to be a new girl in the harem being examined by the Sultan. She seems suitably embarrassed in her new role, but one assumes she will come to terms with the idea sooner or later. Now, one might think that it is perhaps odd to do a modification of one of Rosati's most well-known works, but like many painters, he actually painted at least two different versions himself. In that sense I'm just augmenting or adding my own interpretation to the scene.
In this version, the Sultan is checking out a couple of new girls, to the delight of Barb, who figures she'll have the evening free now. Unfortuntately, since being sold off to the Sultan by Lord Wragg (who got tired of her nocturnal visits to the wine cellars of Cruxton Abbey), she has not had a great deal of time to explore, and I expect that her winsome smile will disappear shortly when she finds out that self-respecting Muslim Sultans don't actually have wine cellars in their palaces. There will be no Riesling today for Barb.
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I shudder to think what Barb will do with a free evening...
Me, I'd just spend it gazing at this picture!
M
montycrusto
Guest
Looks like it’s been used already
The original females in Rosati's painting are the three white girls, wearing bracelets and necklaces, closely grouped within the right half of the composition. These have been joined by Hannah, Caprice, Geisha, Ariel and the kneeling girl (who looks familiar but I will have to ask Jolly for identification). As is often the case in a multi-figure manip, the final version is the result of numerous adjustments to the scale, location and orientation of the inserted characters, in order to obtain a convincing sense of engagement within the scene.Choosing the Favourite (of the day).
Hannah, Caprice and Ariel are now familiar faces in Jollyrei productions, whilst Geisha, a black Femjoy model, is making her debut. Her source is an outdoor image, photographed in strong sunlight, and she has been partially repainted to represent a figure revealed by the ambient light of an indoor setting. Her physical contact and sensitive interaction with Rosati's central female is most convincing.
Equally successful is the kneeling girl in the centre of the picture. Her pose reflects the embarrassment of the female who stands facing her. Each averts her gaze and one glances towards a pair of slippers. Only the standing males place their shod feet on the carpet, and we can see that two further pairs of slippers have been removed in the lower right corner.
Rosati depicted eight figures, none of whom engage the viewer with direct eye contact. Adding a further five females to such a populated scene is ambitious, but only one of the original male characters has been substantially concealed as a result. This is one of the seated males, who appear to be relaxed, armed guards (the painting reveals an ancient musket in the hands of the man behind Caprice, and the man on the right is cradling a sheathed sword). The manipulated image now engages the viewer, since Geisha and Ariel are looking at us directly and expectantly.
Despite the substantial increase in numbers, the picture retains its balanced composition with evenly distributed characters, and does not appear overcrowded. The manipulation incorporates subtle modifications including adjustments to the floor area to accommodate shadows, and blending treatments to provide the inserted figures with consistent values of texture and saturation. These refinements are so effective that they risk passing unnoticed by the casual viewer. Well done, Jolly!
I was kind of thinking of going out to the Sultan’s garage and picking out one of his sports cars to take for a little spin.shudder to think what Barb will do with a free evening...
