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Cam's Camera: Slave Girls

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A new cooperation between Keigera and myself. The first picture got an 'underage' question or warning from DA. The second one might not (?)
For the second picture, the text has been slightly altered to remove the two occurences of the word "naked" ...

the hostage (1).jpg

the hostage (2).jpg

The first part of the text is by Keigera, the second part by myself, as well as the pictures.

I am from the Cimbri people, the daughter of a great warrior and king.

When the sea began to flood our coastal lands, we left them and entered the fighting lands, but we were soon driven out by local tribes. Having crossed the Danube, our Cimbri tribe moved south into the lands of the Scordis who inhabited Pannonia, from where we went west, invading Norik. A great war then began with the damned Romans, the children of the wolf Fenrir. The Cimbrian War began. For a long time our warriors prevailed and defeated them. Those victories burst their heads. I dreamed of the day when I would see their capital before burning it down. My dreams have come true, but not in the way I expected. That great battle, the battle fought near a place they call Vercellae, practically brought my people to their knees. We lost. Many great warriors died in that battle. Many women, seeing the defeat of the men, rushed into the thick of the battle and committed suicide. Many but not all. It was too late when they broke into our settlement.

Then there was a triumph. I did see Rome but I was walking in a column of captured booty. Later, one of the triumphants, Quintus Lutatius Catulus, used his share of the booty to build himself a mansion on the Palatine and a portico, decorating both buildings with the trophies of the Cimbrian War and taking me, the daughter of the defeated king, as a slave, and gave me to his wife as a living symbol and a naked reminder of their great victory. And now I stand doomly in this mansion, built on the tears of our tribe and feeling the weight of the slave's collar on my neck, with bitterness I understand that I will no longer have another fate, such as becoming a great warrior. I can not accept that fate.

---

By Mars and Janus, the girl will drive me mad ! She is as headstrong as her father Boiorix, the late king of the Cimbri.

After our victory over the barbarians at Vercellae, Venna, as she is named, became part of my booty and was brought to Rome where I took her as a house slave. She has been rebellious ever since, claiming she is the daughter of a king and not a slave and refusing to obey orders or to learn a word of Latin. She said she would rather die than be a slave to us Romans ... She sets a bad example for the other slaves of my domus. My wife Servilia has had her flogged twice, to no avail.

How can such a young and frail-looking girl stand up to me, Quintus Lutatius Catulus, Victor of the Cimbri and Consul of Rome? If this were known, I would be the laughing stock of the Senate and the second consul, the ambitious and intriguing Gaius Marius, would not hesitate to take advantage of the situation to discredit me.
I should have her crucified and be rid with her but by Jupiter I can't, she is a key hostage of the Cimbri and I am sure the little vixen knows this.

Now we have summoned her again to try one last time to break her resistance. We've had her stripped naked to impress her condition upon her and she but has turned her back on us...
Maybe I could give her as a gift to Gaius Marius ?
 
A new cooperation between Keigera and myself. The first picture got an 'underage' question or warning from DA. The second one might not (?)
For the second picture, the text has been slightly altered to remove the two occurences of the word "naked" ...

the hostage (1).jpg

the hostage (2).jpg
This is another fine collaboration between Keigera and yourself, Kam! The development of 3D environments has led to the production of a variety of high quality background images, and this Roman domestic interior is no exception. Only when I discovered that the original scene is unpopulated, did I appreciate that all of the characters, plus a chair, have been added to your manipulation as newly inserted components. Indeed, your blending of such items, in terms of scale, lighting and colour saturation, has become a matter of high proficiency, so convincing is the result.

Venna appears with a suitably defiant expression, occupying the left foreground in a way which exploits the dramatic, perspective geometry of the background architecture. This position also takes advantage of the sunlight pouring through the skylight, justifying the highlights on her left arm and in her hair. The Roman figures are also located according to the influence of the central lighting effect. This, together with their gaze being directed at Venna, provides a sense of visual unity within the composition.

