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The Staircase… a tribute to Sabrisse

Sabrisse: erotic fiction inspired by Metart beauty

Erotic fiction inspired by Sabrisse

You stand there, perfectly composed, on the wooden staircase. On your tiptoes, knowing the arch of your pretty feet will stoke the surge of desire swelling inside me. Your white lace bodysuit is cut high over your hips, emphasizing your fine bones and giving a tantalising hint of what lies beneath. The swell of your cleavage, hair sweeping silkily across it, invites my touch. But not yet…

Confident you have my full attention, you bend over, wiggle your hips at me. Then you sit, lifting your toes high so I get a flash of white fabric between your sweet thighs. You slide one strap down over your shoulder, cupping your hand beneath your breast with a naughty smile. I let out an involuntary gasp… I want to touch you, I want to touch myself, but that would spoil your game.

Now you spread your legs and snap open the poppers at the crotch of your bodysuit, moving it aside so I can see your beautiful pussy. Your fingers brush downwards, grazing the fluffy line of hair that leads to those delicate pink folds. I inch closer, breathing more heavily, all my willpower focused on restraining the urge to reach out and touch your shiny hair, kiss those parted lips.

With a naughty giggle, you shimmy out of the bodysuit altogether and stand there naked, high on your pointed toes again, letting me feast my eyes on your smooth skin. You blush a little under the heat of my gaze, but you don’t look away. Instead you sink gracefully down again, spreading your legs wider, letting me see the full glory of that sweet pink haven. Is that a hint of moisture I see glistening within? My mouth waters at the thought.

You turn away, showing me your firm bottom, the curves daring me to move closer still. Your strong, slender frame excites me more than I can say. Teasing me now, you sink to your knees, legs spread, pussy gently opening like a flower. You laugh delightedly at the expression of naked hunger on my face.

Rising to your feet, you begin to sashay up the stairs, your hips swaying. Halfway up, you turn to beckon me. Is there any doubt I will follow?

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“Presenting” Lilit A – a Top Model’s remarkably rapid rise…

Lilit A: Presenting, by Arkisi, Metart Top Model's nude debutEarning the coveted #1 spot on Metart‘s Top Models list can take weeks, months, even years. A model makes her debut, appears in more and more galleries, works with one or more photographers, gains skill and confidence, and builds up a fan following over time. At least that’s how it usually works. But there’s an exception to every rule, and that brings us to Metart‘s newest Top Model, Lilit A.

It happened in an instant. Less than 24 hours after “Presenting” appeared on the site the membership voted Lilit A to the very top of the Top Models list. That kind of overnight success isn’t completely unprecedented, but it is rare, it is truly impressive, and it bodes extremely well for this enticing new model’s future.

There’s no precise way to determine what makes a model popular, and that’s one of the things that makes it so interesting. If there was a formula, a technique, a list of attributes to possess and steps to follow, all models would be Top Models. But it comes down to some indefinable, constantly changing, combination of qualities and factors — physical beauty, personality, skill, attitude, the artist behind the camera, the sometimes fickle moods of a discerning and opinionated membership. What does it take to become a Metart Top Model? Nobody knows with any certainty, but whatever it is, Lilit A has it!

I have no way of knowing how Arkisi approached shooting Lilit for “Presenting.” There’s a workmanlike, direct, but unobtrusive quality to the photographic style here, and it just feels right. A couple of fully clothed introductory images, then model and artist get right into it — the setting, a rather unexceptional kitchen, fades away and all the viewer sees is Lilit A. And we see everything she has to offer in impressive, often explicit, detail. In last week’s post I discussed a set without a single explicit image — “Presenting” Lilit A is filled with them, and they are the stuff feverish dreams are made of.

But there is much, much more to Lilit A than the bold and generous ways she displays her delectable intimate attributes. She has an absolutely irresistible smile, for one. She has a lively, warm, and genuine personality that makes her seem completely natural and approachable. She’s confident, but no overbearing. She can look like a fresh-faced innocent, and younger than her 20 years would indicate. But she can also look worldly, sophisticated, and knowing — there’s an entire alluring world in those big hazel eyes!

