Another day, another new model makes her first appearance at MetArt. Life is good! And the same can be said of the model herself. Cloud A. is unquestionably appealing. Long-limbed, lithe, but not at the expense of alluring curves and a full, shapely bosom. Everything she displays to the camera — and I will have further comments on this in a moment — is inviting and enticing. So far, so good.

The art direction and execution of this series shot by Luca Helios is at best interesting, and at worse curious. Whether the background wall is white, and has been tinted pink through the use of gelled lights, or if it is painted pink, and is bathed in additional pink light I cannot say. But it is pink — and that pink tends to tilt the entire color scheme of the photo set towards the red/pink section of the spectrum.

And, speaking of “tilt,” in the overwhelming majority of images here the camera is tilted one way or the other. One grows accustomed to it after a while, just as a passenger on a ship gets used to sailing on choppy seas, but I can’t help but wonder what these same poses would look like if they were square, plumb, and true.

In #044 we have fine, totally nude introductory image that captures Cloud standing, tall and tempting — and that little smile sweetens it further. There’s a bigger smile in #064, showcasing her breasts as she holds her hair up with both hands. And #066, a headshot with just a tiny glimpse of nipple, even if it does suffer from the pink tint syndrome, is another loveable headshot with a lively, candid feel, and great dimples, too!

Cloud A. is a charming and eye-pleasing model, and I look forward to seeing more of her. And not just more sets, but more of her body — there isn’t a single explicit image, hardly even a suggestion of one, in the entire collection. Next time, I hope.

Have I ever mentioned that I love to see new MetArt models in their debut photo sets? Yes, I have. And more than once. A new set featuring an established, well-loved model is something to eagerly anticipate and to savor. But the “thrill of the new,” is a unique experience, and once you’ve enjoyed that rush of discovery it can’t be repeated. There can only be one “first time” after all.

I will cut to the chase in the case of Romina A.’s MetArt debut: She’s a winner, without reservation. Of course my assignment here is to provide details, opinions, and observations, so, feel free to read on. If however, you’d rather go straight to the “Presenting” Romina A., by all means, do so!

I believe Romina is something of a “natural.” The techniques and skills of modeling come easily to her and there’s not a false move in the entire collection. It’s also particularly fitting that Rylsky, in his wisdom, has chosen to present this naturally talented model in a natural setting, and employing a naturalistic style of photography.

Wearing a simple white frock, Romina A. sits in the sandy beach (I can’t be certain if it’s a large lake or an inlet from the sea). A light breeze teases her long, brown hair. And there’s a playful, youthful glimmer in her dark eyes — after viewing only a handful of images there is no doubt: this girl is enjoying herself. And that always adds an extra layer of enjoyment to the viewer’s experience. Look at her face in #006, as she runs, still dressed, in the soft sand and see what I mean. Or #045 and its companion, #047 — this little doll is delighted to be sharing herself with the camera. And I’m delighted to be viewing the results.

Let me list some favorites. #015 is a great butt-shot. In #061 we have a fine detail shot of two petite breasts (and two particularly stiff nipples). Numbers 037 through 040 find the totally nude minx on all fours in the water, capturing her natural beauty as well as the beauty of the location. There’s a wonderful pin-up quality to the cluster of shots spanning #100 through #105 (love those legs, love that smile). And #095, with her face in soft focus in the background while her eagerly displayed succulence is revealed in the foreground is one of many tempting explicit shots. A most welcome new addition to the MetArt talent roster!

Dark hair and blue eyes makes for an alluring combination on an attractive woman. One of the great screen sirens of cinematic history, Elizabeth Taylor, is a singular example of the legendary beauties blessed with this comely combination and it certainly did nothing to hamper her success.

Dark-haired, blue-eyed Aprilia A. uses these two pleasing physical assets — along with several others — to potent effect in this MetArt erotic photo gallery. It may not be to every viewer’s liking, but if you find the look attractive, you will find much to enjoy here.

Obviously, the hair and eyes receive the most attention in dedicated headshots, and Koenart includes a selection of pleasing portraits in his photo series. Early on, before she disrobes, in #004 he captures Aprilia A. in a somewhat moody shot and the eyes contribute much to that image.

