Thursday, 23 November 2017

Book review: Sexy Lingerie Girls - Hot, Kinky, and Naughty!



Goliath Books is a publisher of art and photography books. Founded in 1997, and specializing in publishing daring photography and art books.

Sexy Lingerie Girls: Kinky, Hot and Naughty! is 240 pages and the dimensions are 5.7 x 8.3 inches. 

The book features over 500 images by Los Angeles-based photogapher Tammy Sands. Tammy Sands has been shooting Glamour Nudes for over 12 years. Her work has been featured in Maxim, GQ, Front, Loaded, Penthouse, Playboy, and other publications. The cover model is Marlena Morgan.


Model: Eufrat.


After the contents page, there is a short introduction presented in several languages (English, French, Dutch, Spanish, and Italian). The book is focused on beautiful girls first dressed in erotic lingerie and then stripping away their bras, nylons, and lacey materials. The book features full nudity. What is the appeal of sexy lingerie? It is visually appealing and sparks the imagination. It helps enhance a woman's form and is a tool for seduction. I personally find images of fully nude women to be less interesting. I prefer women to be wearing lingerie or fetishistic clothing when it comes to erotic photography.


Model: Capri Anderson.

The settings of the images range from elegant interiors to brighly lit exteriors. A shower is the backdrop for one location and several are shot on a patio. In a few photo sets you can see the cool blue ocean or the backdrop of a city through a window behind the model, which adds an elegant dimension to the image. The skin color tones are warm but not too bronze or golden. When the model's are photographed outdoors, the models have the sun to their backs and are photographed in shaded areas or Sands is using sun diffusers. The models featured in the book are gorgeous long-haired blondes, brunettes, with only a few red-haired models. The make-up work is subtle and non-dramatic with glossy pink lipstick on most of the model's lips. The models pose on and against couches, chairs, kitchen tabletops, beds, stairs, and white fur. Only a few models have tattoos in the book. I noticed a lot of low angle compositions. Sands is obviously very low or sitting down on the ground when taking a good portion of her shots. 


Model: Lindsay Marie.

My favorite photo sets are located on pages 82-87 (Eufrat), 88-91 (Faye Reagan), 92-97 (Lindsay Marie), 178-183 (Malena Morgan). Only a few photo sets are shot against a plain background, otherwise most of the photo sets are of high quality in all departments: the model, make-up, clothing, backdrop, and lighting. Tammy Sands is one of the best at glamour lingerie/nude photography. 

~ Danny Stygion


Publisher: GOLIATH -
ISBN: 978-3936709537


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Monochrome Set Photography Interview

Model: Miss Distania


Monochrome Set Photography is a East Anglia-based photographer specialising in portraiture, fashion, hair & beauty  and fine art photography. He is also a nylon fetish enthusiast. This interview/pictorial was featured in issue #11 of Sinical Magazine. Print copies can be ordered here.

Sinical Magazine: How did you get started in photography?

Monochrome Set Photography: Runs in the family somewhat. I used Pentax SLRs in the 70s as a youngster, had a break until the advent of digital then got going again with film and then digital SLRs in the last 12 years or so.

Sinical Magazine: What is the most important aspect of a composition?

Monochrome Set Photography: A sense of balance within the frame, capturing a mood or a look.


Model: Cherry


Sinical Magazine: How much planning goes into a typical shoot?

Monochrome Set Photography: I like to think up an idea, look around for locations then search for a model who will fit the styling and character and mood of the shoot. Its often a logistical problem too - coordinating facilities and personnel so everything goes right ‘on the day’.

Sinical Magazine: What type of camera and lighting equipment do you use?

Monochrome Set Photography: For the last few years I’ve been shooting with Nikon DLSRs but I’ve recently traded-in almost everything for a Fuji mirrorless camera. I hope to get better quality images without the bulk and weight penalty of DSLR. I’m finding the picture-making process a little slower but with more deliberate composition hopefully I’m getting better results from less total exposures per shoot. Lighting-wise I use speedlights, studio strobes as well as tungsten continuous lights on occasions. And ‘natural light’ whenever possible. I want to try some large format (10x8”) fetish image-making to take advantage of the incredible detail you get from those big negatives (black&white) and make exhibition-size prints one day from them.


Model: Pin Up Candy.

Sinical Magazine: What is a favorite lighting set up of yours?

Monochromne Set Photography: I really love old Hollywood lighting, nothing beats it for me to highlight flawless beauty. Continuous tungsten lighting, three heads and a fan-blower - they are not called ‘hot lights’ for nothing! Also a three-light ‘Strobist’ setup - minimalist kit of Speedlights and shoot-through brolleys

Sinical Magazine: Who are some photographers that have inspired your work?

Monochromne Set Photography: Hollywood photographers George Hurrell, Clarence Sinclair Bull and Laszlo Willinger. Bob Carlos Clarke and Helmut Newton. Elmer Batters, Irving Klaw, Eric Kroll and Chas Ray Krider, Frederic Fontenoy.


Model: Wanilianna.

Sinical Magazine: Do you prefer to shoot inside a studio or on location?

Monochrome Set Photography: I prefer location to studio - always offers more variation on a shoot, which leads you better into creating a little bit of ‘narrative’ in a shoot. Derelict buildings, old period houses or hotels. I use plain studios for product or fashion shoots but for my fetish work I prefer a location - somewhere with a bit of ‘character.’

Sinical Magazine: You’ve stated that you have a special interest in “Hollywood Glamour Portraiture”. Can you explain why this style interests you over others?

Monochrome Set Photography: It’s a combination of mood, feel, an incredible mix of light and shade to give a face and figure a sense of ‘structure.’


Model: Emily Marilyn

Sinical Magazine: Do you have any pet peeves when it comes to working with models or clients?