The clothed version of Venna is more ambitious, since her shift has to be applied in a manner which is convincing in terms of form and lighting. The garment may be derived from another figure in a similar pose. Whilst this presents the desired fall and folds of the fabric, its form is defined by light and shade, which also has to appear consistent with the other elements in the scene. The result is a balancing act, involving subtle adjustments of brightness, contrast and saturation. And as Eul has observed elsewhere, the slavegirl's shift makes its own statement as a contrast with the clothing of the Roman characters. Nice work, Kam! :)
 
As I said in Another Place, a lovely picture, I like both versions, but I think in her scanty slave-tunic she looks strangely more vulnerable than when totally naked, it emphasises the contrast between her status and her well-dressed, wealthy captors.
 
The girl being sold is rightly keeping her eyes modestly lowered, as a slavegirl should, not daring to meet the eyes of the men bidding for her. She's holding herself quite well, hands behind bum, shoulders back to lift her breasts, but she's crossing her legs self-consciously. Although she's already been branded, she'll need that awkwardness whipped out of her.

The lassie next to her is a contrast, showing herself with no false modesty or shyness, sussing the men who'll soon be bidding for her. A spirited youngster, she'll need breaking hard, but a Master who manages that will be well-rewarded.

And in the background, the tall blonde looks despairingly anxious - waiting is the worst part, but soon she'll learn which lucky male's going to Master her!

Strictly speaking, to maintain our policy, we generally crop out or hide in shadows the under-age subjects on the right of Gerome's composition. Could you manage some such adjustment, Cam? (The lass sitting and studying the clientele isn't a problem, just the bairns and baby)
 
The girl being sold is rightly keeping her eyes modestly lowered, as a slavegirl should, not daring to meet the eyes of the men bidding for her. She's holding herself quite well, hands behind bum, shoulders back to lift her breasts, but she's crossing her legs self-consciously. Although she's already been branded, she'll need that awkwardness whipped out of her.

The lassie next to her is a contrast, showing herself with no false modesty or shyness, sussing the men who'll soon be bidding for her. A spirited youngster, she'll need breaking hard, but a Master who manages that will be well-rewarded.

And in the background, the tall blonde looks despairingly anxious - waiting is the worst part, but soon she'll learn which lucky male's going to Master her!

Strictly speaking, to maintain our policy, we generally crop out or hide in shadows the under-age subjects on the right of Gerome's composition. Could you manage some such adjustment, Cam? (The lass sitting and studying the clientele isn't a problem, just the bairns and baby)
Thanks for your knowledgeable survey of the scene :)
Bobinder already warned me about the brats in the picture and I kinda shrugged him off. While I understand and agree with the 'no underage' principle, I would have thought it meant not introducing underage characters in the picture, but not hiding those that might already be there, in a painting that is widely available on the web anyway.
However, since you and Bob asked and I like you both very much I will comply. Would it be alright if I threw a piece of clothing on them, like a tattered tunic or some loincloth ? Or do they have to disappear completely ? In which case I might just pixellize them ...
 
A variation on Jean-Léon Gérôme's well-known Slave Market in Ancient Rome (Vente d'esclaves à Rome in the original French) dated circa 1884 and now at the Hermitage museum in Saint-Petersburg, Russia.

The original work : https://upload.wikimedia.org/wikipedia/commons/d/de/Jean-Léon_Gérôme_004.jpg

View attachment 979013
Very nice work. I think an improvement on Gerome. :D I particularly like how you have replaced some of the background figures with additional slavegirls - possibly the next ones to come on stage for sale, looking to see what kind of crowd they are playing to.
 
A variation on Jean-Léon Gérôme's well-known Slave Market in Ancient Rome (Vente d'esclaves à Rome in the original French) dated circa 1884 and now at the Hermitage museum in Saint-Petersburg, Russia.

The original work : https://upload.wikimedia.org/wikipedia/commons/d/de/Jean-Léon_Gérôme_004.jpg

Slave market in ancient Rome.jpg
Jean-Leon Gerome specialised in depicting ancient Roman subjects, and his paintings of slave markets and arena scenes have become a familiar sight, providing the backgrounds of numerous manipulations. The photo realistic style of his figures makes them particularly appealing for alternative interpretations, in which new characters are introduced to the scene.

