Without fail, almost every time I set out to research an artist, actor or model, I get sidetracked by an unrelated image on google. A few weeks ago I was looking for images for a post and as usual, the term 'shirtless' was included in my google image search.
Although I wasn't searching for images of actor Tanner Stine, I ended up on a tumblr with images that had me seeking out more info and pictures on the 23 year old young actor. The shirtless shots were hot, but it was also Tanner's face that drew me want to find out more. I hadn't heard of Stine before, I'll be certainly be keeping my eye out for future projects, and future photo shoots.
Most of my favorite images of the male form are lessons in geometry. The male form, if in my opinion, is shot both skillfully and artistically, spotlights lines and angles, circles and curves and the male form in balance or in contrast with area.
Of course not every photographer uses geometry as a guide. For some, for many, the lesson is not geometry, but an inflated overhead presentation of exaggerated anatomy. For those substitute teachers, as long as the penis is big, in focus, and at attention, their curricular is complete.
I am guessing with those teachers, the final exam could be fun, but alas, it would be short lived, and in the end... you wouldn't really have learned a whole lot. You'll probably end up feeling more self conscious about your own dimensions, than appreciating the visual dimensions of another.
I love and appreciate the visual dimensions created and captured by model Sergey Sheptun and photographer Richard Rothstein. I have featured many photographers and their muses on FH, but over the last year , the creative collaborations generated by artist and photographer have been more erotically charged, boundary pushing and creatively complete.
With New York as his studio, architecture, design and geometry have always been predominate themes within Richard's work. Richard rarely shoots a model simply standing 'in front of' a New York landmark or location. Usually, they're touching, running, straddling, climbing, or jumping up or on and most of all, playing in their urban playground.
As important as the visual is, it's also the energy that the city generates. New York's certainly met it's match with Sergey, whose energy is evident even in captured moments. Richard sent on over 150 images from this shoot, and in each one, Sergey was exhaustively working to form visually unique geometric equations.
A Manhattan backdrop, can often overpower some models. Sergey however, doesn't compete with the city he now lives in, but embraces it, morphing into his surroundings. Sergey doesn't pose, but interacts, never invading, but becoming a part of the space he inhabits.
'I'm tired, I've been drinking since nine o'clock, my wife is vomiting, there's been a lot of screaming going on around here!'
Who's Afraid of Virginia Woolf? (1966)
While recently flicking the channels, I came upon an airing of 1966's Who's Afraid of Virginia Woolf?. I remember loving the film when I first saw it a few years ago, but find it a difficult film to re-watch. The performances are great, and the emotions raw, but much like the night depicted in the film, it's not a night one hopes to repeat.
I watched about a half hour, long enough to see for the first time how hot George Segal was as Nick. Now I know who George Segal is, but I often get him confused with actor Elliott Gould, another actor who had great success in movies in the 60's and 70's and now is most often seen playing fathers and grandfathers on television sit-coms.
Segal currently plays 'Pop's on ABC's The Goldbergs, a show I briefly watched and enjoyed, but quickly lost interest in. Until this catching Segal again in Virginia Woolf however, I hadn't really taken the time to fully explore his impressive resume of roles in film and on television.
The Owl and the Pussycat (1970)
Segal appeared in film after film, two or three a year throughout most of the late sixties and early seventies. Segal has been been paired with some of the biggest names in the business, some of his co-stars, in addition to Elizabeth Taylor and Richard Burton in Woolfe, included; Robert Redford, Barbra Streisand, Goldie Hawn, Jane Fonda and Bette Midler.
A Touch of (1973)
Blume in Love (1973)
The Hot Rock (1972)
A little research led to finding two butt baring scenes, both from films in the early 1970's. In Where's Poppa, Segal's batty mother (Ruth Gordon) yanks down his pants to give his tush a smooch
Born to Win (1971)
In 1971's Born to Win, Segal has a great embarrassment scene after his character J is kidnapped over a drug debt. J is forced strip in front of a room full of people, then put into a room alone.
J puts on a women's robe and attempts to get the attention of someone in the building across the street to get them to call the police. That plan backfires, so he ends up running out of the building and out of the building leaving his clothes behind. You get a taste of the scene from the clip above.