Monochrome Set Photography: Models who haven’t learned to pose properly. Most everything else I can handle (I hope).

Sinical Magazine: You’ve photographed many models wearing nylon stockings. Is this a visual fetish of yours?

Monochrome Set Photography: Yes. No doubt Dr Freud has something to say about this (!!). Fully fashioned nylons have an incredible allure for me - there is so much exquisite detail in the delicate fabric, all of which is incredibly photogenic. I’m always on the look out for tall models with slender legs for nylon fetish shoots.


Models: Justyna, Wanilianna & Pinup Candy.


Sinical Magazine: What projects are you currently working on?

Monochrome Set Photography: A self-published book, hopefully finished later this year, concentrating on nylon fetish imagery.


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Book review: High Gloss Dolls - Erotic Latex Fashion

Cover model: Mosh


Goliath Books is a publisher of art and photography books. Founded in 1997, and specializing in publishing daring photography and art books.

Goliath's release "High Gloss Dolls" is a small hardcover book. The book is 120 pages and the dimensions are 5.6 x 8.3 inches.

The book features the work of Fraulein Katja Ehrhardt. There are over 240 images featuring models such as Mosh, Emily Marilyn, Ulorin Vex, Ancilla Tilla, Koneko, and others. The cover model is Mosh, who has appeared in at least 4 covers for Goliath publications.


Model: Lara Aimee.

After the contents page, there is a short introduction presented in several languages (English, French, Dutch, Italian, and Spanish). Katja Ehrhardt was born in 1977 in Ludwigshafen, Germany. She worked as an assistant to fashion designer Ralf Fischer in Hamburg. She opened her own studio in 2000 in Hamburg. In 2003 Erhardt was chief designer at "Marquis" Fetish Fashion Magazine. Since 2007 Erhardt has been self-employed as fahion designer, producer and photographer of


Model: Mosh.


All of the photographs were shot indoors in a studio setting. The backdrops range from stark white, red to black seamless backdrops. A few photo sets are shot against a white brick wall and a black tiled-room. In one photo set with Emily Marilyn, a black latex sheet hangs from the ceiling, while Marilyn poses on a gray marble floor. There is minimal furniture in the shoots: a chair, a wooden crate, vinyl couch, etc. The focus is on the models and the latex outfits. The clothing ranges from stockings, gloves, corsets, catsuits, bras and panties, headpieces. Black is the predominate color but there are several brightly colored outfits. The book features nudity (mainly topless) that is tastefully presented. The book features many full length portrait shots. 


Model: Ancilla Tilla.


My favorite images are located on pages 27 (E. Marilyn), 46 (U. Vex), 54-55 (A. Tilla), 57 (Mosh), and 72-73 (Koneko).

I recommend this book to fans of latex fashion who enjoy seeing their fetish models wrapped in shiny, tight latex and catsuits. ~ Danny Stygion


Publisher: GOLIATH -

ISBN: 978-3936709544

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Bettie Page and Irving Klaw: The First Famous Fetish Model and Fetish Photographer

Bettie Page began working with photographer Irving Klaw in 1952. She modeled at his business and studio Movie Star News on 212 East 14th Street in Manhattan, New York City. The shooting studio was located on the third floor over Movie Star News.


In 1938, Irving Klaw and his sister Paula opened a used bookstore. After noticing a young girl ripping out a photo of Clark Gable out of a magazine, they began selling movie still photographs and took on the name Movie Star News. Klaw eventually made cheesecake photos of movie stars available by mail order which greatly increased his business. In 1947, after requests for "Damsel-in-distress" photos and the suggestion of a customer, Klaw entered the fetish trade, building his catalog of stills of actresses being bound and gagged, spanked, and flogged. He also aquired European material sold by Charles Guyette, and art by John Coutts.



Irving Klaw eventually began shooting his own fetish material. The first photographs did not show any nudity and featured burlesque dancers such as Lili St. Cyr, Baby Lake, Blaze Starr, and Tempest Storm. The fetish scenarios focused on bondage, domination, and slave-training and featured the models wearing lingerie, leather costumes, and high heels. His photos attracted the attention of the government and post office. He went to great pains to make sure the images contained no nudity which would have made the material illegal to sell via mail. The models would sometimes wear up to two pairs of panties to cover up pubic hair. By 1955, Klaw was allegedly grossing $1.5 million a year, primarily through mail order of his fetish photographs. In the mid 1950's, Irving Klaw began making erotic films and directed the burlesque features Varietease (1954), Teaserama (1955), and Buxom Beautease (1956). In addition, he made many 8mm and 16mm black-and-white erotic film shorts (many featuring Bettie Page).



Irving Klaw worked with many models but his images with Bettie Page were his most popular. Irving Klaw and Bettie Page worked together from 1952-1957. Page was the most popular pin up model of the 1950s and appeared on more covers than anyone else in the decade. She was Playboy's Playmate of the Month for January 1955. Page stopped modeling in 1957. She worked with several photographers during her modeling career, but it is her work with Irving Klaw that people remember the most. Klaw eventually quit the business and burned up to 80% of his negatives due to social pressure and constant government scrutiny. He died on September 3rd, 1966 at the age of 55 due to untreated appendicitis. His nephew Ira Kramer eventually took over the store from Paula Klaw.



A Las Vegas collectibles company Entertainment Collectibles negotiated a deal with Ira Kramer and bought up the entire inventory of Movie Star News in July of 2012 for an undisclosed sum, which included over 3 million film stills, including original prints and negatives of Marlon Brando, Bette Davis, The Three Stooges, and 1,500 prints of Bettie Page. The collection was later handled by the Guernsey Auction house, and was estimated to be worth up to $150 million. 


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