Kam's latest work combines the neatly inserted slave girls with the original dealers and other characters in a convincing, interactive way. The lighting and colour saturation are carefully observed for blending the components into an indoor environment, which nevertheless has strong, directional lighting coming from the left.

The girl in the left background is cropped in a manner which corresponds to the painted customers in the lower right foreground. She is the only one who meets our gaze directly, and we are encouraged to look across the picture from side to side, viewing the attractions on display. Nice work, Kam! :)
 
Jean-Leon Gerome specialised in depicting ancient Roman subjects, and his paintings of slave markets and arena scenes have become a familiar sight, providing the backgrounds of numerous manipulations. The photo realistic style of his figures makes them particularly appealing for alternative interpretations, in which new characters are introduced to the scene.

Kam's latest work combines the neatly inserted slave girls with the original dealers and other characters in a convincing, interactive way. The lighting and colour saturation are carefully observed for blending the components into an indoor environment, which nevertheless has strong, directional lighting coming from the left.

The girl in the left background is cropped in a manner which corresponds to the painted customers in the lower right foreground. She is the only one who meets our gaze directly, and we are encouraged to look across the picture from side to side, viewing the attractions on display. Nice work, Kam! :)
And thanks Bob !
 
Thanks for drawing a neat veil over the subject, Cam! Gerome sans petites now edited into your post, I think it works well, makes the slavegirls even more the centre of attraction.

While I understand and agree with the 'no underage' principle, I would have thought it meant not introducing underage characters in the picture, but not hiding those that might already be there, in a painting that is widely available on the web anyway.
I pretty much agree in principle, as you say it's a very familiar painting. But as ever, in our moderating, we have to consider, will this be used as an excuse by other, less responsible, individuals? So your co-operation is much appreciated.
 
Another attempt at painting manipulation, this time again with Jean-Léon Gérôme's tacit agreement - peace to his soul. He was a pioneer and should be made an honorary, post-mortem member of CruxForums.
The original title of this very famous painting is Le Marché d'esclaves, dated 1866 and now jealously kept by the Clark Art Institute, Williamstown (USA, I presume?)
All I've done is replace the central slavegirl by a real life model. A Frankenstein, as the body and head come from two diffrent models. The head is what prompted the manip. The girl kneeling on the right is mostly there to show off her generous boobs and conceal the child in the woman's arms behind her.
Comments, applause and criticism are all welcome.

Gérrôme.jpg
 
Another attempt at painting manipulation, this time again with Jean-Léon Gérôme's tacit agreement - peace to his soul. He was a pioneer and should be made an honorary, post-mortem member of CruxForums.
The original title of this very famous painting is Le Marché d'esclaves, dated 1866 and now jealously kept by the Clark Art Institute, Williamstown (USA, I presume?)
All I've done is replace the central slavegirl by a real life model. A Frankenstein, as the body and head come from two diffrent models. The head is what prompted the manip. The girl kneeling on the right is mostly there to show off her generous boobs and conceal the child in the woman's arms behind her.
Comments, applause and criticism are all welcome.

View attachment 983857
If I were her, I’d bite down hard on that finger.;)

Well done. Nice work!
 
Another attempt at painting manipulation, this time again with Jean-Léon Gérôme's tacit agreement - peace to his soul. He was a pioneer and should be made an honorary, post-mortem member of CruxForums.
The original title of this very famous painting is Le Marché d'esclaves, dated 1866 and now jealously kept by the Clark Art Institute, Williamstown (USA, I presume?)
All I've done is replace the central slavegirl by a real life model. A Frankenstein, as the body and head come from two diffrent models. The head is what prompted the manip. The girl kneeling on the right is mostly there to show off her generous boobs and conceal the child in the woman's arms behind her.
Comments, applause and criticism are all welcome.

