Sunday, October 13, 2013

Hopsy in a Cage

A delicious D&s seduction scene from the cinematic classic, "The Lady Eve", starring Barbara Stanwyck and Henry Fonda. 

In his romantic screwball comedy, the film's director, Preston Sturges, used wit and insinuation in his screenplay to circumvent the prudish censors of 1941.

Listen out at the end for Stanwyck's immortal line: "Why Hopsy, you oughta be kept in a cage!"

Tuesday, September 10, 2013

Her Pedestal

A truly glorious and majestic photograph of a naked male posing as a pedestal for a beautiful, imperious Woman in a beach scene.

The image is by Herb Ritts, the American fashion photographer from his 1989 'Wet Mischief' editorial. He was renowned for his black-and-white photography, with an emphasis on classical Greek sculpture portraits. 

It features Tatjana Patitiz, the German model and actress who rose to international prominence in the 1980s and 1990s. She was originally part of the ‘big six’ of fashion supermodels, including Christy Turlington, Linda Evangelista, Cindy Crawford, Naomi Campbell and Kate Moss, who expanded ideals of beauty through their worldwide fame and influence.

Saturday, September 7, 2013

Timeless Elegance

Beautiful, ethereal and timeless photography of Mark Shaw

Lingerie advertisement, Vanity Fair magazine, 1953

Sunday, March 24, 2013

FemDom Rule

Precursor to Mexico’s 1950s/60s sci-fi craze, the 1945 art deco fantasy film, 'The Stronger Sex' (El Sexo Fuerte), directed by Emilio Gómez Muriel, tells the story of an unsuspecting  shipwrecked cattle rancher, Adán, from Guadalajara and his Spanish bullfighter friend, Curro, who wash up on the shores of the Kingdom of Eden.

This island utopia is ruled by beautiful Amazonians with pointy shoulder pads who keep their harems of men under control using cardboard ray-guns. The charro and his friend end up being slaves to the Female Dominating sex.

In the film’s rousing plot, Adán, is sold at a slave auction, becomes the Queen's manicurist, and then seduces the ruler. Tequila shots, a scantily clad female mariachi band, and a coup d'état swiftly ensue. 

Images courtesy of UCLA Film & Television Archive.

Tuesday, January 1, 2013


Robert Doisneau (1912 - 1994) was one of France’s most popular and prolific reportage photographers, noted for his poetic approach to street photography.

Originally trained as a lithographer, in 1929 Doisneau embraced a new interest as a self-taught photographer becoming, along with Henri Cartier-Bresson, a pioneer of photojournalism.

“I took a mischievous pleasure in spotlighting society’s rejects, 
in both the people I took and my choice of backgrounds.”

He regarded his home city of Paris as a theatre and it is the ordinary people who take centre stage in his photography. Walking the streets of the City of Light of the last century, he humourously, and with great empathy, documented the surreal in everyday life; the amusing juxtaposition, the foibles of human nature, all captured by an artist who was charmed by his subjects.

“One of the greatest joys of my career has been to see and speak to people I don’t know. 
Very often these simple people are the sweetest souls and generate an atmosphere of poetry all by themselves.” 

 His modest, playful, and ironic images were marked by an exquisite sense of humour, by anti-establishment values, and, above all, by his deeply felt humanism.

“The marvels of daily life are so exciting; no movie director can arrange the unexpected that you find in the street.”

With his career interrupted by World War II and German occupation, Doisneau became a member of the French Resistance, using his skill as an engraver to provide forged documents for the underground. 

In 1948, he was contracted by Vogue to work as a fashion photographer. The editors believed he would bring a more fresh and casual look to the magazine, but Doisneau did not enjoy photographing beautiful women in elegant surroundings; he preferred street photography to which he returned in 1951.

Doisneau has been the subject of major retrospectives at the Bibliotheque National in Paris, the Art Institute of Chicago, and the George Eastman House in Rochester, NY. His photographs have become widely recognized and beloved in the history of photography. He was appointed a Chevalier of the Legion of Honour in 1984.