If I must find fault with “Idéale” it is that the photographer is prone to tilting the camera to, perhaps, add some extra interest to certain shots. Sometimes, to his credit, it’s effective. In other shots, #016 for example, it adds an almost queasy element to the shot — it would be, in my opinion, a more effective composition if the vertical elements were, indeed, vertical.

There are many explicit images here, and the subject certainly warrants the attention. The set hits a prolonged series of high notes in a cluster of shots in which the model’s back faces the camera, spanning numbers 063 through 071. Here Aprilia A. is totally nude and positioned on the hardwood floor. #063 is a simple figure study, with a pleasing emphasis on her feet — note the delicate toe ring. This sequence of shots quickly heats up, however, and reaches a peak of erotic artistry in #070. On her knees, head resting on the floor, the flared fingers of one hand gripping her ass, and those blue eyes regarding the camera with a subtle but unmistakable sensuality.

After so many powerfully erotic images it’s refreshing that the set closes with several pictures of Aprilia A., in casual dress, out in the street — it’s a sweet way of winding down from the intensity of the collection.

(PS: Does anyone else find that ring on her left hand unsettling?)

Lilies are lovely, forget-me-nots are fine, but in the romantic, literary, and artistic worlds, the rose is the undisputed potentate of the flower pot. From the intoxicating perfume, to the dazzling colors, to the soft, satiny petals, the rose is an apt metaphor for woman — even the thorns represent the fatale aspects of the femme.

So there’s plenty of logic and no surprise when MetArt photographer Ron Offlin gives his model a single rose to pose with in this MetArt erotic series. Set in a white room, on a cream-colored bed dressed with white sheets, the bright pink blossom adds a valuable burst of color to the images it appears in. And it even matches the tiny flowers printed on the model’s bra and panties.

The design, theme, and “story” of “Alecto” isn’t difficult to decipher. A pretty blonde teases us while lounging on a bed. Only the most oblivious observer could miss the message Sarah C. is telegraphing. And, even if her presentation is somewhat erratic and at times lacking in subtlety, seeing her move around on that mattress is pleasurable in and of itself.

Sometimes I think Sarah C. tries too hard. Her “come hither” glances can be a tad heavy-handed, and the pouty mouth doesn’t always come across as entirely sincere. But when she relaxes and lets her natural sensuality and sexuality — she has ample supplies of both qualities, by the way — she becomes quite appealing.

Although Mr. Offlin resists the urge to pose the pink flower in direct juxtaposition to Sarah’s feminine counterpart, there are plenty of frank and explicit shots in the collection. But even a “fully clothed” shot like #023 packs an erotic punch, as does the painterly, completely nude, flower-free, #087.

Before I proceed with my comments on this MetArt erotic HD movie, a scheduling note: Of the most recent MetArt movie releases “Cyan,” starring Mia D. was the one that most appealed to me. However, since I wrote about her latest still series only yesterday, I thought it best to postpone my critique of the Mia D. movie. I do look forward to seeing it, and hope that it merits the wait.

Some MetArt movies can be a polarizing proposition. There are members will embrace and enjoy any production featuring their favorite model. I sometimes like the girl while the movie fails to move me — and vice versa. And there is certainly an ongoing controversy regarding “behind the scenes” videos that were recorded simultaneously with a still shoot.

The good news regarding “Foulari” is that it is a stand-alone movie. Further, the star, Night A., is a pleasure to look at. The not so good news, at least in my view, is that there is an aimless quality to the “action” and a lack of direction or sense of purpose. The muted natural lighting and the somewhat somber interior décor also contribute to the generally downbeat tone of the proceedings, such as they are.

It opens nicely enough, with the model seated on a window sill, flanked by two shoji screen-styled windows, and backlit almost into complete silhouette. Next she’s seated on a sofa where, at a languid, meandering pace, she takes off her dress and moves around. Night A. has a lovely body, and there is certainly pleasure to be derived from seeing it in motion, but her lack of expression and the randomness of her movements don’t make much sense, and any drama or excitement evades me.

