This is an 18+ section that may contain language, images, and video not suitable for work, marriages, children, or anyone opposed to graphic content. Erotic Photography
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Joined: Nov 2003
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From: Rancho Palos Verdes, CA
Hey, when you're a "Trek geek", those are the only chicks you can get!
Serious side. As an photographer, and person who enjoys arts when teamed with social commentary, I commend him for doing those photos! and will say, WELL DONE.
Serious side. As an photographer, and person who enjoys arts when teamed with social commentary, I commend him for doing those photos! and will say, WELL DONE.
QUOTE
Nimoy, who is seventy-four and has been exhibiting his fine-art photography since the early seventies, has a show up at the Bonni Benrubi Gallery, in New York, entitled “Maximum Beauty,” which includes a handful of group portraits of nudes whose proportions are considerably ample.
The idea for “Maximum Beauty,” Nimoy explained, came when he was showing some work at a photography seminar. “I had been working on female figures for a number of years, and a lady approached me and said, ‘Your work seems to deal with mostly a particular body type,’ ” he said. “She was about three hundred pounds—a very large lady, a very lovely lady, and she came to our studio and we photographed her.” The resulting shots—in which the model’s face is partially veiled, though her marmoreal mass is not—are not in the show, which consists of a series of images Nimoy took of members of a burlesque troupe in San Francisco who call themselves the Fat Bottom Revue.
Nimoy tends to draw upon religious symbolism and imagery in his work; in 2002, he published a controversial monograph entitled “Shekhina,” on the manifestation on earth of God’s female aspect, according to mystical Judaism. (Some Jewish groups were offended by Nimoy’s photographs of nude women wearing a tallis and tefillin, and the Jewish Telegraphic Agency wrote that the flap “echoes the battles that swirled over Mapplethorpe.”)
In “Maximum Beauty,” however, the photographer’s references are more secular. “There is an homage to a famous pair of images by Helmut Newton, in which high-fashion models walk toward the camera first clothed and then naked,” he explained. Nimoy revisited another famous fashion photograph, by Herb Ritts, which shows Cindy Crawford, Naomi Campbell, Linda Evangelista, Christy Turlington, and Tatjana Patitz, all of them nude, huddled attractively together on the floor. Nimoy’s women look as winsome as, if significantly sturdier than, Ritts’s originals. “They were very proud, very comfortable, and there was no self-consciousness whatsoever,” Nimoy said of the photo session. “I came to admire them.”
The photographs are intended to be a commentary upon the wider culture’s fetish with thinness, Nimoy explained; he had a sister-in-law who was obese and died young.
The idea for “Maximum Beauty,” Nimoy explained, came when he was showing some work at a photography seminar. “I had been working on female figures for a number of years, and a lady approached me and said, ‘Your work seems to deal with mostly a particular body type,’ ” he said. “She was about three hundred pounds—a very large lady, a very lovely lady, and she came to our studio and we photographed her.” The resulting shots—in which the model’s face is partially veiled, though her marmoreal mass is not—are not in the show, which consists of a series of images Nimoy took of members of a burlesque troupe in San Francisco who call themselves the Fat Bottom Revue.
Nimoy tends to draw upon religious symbolism and imagery in his work; in 2002, he published a controversial monograph entitled “Shekhina,” on the manifestation on earth of God’s female aspect, according to mystical Judaism. (Some Jewish groups were offended by Nimoy’s photographs of nude women wearing a tallis and tefillin, and the Jewish Telegraphic Agency wrote that the flap “echoes the battles that swirled over Mapplethorpe.”)
In “Maximum Beauty,” however, the photographer’s references are more secular. “There is an homage to a famous pair of images by Helmut Newton, in which high-fashion models walk toward the camera first clothed and then naked,” he explained. Nimoy revisited another famous fashion photograph, by Herb Ritts, which shows Cindy Crawford, Naomi Campbell, Linda Evangelista, Christy Turlington, and Tatjana Patitz, all of them nude, huddled attractively together on the floor. Nimoy’s women look as winsome as, if significantly sturdier than, Ritts’s originals. “They were very proud, very comfortable, and there was no self-consciousness whatsoever,” Nimoy said of the photo session. “I came to admire them.”
The photographs are intended to be a commentary upon the wider culture’s fetish with thinness, Nimoy explained; he had a sister-in-law who was obese and died young.