Favorites? Oh yes. #007 for that cute, over-the-shoulder, smile. #015, hot, hot, hot – and the set has barely begun! #069, offered for you pleasure. The pretty face in #090 and the adorable face in #092, two variations on the same pose. And the pulse-pounding pose and heartwarming smile in #116. Any of those shots — and so many others — help explain how “Presenting” propelled Lilit A straight to the top with such remarkable rapidity.

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“Presenting” Fresh — a stylish but distinctly demure debut…

Fresh: Presenting, by Natasha Schon, soft nude art pixWhile many of Metart‘s contributing artists have mastered what might be called the Metart style of photography, each photographer has his or her own unique stylistic signatures that identify and distinguish their work. Natasha Schon has one of the most distinctive styles out of the entire pool of Metart contributors. I haven’t critiqued one of Ms. Schon’s galleries for over a year, but only a blindfold could prevent me from instantly recognizing this artist’s trademark style.

Presenting” Fresh is a studio production, highly styled, skillfully lighted, and artfully executed. It is also notable for the complete absence of explicit images, a significant omission. Schon does tend to operate at the tamer end of the spectrum, so this won’t surprise those who are familiar with her work, but those expecting a complete and detailed look at this model as she makes her Metart debut may be disappointed.

Fresh delivers a winning performance here. She’s wearing a dress made of silver metallic fabric, high heels, and a chunky silver metal necklace that serves as the set’s central prop. She’s shot against (and standing on) a textured black backdrop and subtle adjustments in lighting can make her slender frame stand out in bold relief, or let her long dark hair blend in with the inky background.

In the very first image Fresh raises a single finger to her lips in the universally understood “quiet please” gesture, and when the set is silent she delivers a range of poses. There are shots here that look like an actor’s headshots, and the glam outfit and dramatic make-up contribute to the theatrical feel. Schon’s style and Fresh’s poses result in some creative figure studies – #051 and #053, for example, as well as #077 and #079. And amid all the high style and moody attitude there are moments of spontaneity as in #031 where Fresh tugs at the hem of her dress or #032 where she shakes a fist at the camera. “Presenting” Fresh is an artistic and intriguing effort that makes up with style what it lacks in explicit heat.

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“Presenting” Olya Fey — friendly face/happy hands…

Olya Fey: Presenting, by Alex Sironi, long legs, moist pussy, hot pixTwo aspects in particular struck me as I began to examine the new Metart model debut, “Presenting” Olya Fey — her face and her hands. Olya can’t help but project a warm, inviting, lively personality. There’s a light in her eyes and a smile is never too far from her lips — she simply radiates an amiable, approachable, and appealing energy. She’s pretty, make no mistake, and made prettier still by the abundant warmth of her personality. She’s also blessed with exceptional bodily beauty. She’s lithe, long of limb, with pert breasts, and additional delectable details. And that brings me to her hands.

When I say she has “happy hands” I mean that her manual extremities are expressive, almost to a fault. I don’t know Olya Fey‘s modeling history, but the way she uses her hands either reflects an acquired habit, a stylistic signature, or a lack of experience I associate with newcomers to the modeling profession. In #017, for example, Alex Sironi frames her in a close headshot, and her hands, fingers gracefully curved, float beside each side of her face. Enhancement or distraction? I lean towards the latter. Posing, pointing, framing or otherwise vying for attention, Olya’s hands make their presence felt in “Presenting” but without doing too much harm overall.

For such a sweet, natural, and warm girl, Sironi has chosen a rather formal, even stuffy, setting. Olya sits or stands next to an antique chair of leather and wood that’s been placed before an ornately decorated passage, with a similarly decorated bedroom visible in the background. But Olya, barefoot, is wearing a light and casual dress and blue necklace that are anything but ornate, stuffy, or antique — a curious contrast.

Still, Olya’s personality and beauty easily overcome what quirks or quibbles I might find in “Presenting.” Her slender body is beautifully captured in #084 and #132, among others. Her natural sweetness gets a touch of spice with a peek at her nipples in the otherwise demure #003. She displays both her physique and attitude in #046. And Sironi delivers enticing explicit close-ups that capture moist perfection (#056) as well as stylish compositions like #058, and artful, stylish figure studies like #110. With her friendly face, beautiful body, and even her “happy” hands, Olya Fey is a most welcome addition to Metart.

