Accidental Sexy Photos
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Accidental Sexy Photos
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Accidental Nude Photos Reflected in Objects People Were Selling on Ebay
Photographer Lotte Reimann uncovers a racy pocket of Ebay imagery in her new series.
ORIGINAL REPORTING ON EVERYTHING THAT MATTERS IN YOUR INBOX.
This essay originally appeared in the Privacy & Perception Issue of Vice Magazine, created in collaboration with Broadly. You can read more stories from the issue here .
In 2012, Lotte Reimann learned about “reflectoporn,” an internet trend in which people strip, position shiny objects to reflect their naked bodies, and then take photos of them to post on websites like eBay. She wondered if this was a form of exhibitionism, or if it was more often accidental. Intrigued, she wanted to find someone purposefully posting these kinds of images, but after two months of searching, she came across lots of reflectoporn pictures, but not a single contact. She couldn’t find what she calls an “entrance into the world,” and began thinking that maybe it didn’t even really exist—that it was just a fetish listed on a Wikipedia entry, but with no active practitioners. She decided, then, to do it herself: She took some reflectoporn with her own objects, and posted them for sale on her eBay account, in the hopes of getting others posting reflectoporn to message her. Not long after, she was informed that her account had been suspended because her materials were, according to an email from eBay, “adult in nature.”
The result of her experiment is a new project titled “Reflections—An Unfinished Collection,” a portion of which is featured here. The overall series is a mix of both her own images, and those she found online. There are nudes reflected onto scanners, cellphones, silver-colored bike helmets, and more. For now, she’s leaving “unfinished” in the title—as a reference to her failure in discovering more about this unique corner of the world wide web, and as a way to continue the series, should additional information come to light.
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12/7/2008 - FOX accidentally shows a Vikings player's manhood when they quickly cut to a post-game locker room speech.
Thanks everyone for the 100 plus wonderful and naughty comments on the Challenge video. As promised, here is the sequel where I "accidentally" misplace my skirt and panties! Flickr does not allow nudity videos, but you may watch video on my Chaturbate profile page! Kisses! Pixie's Chaturbate Profile Page
I trust Flickr customer care I have had issues in the past they were amicably successfully resolved ..
I do apologize about how long it has taken to resolve this type of issue. I'll certainly pass some feedback over to our team so we can look into improving our support for all members in the future.
If there's anything else I can help with in the meantime though, please let me know!
This thread has 31 messages from me to Flickr support ..the issue was my Flickr albums less than 500 images were not downloading I did all the checks but would not get the download notification in my Gmail,
Mind you all of the pandemic I must have downloaded thousands of my large albums too via the organizer creating sub albums I joined Flickr as a Pro in 2007 all these years
I follow Flickr terms guidelines my character as a digital photographer is an open book I moderate my images so as not to hurt religious sense and sensibilities .My photography is Made in India I shoot feasts festivals traditions as a photo journalist for educational; awareness//
I hardly comment on peoples images if they are not om ny contact list due to my recent deteriorating health gall bladder surgery by pass surgery diabetes I hardly leave my city I only shoot what I can I dont add followers as I type with one finger of a permanently damaged right hand though I play tennis
You friends followers have seen my photostream my varios albums the Naga Sadhus some are age restricted due to their traditional frontal nudity I dont shoot porn nor violence however my Shia albums showcase some bloodletting by the Shia community I am a Shia too I dont promote my religion or proselytize I seek your forgiveness if I have accidentally or unintentionally hurt you or blocked you I block any stream that adds me and has sexual explicit photos or genitalia .
I shoot transgender last 25 years or more I disabled this album faced identity fraud those days my hijra pictures were used in Yahoo Communities ,,,for soliciting .
I have vey few friends on Flickr but still I am thankful to those who follow me I am not into fine art photography ..of late I shoot more videos than stills most of my Flickr albums are as side shows on YouTube most are age restricted .
My mail to Flickr support is blocked I dont know why.