Gérrôme.jpg
This is an attractive interpretation of the original painting, and the close attention to detail ensures that the homage to Gerome is presented in a sympathetic manner. Inevitably the manipulation invites comparison with the painting, and if you will please excuse the cropping, this demonstrates how subtly the picture has been modified. In many ways, the new girl is quite similar in appearance to the original model. Her pose is not quite identical, but close enough, with comparable figure proportions. Her mouth is open wider than her predecessor's, which assists the dental examination being conducted by the prospective customer. The resulting character interaction is most convincing.

Like Gerome's girl, the new slave has a collar added, and the pile of discarded clothing (no more than a simple blanket) has been moved to obscure her feet, possibly to conceal the shoes being worn by the model? Incidentally, she appears to be a very successful composite figure. The kneeling girl is another attractive addition, resolving the technical issue of the painted characters in this location. An earthenware vessel has been inserted, presumably to conceal another pair of anachronistic shoes? This second model was photographed in direct lighting, and might benefit from reduced contrast to compliment the lighting of her friend, although the difference is not immediately obvious, and the overall blending of the scene is very convincing indeed. Well done, Kam! :)

kamerijk-cf-Gerome-det.jpg
 
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This is an attractive interpretation of the original painting, and the close attention to detail ensures that the homage to Gerome is presented in a sympathetic manner. Inevitably the manipulation invites comparison with the painting, and if you will please excuse the cropping, this demonstrates how subtly the picture has been modified. In many ways, the new girl is quite similar in appearance to the original model. Her pose is not quite identical, but close enough, with comparable figure proportions. Her mouth is open wider than her predecessor's, which assists the dental examination being conducted by the prospective customer. The resulting character interaction is most convincing.

Like Gerome's girl, the new slave has a collar added, and the pile of discarded clothing (no more than a simple blanket) has been moved to obscure her feet, possibly to conceal the shoes being worn by the model? Incidentally, she appears to be a very successful composite figure. The kneeling girl is another attractive addition, resolving the technical issue of the painted characters in this location. An earthenware vessel has been inserted, presumably to conceal another pair of anachronistic shoes? This second model was photographed in direct lighting, and might benefit from reduced contrast to compliment the lighting of her friend, although the difference is not immediately obvious, and the overall blending of the scene is very convincing indeed. Well done, Kam! :)

Thanks for your careful observations Bob. You're quite right about the girl kneeling on the right, she could do with some more contrast reduction. The vessel conceals a partly cropped thigh which i didn't want to bother restoring. The blanket at the feet of the central character conceals a foot that was indicating forward motion too clearly, and thus unadapted to the scene.
 
Another painting by Jean-Léon Gérôme has been tampered with : Achat d'une esclave (Buying a Slave), dated 1857.
Very close in composition to Le Marché d'esclaves, except this one is set in an undefined antique time and place.

The model here is known as Lissa.

View attachment 985441
Thank you for this picture with divine Lissa/Kamilla/Lida/Zyta/Maria etc. (her real name is Lidiya Cheremnich and she retired much too soon many years ago) I never can see enough of her :)
She is blending into the painting exeptionally well, the light on her upper body and the shadows on the legs fitting exactly to the other figures. Great work!
 
Thank you for this picture with divine Lissa/Kamilla/Lida/Zyta/Maria etc. (her real name is Lidiya Cheremnich and she retired much too soon many years ago) I never can see enough of her :)
She is blending into the painting exeptionally well, the light on her upper body and the shadows on the legs fitting exactly to the other figures. Great work!
Lissa is lovely and she hasn't appeared enough in my manipulations. I will remedy that in the future ! :)
 
Another painting by Jean-Léon Gérôme has been tampered with : Achat d'une esclave (Buying a Slave), dated 1857.
Very close in composition to Le Marché d'esclaves, except this one is set in an undefined antique time and place.

The model here is known as Lissa.

View attachment 985441
I love the subtle power of the ankle cuff, tempted to assume it’s from the original. Speaks volumes about her status, very nice
 
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