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“Oinare” starring Ganna B — stripped and tripping the light fantastic…

Ganna B: Oinare, by Slastyonoff, Metart HD erotic movieMetart was created, first and foremost, as a venue for erotic art photography — specifically still photography. Metart has also consistently offered short erotic films, but they’ve always taken a back seat to the photo galleries. Some members love them, some are, less enthusiastic, and I’ve got mixed feelings. It’s true that, in the past, some photographers have simply recorded a still photo session on tape and called the results “a movie.” But others recognize the potential of motion pictures and have made a real effort to explore and experiment, with notable success. And that brings us to “Oinare,” a Metart short erotic film that pushes the limits of the form with exceptional results.

Slastyonoff is an accomplished and prolific artist — he’s got an impressive grand total of 558 galleries at Metart. One contributing factor to his enduring success is his willingness to adapt, evolve, and experiment, and “Oinare” offers vivid proof of his bold artistry. Using a single prop — a glowing fluorescent tube —  and a single key light far overhead in an otherwise pitch black studio, he’s created a dramatic stage on which his subject can perform. And his subject, Ganna B, rises to the challenge with high, nearly explosive, energy and impressive confidence.

“Oinare” is, on one level, an interpretive dance. Yes, there are echoes of a stripper performing on a pole, but there is much more to it than that. Ganna B dances, and dances hard. For much of the film the fluorescent light remains stationary and vertical, its unnatural light bathing Ganna’s stunning body in its artificial glow even as it reveals the stunning details of her intimate anatomy. Her long red hair swings through the air, warm highlights enhanced by the key light — the same light that reveals the tiny vellus hairs on her body and motes of dust floating in the air.

There are those who might suggest that “Oinare” exists outside of the Metart norm, and they might be right. But while some might view that as criticism, I think of it as high praise. This is a supremely confident, thoughtful, and powerful piece of erotic cinema. Ganna B is a marvel, and with two films in her Metart portfolio, I can’t be the only one who would love to see her in a still gallery after this performance. A creative concept, confidently and skillfully performed and executed, “Oinare” makes an impressive showcase for not only Ganna B and her director, Slastyonoff, but for the potential an promise of Metart‘s short films. To say the least, I’m impressed — please feel free to share your reactions to “Oinare” in the comments, below.

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“Presenting” Olivian — a delightful, delicious, debutante…

Olivian: Presenting, by Leonardo, 18-year-old poses for hot nude pixFresh, young, new models are a hallmark of Metart, and they have been from the very start. And Olivian, the Ukrainian 18-year-old who makes her Metart debut in Leonardo’s “Presenting,” is as fresh, young, and new as they come. From the first image (the sweet and demure topless shot featured at the top of this post) to the last (an explicit and tantalizing rear-view) Olivian performs impressively in her first Metart appearance.

In addition to her physical charms, which are considerable, Olivian is simply and sensationally photogenic. A competent artist — and Leonardo is far more accomplished than that — can capture physical details, but if the subject isn’t willing or capable of projecting her personality and emotions, the results can be disappointing. Not Olivian! This young woman radiates an easy confidence. She’s self-assured, unashamed, playful, engaging, and possesses a lively warmth. Looking at her is a treat, to be sure, but it’s her personality that takes these beautiful photographs and fills them with alluring, magnetic, appeal.

I must admit, I was surprised when I discovered that Olivian was only 18 at the time this erotic art photo gallery was shot. Her confidence, her very presence, makes her seem more mature. Some of this perceived sophistication may be due to her styling here, particularly her eye make-up that gives her glittering blue eyes a feline quality. But Olivian’s beauty and the disarming charm she possesses in such abundance make her a truly formidable female presence, particularly in view of her youth.

Leonardo has dressed Olivian in nothing but a pretty pair of pink and white panties. She’s on a bed, and a changing, but unobtrusive, pattern of lights is projected on the wall behind her. The artist captures everything from figure studies to explicit anatomical close-ups (#089 and #094). He also captures several truly beautiful smiles — when Olivian is amused or laughing she’s absolutely radiant (see #020 and #029 for two shining examples). Olivian’s moods are as varied as her poses and Leonardo’s compositions. She’s restrained and calm in #037, she  exudes pin-up glamour in #030, explicitly exposed in #067 she remains completely at ease and projects warmth and vitality, and in #099 she’s nothing less than beguilingly beautiful.

