Source unknown – Title unknown (20XX)
Tag: blow job
Encouragement request
EDIT I: it has been brought to my attention that the young woman in this image is Kristine Kahill and that this image was originally posted on Sex and Submission (a Kink.com imprint). Sex and Submission interviews models before and after the sessions. In other words, explicit consent is given for the acts depicted in the subsequent images.
Furthermore, it seems the post can be read as suggesting being submissive is a ‘reprehensible’ behavior. I assure you, that was never my intention. As someone who is thoroughly hardwired as a switch–I am not down on D/s practices at all.
I am opting to leave the original post untouched. I make mistakes. And I am sorry if my comments offended anyone. It still concerns me, however, that this image is presented entirely disconnected from its original context. In the future I will make every effort to do better due diligence. That being said, all things being equal I do stand by my reading of the problematic aspects of this image as it originally presented to me.
EDIT II: Also, I neglected to mention this is some straight-up #skinnyframebullshit.
TinEye turns up two ‘matches’ for this: both in color, both cropped and both hosted by purveyors of violent porn.
But anything more than a glance reveals as much: the composition of the image says as clearly as if the image maker had drafted a memo and sent it to every viewer: women are nothing more than props existing for the sole purpose of accommodating male desire.
It’s a reprehensible ideology. And this picture does almost nothing for me.
Except the young woman’s face, hairstyle and how her eyes accentuate her expression bears more than passing resemblance to an erstwhile co-worker on whom I have a crush.
It’s not the first time I’ve chanced upon porn which reminds me of people I trust—and by that I merely mean someone who can touch me without causing me to flinch. Usually, I avert my eyes—much the way I would if a loose fitting top gaps and offers a glimpse of an elicit vista. It’s not that I don’t want to see—fucking Christ on Christmas, I exist to absorb sensory input.
I don’t feel the same inclination here, however; it’s a feeling that I am interested in explaining without judgment or justification—not because either does not belong here but because this response is such a fatherfucking anomaly.
Navigating boundaries is something for which I lack any talent. I don’t really understand them because for all intents and purposes I do not have any of my own. But I comprehend—at least academically—that other people do. I think of boundaries as privacy force fields. (Go ahead and laugh.) Privacy force fields are like whatever it is about a door that prevents a vampire from passing without being invited.
Looking down the front of a loose blouse or connecting a pornographic image with someone I trust usually causes me to feel like a vampire trying to enter a home without being invited.
It’s the same with masturbatory fantasies. Granted when I masturbate I don’t usually think about scenarios or exchanges so much as the process is something more like meditation or stretching my arm through cage bars towards a hanging key I can almost just reach.
On the occasions where I please myself while fantasizing about someone, it’s as a rule never someone with whom I am close. (Of course it’s a different story if the person consents—but this has only happened once with someone show I was never romantically involved.)
There are two notable exceptions. One is my crush.
Perhaps it’s not really an exception. I don’t fantasize about how she might touch me, how I might touch her in turn and where that might lead. Instead I try to picture her in the same room as me—she’s one of those women whose fundamental perception is of being unattractive. She’s not upset about it; in fact, she cultivates an image of herself as not being able to give less of a fuck of what anyone else thinks of her. Of course, this in combination with her vicious wit, talent and intelligence makes her even more attractive. Then I am in the same cell again stretching, reaching for, almost touch that hanging key that if I can only reach will unlock a treasure chest with a mirror that if she held up she could glimpse herself as I see her through my eyes.
Then I fall away, crawl back but fail.
I don’t know why I refuse to turn away in this case. But in so doing, I remain unashamed.
Keep it up
If the above or something like it were representative of a Platonic form then I could sort of begin to understand why so many straight, male bodied persons have this as their default ultimate-sexual-fantasy setting.
Alas, I don’t think pleasure-giving/sharing-as-caring motifs figure as prominently in these fantasies as pleasure-taking/validations-of-masculinity…
…but really there comes a time when even I have to ditch theory and unabashedly relish in something this thoroughly and enticingly lascivious. (And that’s coming from the same individual who readily admitted finding most blowjob scenes dull.)
The above frame would benefit from a slight shift down and right. Setting that aside—as well as my ambivalence at best toward the Instagram trend—this image is well crafted.
Come on, you may say, explicit images of beautiful young people fucking are not the sort of thing anyone appreciates because of technical merit.
I mean, yeah, this easily succeeds at level of beautiful young people fucking. But, where it blows—pun gleefully intended—the competition away is it’s carefully considered composition.
A lot of people like to drone on and on about composition this and rule of thirds that when all you really need is to realize that composing a visual image is—whether you realize it or not—almost identical to telling a story.
Just as image makers can only represent a limited sliver of the world within a given frame, the storyteller must determine what details serve the story and therefore bear inclusion; as well as those which are superfluous and therefore best excluded.
The skilled storyteller conveys not only the sense of a story but also something of what was excluded. William Carlos Williams’ poem so much depends is the perfect example. It describes two objects; but in describing only the two most necessary objects in the scene our imagination thrills at building a seamless world around them.
The fundamental difference between images and words is that the former allows for the whole and various parts to be taken in simultaneously; whereas even describe something simultaneous by saying: at the same time this and that happened, the linearity of the sentence privileges ‘this’ over ‘that’ by an ‘and’ length measure of time.
The composition of this image guides your eye over the various parts of the image while always reinforcing its place within the whole. For example: before I even take in the extent of his nakedness—fuck, his skin is like milk cooling in the shade—I see the muted variegation of the sedge on which he is splayed.
At the same time it all shifts into sudden focus and I see everything: his outstretched arms terminating in fingers—fierce with whiteness— tangled in the brown of her hair; his hands and her head meeting to form vertex of an inverted V which tenderly frames her right hand taking his erection and guiding into her mouth to a depth only a hair’s breadth above its edged tip.
And the wide gape of his knees, a second non-inverted V, re-frames her body between his legs where she is crouched as naked as he.
Acetylene Eyes 