I can’t tell if director Rylsky has given his subject the freedom to improvise her performance, or if he is actually directing her. At 4:43, for example, prone on the floor, she buries her face in her balled-up dress and appears to be inhaling its aroma. That may be the most curious moment in “Foulari,” but it isn’t the only one. Night A. is “caught in the act” here, but the question remains: the act of what, exactly?

Have I missed the mark? Any clarification, insight, or education the reader cares to offer is most welcome!

I liked Mia D. the from the moment I set eyes on her. That was in her debut MetArt erotic photo gallery, and I expressed my admiration for her (and her photographer) without reservation (you can find that post here).

The closest I came to criticizing Mia D.’s debut appearance was when I described her smile as “just a bit theatrical.” What I meant then was that, although her smile is bright, warm, and winning, one does get the sense, particularly after prolonged exposure, that it is a bit forced. In “Placida” that smile is back, bigger and brighter, and the theatricality remains. Even if we don’t question the sincerity of that smile, it is very nearly constant, and it leaves one yearning for some variety, some variation, some alternative emotion.

In a set comprising 140 images, the comb one employs must be particularly fine-toothed to cull the non-smiling shots in “Placida.” Mia D.’s lips are closed and she’s not quite smiling in #001, for example. There’s no smile in #104 (a very pretty image) or in #108. And two of my favorite shots here, #136 and #139, both headshots, derive much of their power from the absence of that bright and bouncy smile.

As in her debut, also shot by Leonardo, Mia is anything but inhibited. She shows off her nude body with pride and a playful, inviting, enthusiasm. While Leonardo seldom moves in for an extreme close-up, nothing is left to the imagination. And, like her debut, Leonardo’s lighting and set design are particularly harmonious. The white, fringe curtain and the vivid, cloudless sky in the background flatter the model’s build and coloring. I certainly want to see more of Mia D., but, that said, I’d also like to see a bit less of that smile and a bit more emotional range in future pictorials. Is that too much to ask for? Please feel free to share your opinion in the comments, below.

The MetArt erotic series “Ventus” is a model of simplicity. We have a desolate location, a sandy coastal plane dotted with low vegetation. We have a large piece of translucent fabric — a white bed sheet, perhaps. And we have a girl, totally nude from beginning to end, save for a necklace and stud earrings in her ears, and one in her nose, as well.

I’ll get to the model in a moment, but first let’s consider that sheet. As the sole prop in the pictorial, it receives much attention from the artist, Albert Varin. With the fabric held aloft by the model (with some help from an assistant who remains outside the frame with the exception of a couple of what I consider “blooper” shots), it’s really quite an interesting and effective prop. The day — and the time of day — are perfectly suited to it. The fabric floats and flutters, flattering the sky and clouds above. And it also has more mundane, practical uses, as an improvised wrap — a spur of the moment sari, if you will — as well as an impromptu beach blanket. Is it enough to sustain an entire photo set? Maybe, maybe not.

As noted, Ralina A. is nude for the entire set. There is little in the way of introduction, and few opportunities to hold back or to tease the viewer. She is nude and “in your face” quickly, and quite explicitly. I’m not complaining — this tiny-top nymphet’s intimate attributes are as inviting as they are photogenic. But I do think that a bit of anticipation, some warm-up before the big reveal would have been useful and would have added some tension and dimension to the series.

So we have this slim young girl, playing with her sheet, and then a parade of variations on several, mainly explicit poses. Ralina A. remains eager and uninhibited throughout, and her slender frame manages to entice and inflame quite effectively. I could call out several of my preferred images, from mouthwatering anatomical close-ups to intriguing headshots. But I do find it notable that two of the most striking images here — #128, an artful shot of some wetlands weeds, and #129, a hauntingly beautiful landscape that captures water, forest, sky, clouds, and the Moon — don’t include the model (or that sheet) at all.

As a child I spent a couple of carefree summers visiting a farm owned by distant relatives. One of the memorable highlights of those days long ago was chasing and capturing fireflies during the balmy nights. “Firefly,” with its verdant, rural setting, evokes these pleasant memories even though the sun is high and there isn’t a winged insect in sight.

