[↑] Rikki Kasso – Untitled from Trouble in Paradise series (201X); [↓] Source unknown – Title unknown (201X)
@deluckas13 – untitled (2017)
Do something for me: use your hand to block the two finger tips you can barely see in the upper left corner. See how this renders the picture almost cartoonish in it’s exaggeration.
Remove your hand. See how that creates a tension where the cartoonish is constrained by a sense of equal and opposite resisting pressure.
I think there’s a valuable lesson here not only about the dynamics of dramatic composition but also about creative expression. Playing to your strengths fails to have the same effect once you remove them from their inter-penetrative connection with your limitations, shortcomings and weaknesses.
[↑] Source unknown – Maria (201X); [↓] Abby Winters – Title unknown (2015)
Juxtaposition as commentary.
Source unknown – Title unknown (201X)
I have no ideas where this is from. But I am totally enamored with it.
There’s a nice conceptual bridge between the pulling the seat of a swimsuit from where it seems to ride up whenever you’re in and out of the water with the opening of the lily.
There is a symmetry between the gesture of spreading/stretching. An emphasis on texture–skin, lacquered nails, mesh, flower.
I am almost curious as to whether these clips are actually linked in the original source or if they were assembled from two disparate clips by someone with a really good eye for editing.
There’s an argument to be made they have to be from the same source. The nail polish and backgrounds–pink with the mesh, blue with the flower–that seem to suggest a similar approach to production design.
However, the light is different between the two–like not just a different color balance but a different approach. Also, the blue background in the scene clip with the lily, not the lines of vertical noise. You’re not getting anything like that in the pink background of the previous clip.
Source unknown – Title Unknown (20XX)
There’s things I really don’t like about this:
- I’m not exactly fond of how the vast majority of porn targeting cis dudes fetishizes anal as the pinnacle of the heterosexual experience of intimacy (Queer depictions of anal intercourse get me super hot and bothered, tho, so I’ not kink shaming by a long shot.)
- What is with the spreading of the labia as a motif in hetero porn featuring anal? Is it a legibility thing? Like the equivalent of look mom no hands except a look it’s in the number two hole not the number one hole?
- The image has almost certainly been desaturated.
- The braids and hair tie featuring a bow are clearly designed to add a barely legal lolita vibe to the scene.
That’s quite a bit to not like, I know. But the fact that the image is essentially narrative goes a hell of a long way to bridge the gap between my initial distaste and something like a reluctant interest in the image.
The scene is clearly by the side of a road somewhere–you can see the open care door and the grass in the background.
A blanket was put down first. The stud doesn’t just bend her over the hood of the car. In other words, there’s some concession to comfort.
It’s not hard to imagine how these two ended up here. They were driving and were suddenly both horny. Well, then why not road head? One gets the feeling that this is a pit stop before a weekend spent with one or the others family. They’ve pulled off the road to get one last intense fuck in before arriving.
I like that he’s watching her and dear lord, her expression–which to me reads as one of those responses to a sensation so intense and completely overwhelming that it expands to encompass all of your temporal cognition.
Source unknown – Title Unknown (20XX)
How much more effective would the above image have been if it adopted a perspective that included both women more or less in scale on par with this image?
It would not only have avoided reducing these two women to little more than their genitals and the area immediately surrounding them; it would’ve made for a better image.
Also, for the last fucking time: the distinction between B&W and color shouldn’t be a desire for it to seem more or less ‘arty’. respectively.
I had no idea who Kennedy Kressler was two days ago; now, I can’t get her out of my head.
Most images of her are garbage, portraying her as receptive, wide eyed and winsome, performing for the pleasure of a stereotypical straight male spectator.
This makes me EXTREMELY uncomfortable. I do not know Ms. Kressler; and while I certainly wouldn’t piss and moan at the prospect of an introduction, chances are she wouldn’t give me the time of day. Yet, there she is in almost every picture staring out at me with feigned intimacy and come hither eyes.
I am not faulting her—she is good at what she does.
I prefer her in the above image. Despite the typical pornographic trappings—her positioning toward the camera to provide an unobstructed view of her bald vulva, the lack of imagistic context (is she curled up, masturbating in a lawn chair for any reason other than to provide a photogenic backdrop?)—her gesture is interesting. By spreading her outer labia with both hands she offers a more intimate view. This is, however, not her primary motivation; instead, she wants to be better able to tease her clitoris with her fingertip.
In so doing, her self-conscious eye contact with the spectator is broken and she focuses on her own sensations instead.