Now I have decided once my pro subscription ends I will delete my Flickr account nothing personal..Flickr is not what it was a community of love peace and humanity also the pandemic has destroyed my film business so I am not sure if I can continue my Flickr Pro,
It looks like you are replying to an unmonitored inbox. Our Support team can always be reached through our Help Center: flickrhelp.com.
The first time I encountered this fantastic character was a few months ago, at the Easter Day Parade on 5th Avenue. That day, she had some sparkling stars covering her nipples. And the photo I took of her that day may have been acceptable to show/share according to the "moral" standards in American media/culture.
Last week, on the most scorching day of the heatwave in NY, I saw her again. This time her breasts were fully displayed. She felt free and she made a statement with her own body. I snapped a photo of her walking by, she saw me and asked if I wanted a better picture of her. So she posed for me. And she looked interesting, natural, beautiful... Only this time the original image could not be shared or seen... Because society has grown a culture of shame on nudity, on skin exposure, on owning your own body.
From Spain, my mom always gets angry at the average American puritanical vision that caused what was called "The Nipplegate" in the infamous wardrobe malfunction that led Janet Jackson's nipple be shown accidentally on stage at the hands of Justin Timberlake on their performance together. It is indeed terrible hypocrisy to denounce something like that as obscene, while I can turn CNN on any night while having dinner and see violence worthy of a forbidden "snuff movie" on my TV. And yet, no one screams against any of that.
A woman's breast, a man's buttocks, some pubic hair showing... No matter in what context will be fought by those who claim it can traumatize or pervert children's minds. And seeing someone being shot in the head or blown up by a bomb in the Middle East won't do that, right? Sometimes I feel like screaming "Wake Up!". Children of the 21st century are way more ahead than you'd think. And if they want to see or learn about sex, there's nothing you can do to stop that. Then again, that is the whole key of the issue... How nudity, in the mind of short-minded people, can ONLY mean sex, or lust or sin... Not an art representation, not a personal freedom, just something dirty... I say... Could it be that what's really dirty is the repressed desire to do thar very same action they scream against?
Meanwhile, this woman walked the streets like that, without the forbidden signs you see now, that I include to be able to make my point without having my account shut down. If you (or anyone) would have walked around Broadway last Wednesday, you would have had to see her... No place to hide, no forbidden signs, no censorship in real life...
DO NOT use or reproduce without my explicit permission. THANKS!
PS: I admit a polite debate about the issue at hand. However, any hateful or insulting comment or disrespectful to the girl in the picture, myself or any other commenter will be deleted and may cause the offender to be blocked/reported
PS 2: If you want to be faithful to this brave woman's statement and see her in all her glory like she intended, feel free to check the uncensored original photo HERE .... but you need to have your account set to be able to see restricted images.
This appears to be a vintage press photo of an older photo. This young lady comes with quite the story, as you'll read below.
That is what I imagine to be a nude body suit used for artist-modeling which allowed them to be clothed, but naked in a time when public nudity was a major crime?
Dorothea Irene Kelznack/Kelynack was born on January 27, 1895, in New York City, New York to RICHARD & Mary Kelynack. She married Ernest J. Turley on December 21, 1917, in Boston, Massachusetts. She died in 1973 in New York at the age of 78.
On March 15, 1916, New York’s Evening World newspaper declared 21-year-old Dorothea Irene Kelynack “an exact flesh-and-blood replica of the marble Venus of the Louvre.” This was newspaper hyperbole, of course; to begin with, the Venus de Milo is six feet eight inches tall. Nevertheless, for a short period of time just before America entered the First World War, newspapers declared one or another young woman “a modern Venus” based on her measurements’ adherence to a scaled-down version of the statue. There was a Swarthmore Venus and one from Wellesley (the women’s colleges had such data at the ready as incoming freshmen were routinely measured nude in a relentless hunt for scoliosis; men’s colleges did the same, but no competition to discover a “modern David” followed). Now, Venus had emerged from New York City.
