View allAll Photos Tagged seductive
Yumm, it's so satisfying to feel the soft smooth satin in my hands and all over my body. I must admit that I'm most definitely a satin addict and I'm loving every second of it! In soft satin a happy girly smile is guaranteed.
I took this fashion photograph in a studio with a Nikon D3000. Here I adjusted the lighting so that it surrounded my subject, therefore creating less of a shadow, and then softened the shadow further on Photoshop by using the dodge tool.
For this image, I wanted to represent my subject's personality through her clothing and expression, and did this by giving her certain clothing and props that I knew would represent her. This included my subject wearing a Rihanna leotard - I found this particularly great to use as this woman is my subject’s idol and inspiration, and this was a great way to show this to my viewers. As well as this my subject wore red sunglasses, was holding a red lolly, and had red hair - I used this particular colour to show off her persona, as it represents fierce, feisty yet loving and warm emotions. To sum up all of this, I then requested that my subject did a number of facial expressions, so that I could capture her more naturally, and I found this particular shot represents her well.
I angled the camera slightly down on the subject as I wanted to slim the subjects waist and have more attention from there up, which I believe I have done successfully. I have also managed to frame my subject in the most of the image, and by placing her slightly into the right thirds, have created a positive image - showing more of the side the model is looking toward.
Finally I edited this photograph on Photoshop by adjusting the contrast, levels, colour and sharpness of the image. By doing this, I was able to make sure my subject stood out against the background, and then as already mentioned, used the dodge tool to soften and erase the shadows. I then used the burn tool to darken any areas that were too light, in particular the leotard, making the image clean and fresh. The last stage in the editing of this image was to slim the waist and legs further, and I did this by using the liquefy tool and dragging certain areas of her body.
Antonis van Dyck (Antwerpen 1599 - London 1641)
Venetia Stanley, Lady Digby auf dem Totenbett - Venetia Stanley Lady Digby on her Deathbed (1633)
The Trustees of the Dulwich Picture Gallery, London
Artist: Anthony Van Dyck (1599-1641), the brilliantly talented painter from Antwerp painter. Recognised as a master while still a teenager, he was appointed court painter to Charles I and painted sensual, self-consciously flattering and seductive portraits of the English aristocracy on the eve of the Civil War.
Subject: Venetia Stanley (1600-33), celebrated for her beauty and gossiped about for her sexually adventurous past, so infamous that when the soldier, scholar and writer Sir Kenelm Digby married her in 1625 it had to be without his family's knowledge. "A wise man, and a lusty," he insisted, "could make an honest woman out of a brothell-house." In another painting of her, commissioned by Digby from Van Dyck, and now in the National Portrait Gallery, she is represented as Chastity crushing Cupid beneath her foot.
Distinguishing features: She looks asleep, head resting in her hand, pale, but with a little pink in her cheeks. The painting is an intimate view, that of her husband about to kiss her. Swathed in blue and white silk, with a rose casually dropped on the sheet, she seems to be dreaming sweetly. Yet when Van Dyck drew her for this portrait, Lady Digby had been dead for more than 24 hours.
It was completely unexpected; a servant found the 33-year-old woman like this. Her distraught husband wanted to freeze the moment, so he summoned a maker of death masks; he also called for Van Dyck, whose portraits were usually far grander performances. Van Dyck sketched her on the spot and finished the painting in a few weeks. The only thing he added, according to Digby, was the rose. He explained that its beauty, just starting to wither, "is a fitte Embleme to express the state her bodie was then in".
Other than that, wrote Digby, who dedicated years to mourning his wife, the painter had captured her appearance precisely. He and his servants found her already cold, but by rubbing her cheeks brought colour to them. Digby certified that Van Dyck "hath altered or added nothing about it".
Portraits as emblems of mortality make regular appearances in the brooding metaphysical poetry of 17th-century England, along with flowers and skulls. According to the metaphysical poets, to have one's picture made was to become all the more aware of the flesh's decay in comparison to the eternally young portrait. "Here take my Picture," wrote John Donne in the same year as this painting. "'Tis like me now, but I dead, 'twill be more/When wee are shadowes both, than 'twas before."
This painting is a contrast to Van Dyck's portraits of cavaliers and their ladies strutting their stuff at court, yet perhaps not completely opposed. The society he painted was about to be convulsed by civil war and, as his subjects tended to be on the losing side, even his most flamboyant portraits have acquired a plaintive air. Here is Charles I on horseback, his head not yet severed from his shoulders. Here are Lord John and Lord Bernard Stuart in a double portrait, two cocky cavaliers, both to die in the Civil War.
Inspirations and influences: The genre of the deathbed portrait was popular in Reformation Europe, especially in Britain. Examples include John Souch's Sir Thomas Aston at the Deathbed of his First Wife in Manchester City Art Gallery and David Des Granges's The Saltonstall Family (c 1636-37) in Tate Britain, in which Saltonstall's first wife lies on her deathbed while his second wife and children from both marriages stand before her.
This might seem a primitive kind of painting, yet it persists in modern art. Claude Monet painted his wife as she lay dying at the age of 32; Camille on Her Deathbed (1879) has flowers on the bedclothes just like Van Dyck's portrait of Lady Digby. Monet's obsession with the temporal in art is at its most disturbing in this work, which he never showed in his lifetime.
Rules : Take a picture of your doll or dolls that have a side glance, and tag your friends! :3
I got tagged by Fashionistas4U93!
I got actually 5 of them, 2 Cutie fashionistas wave 1.5 and Teresa clutch wave 1, and these 2, Cutie SS Wave 1 and i think Barbie fashionistas shopping spree Sweetie! :3
Thanks for this fun tag game Fashionistas4U93! ^w^
This was my second shoot with Donna - she is so much fun to work with; great attitude, positive, very photogenic, creative, and willing to put up with our silliness. I took these photos in Anchorage, Alaska, in November 2009.
Strobist info: I used two Vivitar 285HV flash units, one set on 1/2 power, the other on 1/4, placed at about 45 degree angles from Donna. I use Paul Buff cybersync transmitters and receivers - good stuff.
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I love playing with my skirts for many reasons: it's fun, the soft satin in my hands feels nice, it feels feminine, it can be a bit mischievous and sometimes it's very seductive too. And yes, I like to tease a bit, that's part of the fun as well. So here's a sweet little skirt lift, playfully executed with a smile, showing you both everything and nothing. Seduction in style like I love it most.
Played about with Pixlr O'Matic for this one. She looked like a lady who wouldn't object to a bit of ink.
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