What is in sight, however, is certainly worth chasing and capturing — if only on the memory card of a sophisticated digital camera. Kami A., a flame-haired, green-eyed charmer, is the subject of “Firefly” and she is a fine specimen, indeed. A lesser beauty in a less satisfying series might have me asking questions. What is she doing by the side of this dirt road through farms and fields? And where have the rest of her clothes gone? And where did that green blanket come from that suddenly appears mid-way through the set?

But Samo Mervar‘s confident, natural photographic style, and Kami’s intriguing attitude and appearance put such trivial concerns far from my mind. The vivid, not-entirely-natural scarlet tint of Kami’s hair contrasts and compliments her lush, green surroundings in an exceptionally pleasing manner. And, as she removes her filmy blouse and panties, she displays not just an inviting body, but a wonderfully complex and appealing personality. Numbers 018 and 019 are two beautiful relaxed, examples from early on in the offering.

There are numerous explicit close-ups in “Firefly” and they are sure to ignite flames of desire in countless viewers. I certainly lingered over several of these images. But, as so often happens, I find myself gravitating to the headshots and those irresistible green “windows to the soul.” Of these, #027 is brimming with that attitude I mentioned earlier. #099 is as pretty as, well, a picture. I love the seductive squint in #083. And the sly semi-smile and sidelong glance in #114 is a gem.

In America we have a term, “feel-good movie,” that describes a film that, through simple means and sentiment, evokes a feeling of well-being in most viewers and invariably concludes with a happy ending. We also have what we call “comfort food,” certain familiar dishes that sooth us when we’re ill, warm us when we’re cold, or evoke cheerful memories of festive events and happy times.

But what, exactly, does that have to do with this nighttime shoot of a brunette beauty on a black sand beach?

After reviewing several of her sets, and enjoying them all, it strikes me that Lorena B. is a feel-good movie and comfort food rolled into one extremely pretty package. The smile that so often graces her beautiful face is lively and entirely genuine. Some models have a grin that, at times, resembles a mask. But I never, for a moment, doubt that Lorena B. is enjoying herself, no matter what the setting or circumstance.

Of course, a balmy summer evening spent splashing in the surf as the Sun sinks into the warm waters in the background is hardly an unpleasant setting. But in viewing this MetArt erotic photo series I know that Lorena is enjoying herself, and it makes me feel good watching her do it!

Luca Helios has chosen a slick, polished, almost commercial style for these photos, and some of these images have a glossy “swimsuit edition” flavor that is a tad outside the MetArt norm, but is nonetheless pleasing and technically impressive.

My single favorite image? #051. Lorena B. is totally nude, sprawling in the surging tide, an engaging smile on her parted lips, smoky fire in her dark eyes, surrounded by the dynamic “texture” of the water around her.

In choosing a MetArt HD erotic movie for review each week I generally pick the most recent release. Sometimes this choice is made for me — there is only one new release that week, so it gets the position of honor. This week, however, I have choices. There is no art, science, or much method to my decision-making process. I scan my options, and make my pick. At this point I’m committed, for good or ill.

As I screened “Enthusiasm” I immediately wished I’d made a different choice. Not because of the model, I liked the star here, Billie A., from the first frame. And certainly not because of the director, Erro’s legendary reputation will suffer no challenge from me.

My regret was that, for the second week in a row, I would be reviewing a behind-the-scenes movie, a filmed record of a still photo session. Last week, in my review of “Bustani” I was frustrated by the star’s lack of interaction with the video camera. Here that problem is minimized and diminished.

This is partly due to the fact that “Enthusiasm” makes no effort to present itself as something it isn’t. From early on the still camera is visible on screen, centered at the bottom edge of the frame. The videographer is positioned immediately behind and slightly above Erro, and thus we are seeing much the same thing he is looking at in his viewfinder. And the model is looking, more or less, in our direction. This creates a valuable sense of connection and intimacy. Also, there are times when an assistant is on screen, holding a large reflector, and the still photographer’s and videographer’s reflections are visible in a pane of glass behind the model (see 00:22). I find such details interesting, others may not.

Watching Billie A. work through her still session is entertaining in itself. She’s got a bubbly energy and moves from pose to pose with — what’s that word? — real “Enthusiasm.” Additionally, seeing her interact with Erro and the assistant is a treat. The greatest treat contained her, though, may be towards the very end when she interacts directly with the video camera. More of this, please.