According to the paper’s “Venus Chart,” Kelynack was a smidge under five feet four inches tall, weighed 125 pounds, and measured as follows: neck, 12.5 inches; chest, 34.2 (two inches larger when inflated); waist 25.9. Her ankle measured a dainty 8.2 inches. The female reporter cooed about the “springing, supple lines” and “arresting charm” of Dorothea’s “perfectly modeled, perfectly managed body.”
The new Venus conceded she wore a corset, albeit a “very loose” one. Otherwise, she was a bit of a rebel. “I drink a little wine with my dinner when I feel like it, and I eat candy,” she said, though she practiced “temperance” when it came to both (this may have been a jibe at prohibition bluenoses to whom temperance meant full abstinence where alcohol was concerned). She believed that a career kept a woman “mentally alert” and helped to “preserve her beauty longer than the mere idler.” Dorothea herself had trained at the London Academy of Music, and aspired to appear on the stage or in the movies.
She had been a tomboy, who loved to climb trees and ride horses. “I believe that the tomboy has a better chance of becoming a Venus than the affected, artificial, repressed child whose one duty in life is to be ‘be a little lady,’” she concluded, in the type of statement for which the word “foreshadowing” was invented.
One might have expected Dorothea to make a match equal to that of her non-Venusian sister, who married a wealthy linen dealer after a shipboard romance. Instead, Dorothea eloped with Ernest Turley, a Navy man, in early 1918. The papers later called him “a handsome, two-fisted, go-getting sort of fellow” who “put up a whirlwind wooing that made paunchy millionaires, in Dorothea’s eyes, seem just funny,” but he was without question a bit player in the drama that followed. A daughter, Mattie, was born in December, and a son the following year.
The family moved to California, then, in July 1933, to Arizona, hoping the climate would aid Dorothea’s asthmatic lungs. News photos showed a rustic shack in which Ma and Pa Kettle would have felt right at home. It was easy to imagine a skunk taking up residence under the house. Mattie said she was aiming at one on November 18, 1933, when she tripped and unloaded both barrels of her shotgun into her father’s back. He was wounded, but alive. Mattie was a month shy of her fifteenth birthday.
But when the sheriff asked why, if the gun discharged as she fell, the shot’s path through her father’s body angled up and not down, Mattie let loose with a bombshell. She shot Ernest Turley on purpose — because the Ouija board she and her mother consulted said that her father must die in order for Dorothea to marry a handsome cowboy. “Mother told me the Ouija board could not be denied,” Mattie later told a jury, “and that I would not even be arrested for doing it.” Despite her professed belief in the Ouija’s infallibility, Dorothea nevertheless sought a second opinion. She reached for a deck of cards and drew one. “The ace of spades,” Mattie testified, “meant death for Daddy.” She lost her nerve when she first took aim, then thought about “how much it would mean” to her mother and fired.
Mattie pleaded guilty to a charge of attempted murder. Law enforcement wisely looked to the other set of hands on the planchette during that fateful session with the Ouija board and jailed Dorothea as an accomplice.
Ernest Turley died six weeks after the shooting. Dorothea was charged with murder, and the newspapers went berserk. Mattie was now the “beautiful 15-year-old shotgun slayer of her father.” Still “pretty” at 38, Dorothea had been chosen the American Venus over 3,000 or 50,000 other beauty contest entrants (in 1916 she told a New Jersey paper that her resemblance to the statue had been “discovered by accident” when “a relative noticed in the papers something about a would-be Venus at one of the colleges, and asked her to have herself measured”). Pictures of mother and daughter ran side by side for comparison.
Details were lurid. The handsome cowboy was tracked down, a 22-year-old named Kent Pearce. Like Dorothea before him, he dreamed of a movie career. Mattie testified that her mother and Pearce frequently drove out of town for late-night petting parties, with 14-year-old Mattie and a friend of Pearce’s in the backseat. Once the foursome stayed out until morning. “I have a hell of a good time on the Mesa,” Dorothea told a neighbor.
Dorothea maintained that the shooting was accidental. Yes, she owned a Ouija board, but she never asked it “Shall we kill father?” as her daughter testified. Mattie was angry with her and her father because they “didn’t want her to use rouge or to run about at night with cowpunchers or to cross her legs the way she did or to wear such short dresses.” She tried to pin the blame on her mother, Dorothea said, “because some of the cowboys didn’t like me.”
Through it all, Mattie stuck to the Ouija story. She also expressed deep remorse. “They thought I wouldn’t take the rap,” she said. “But I killed Daddy and I want to pay for it. That’s the only way I can show the world and him how sorry I am.” When she was taken away to begin serving her sentence at the grim-sounding State School for Girls, Dorothea told her, in what Mattie called and cold and sarcastic tone: “I thank you for your cooperation. Be a good girl.”
Dorothea was sentenced to 15 to 25 years for masterminding her husband’s murder, but had served less than three when she was granted a new trial and the charges against her were dropped. She went straight to the convent where Mattie remained in custody following the closure of the reform school. A “happy and contented” Mattie at first refused to meet with her mother, then relented long enough to tell Dorothea she never wanted to see her again. She was paroled shortly thereafter, and disappeared into what one can only hope was a satisfying adult life.
Dorothea told reporters that the day would come when Mattie would “realize the terrible wrong” she had done her to her mother. In the meantime, she unsuccessfully sued the former superintendent of the State School for Girls for “poisoning” her daughter’s mind against her.
This is a scanned image from a batch of wire photos, publicity photos, vintage snapshots, cabinet cards, CDVs and real photo postcards purchased at auction. You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.
I did some small, cosmetic clean-up retouches in photoshop.
Any comments or observations are much appreciated!
The Folies Bergère (French pronunciation: [fɔ.li bɛʁ.ʒɛʁ]) is a cabaret music hall, located in Paris, France. Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby Rue Bergère. The house was at the height of its fame and popularity from the 1890s' Belle Époque through the 1920s.
Revues featured extravagant costumes, sets and effects, and often nude women. In 1926, Josephine Baker, an African-American expatriate singer, dancer and entertainer, caused a sensation at the Folies Bergère by dancing in a costume consisting of a skirt made of a string of artificial bananas and little else.
The institution is still in business, and is still a strong symbol of French and Parisian life.
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Jules Chéret, Folies Bergère, Fleur de Lotus, 1893 Art Nouveau poster for the Ballet Pantomime
Located at 32 Rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. The métro stations are Cadet and Grands Boulevards.
It opened on 2 May 1869[citation needed] as the Folies Trévise, with light entertainment including operettas, opéra comique (comic opera), popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after a nearby street, Rue Bergère ("bergère" means "shepherdess").[1]
Manet's A Bar at the Folies-Bergère
In 1882, Édouard Manet painted his well-known painting A Bar at the Folies-Bergère which depicts a bar-girl, one of the demimondaines, standing before a mirror.
In 1886, Édouard Marchand conceived a new genre of entertainment for the Folies Bergère: the music-hall revue. Women would be the heart of Marchand's concept for the Folies. In the early 1890s, the American dancer Loie Fuller starred at the Folies Bergère. In 1902, illness forced Marchand to leave after 16 years.[2]
Josephine Baker in a banana skirt from the Folies Bergère production Un Vent de Folie
In 1918, Paul Derval [fr] (1880–1966) made his mark on the revue. His revues featured extravagant costumes, sets and effects, and "small nude women". Derval's small nude women would become the hallmark of the Folies. During his 48 years at the Folies, he launched the careers of many French stars including Maurice Chevalier, Mistinguett, Josephine Baker, Fernandel and many others. In 1926, Josephine Baker, an African-American ex-patriate singer, dancer and entertainer, caused a sensation at the Folies Bergère in a new revue, La Folie du Jour, in which she danced a number Fatou wearing a costume consisting of a skirt made of a string of artificial bananas and little else. Her erotic danc
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