Presenting” Olivian, so skillfully executed by the artist Leonardo, is the perfect introduction to this delightful, delicious, and enticing Metart debutante.

 

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The DeltaGamma Interview: an erotic artist opens up…

Early & unpublished work, Johanna, Rome, 2014 by DeltaGamma

[Cross-posted from the Sexart Blog] If you’ve a member of Sexart (or Metart or The Life Erotic) you’re most likely familiar with the photographer known as DeltaGamma. As I write, the artist has published 126 erotic photo galleries across the three sites – 39 at Sexart, 67 at Metart, and 20 at The Life Erotic – and he’s earned an enthusiastic and vocal fan following. The fact that he’s also an active participant in the comment sections has only added to his popularity and reputation – DeltaGamma isn’t content simply to create a photo set, he’s also keenly interested in the way it’s received by the audience.

As it happens, my first contact with DeltaGamma was in the comments section at the Metart blog. After chatting, online and off, I suggested we do an interview. He agreed, I prepared an extensive list of questions, and then things got complicated. In the interview that follows DeltaGamma discusses his background, his inspiration and evolution as an artist, and the unforeseen event that profoundly effected his career as an erotic photographer. And what’s included here is only part of the DeltaGamma story, Part 2 of the interview will appear here in the near future.

First of all, why “DeltaGamma,” what’s the significance of the name?

D: I simply picked the initials of my real name from the Greek alphabet, as a tribute to the classic beauty concept developed in ancient Greece, the reference and inspiration for my earliest work and my art in general. The name I used when I started with nude photography was actually “DeltaVenus,” which was inspired by the novel “Delta of Venus” written by Anaïs Nin, and later adapted as a movie that was directed by Zalman King and released in 1995.

What’s your background?

D: I was born in a small seaside city on the eastern coast of central Italy, forty years ago. Since then I have lived in several different Italian towns, from the north to the south of the country, and now I’m living in Rome. I attended an international Art Academy after showing some unusual drawing skills when I was very young, at the primary school, where I had also started studying English. And I attended a scientific high school, studying not only scientific subjects but also philosophy, Latin, and the arts. I can’t go too deep in Rome, Colosseum at night, by DeltaGammadetails about my life and my “regular” job since it’s outside the world of photography and very far from erotic art, but I can say that I’ve worked for twenty years in a very professional and challenging environment that has allowed me to travel a lot and learn many different skills, meet many people from all over the world – including my wife – and learn to adapt myself to different situations, react quickly, and plan my activities efficiently. I would describe myself as a self-made, happy and lucky man, an artist, a photographer, a traveler, a biker, a sailor in love with the beauty of this world and the beauty of women.

What first got you interested in the artistic potential of photography?

D: Back in 2000, during the longest of my travels – an unforgettable experience spending six months at sea – I had brought with me a photo camera. At the time I had been on a break from oil painting due to lack of time and therefore inspiration, and in a way Oil on canvas, Zoya (detail), by DeltaGammaapproaching photography awakened my inspiration again. Photography perfectly integrated my paintings and drawings, which were already oriented towards the search for harmony and beauty in reality without too much intermediation/manipulation of forms and colors, but rather a realistic interpretation of existing subjects, which were mainly female nudes.

How long had you been working as a photographer before you began to shoot nudes?

D: The beginning of my career as a photographer could actually be identified with shooting nudes, except for the very first steps when I transitioned from drawing/painting to shooting photos. I learned the basics of photography by myself, trying to catch the subject the way it was in my mind already before taking the picture, according to my own personal vision coming from my artistic path and from observing other photographers’ work.

I started using my first photo cameras in 2000 and I got my first DSLR – a Canon EOS 350D – in 2007. In my early years I shot mainly reportages of my travels and then I started shooting portraits/glamour with a Czech girl I met in my hometown during her summer holidays with her parents. That’s probably when my special feeling towards Czech girls and their country started. I went there many times, first in 1992 on a school  trip to Prague – soon after the country’s first democratic elections after the fall of the Berlin wall – and I Early & unpublished work, Dominika, Prague, 2012 by DeltaGammawas fascinated by the beauty of the town and its unique atmosphere, and a few years later also by the beauty of the local girls, my favorite subjects for my nudes.

I shot my first amateur art nudes in 2003 with an Italian girl I met on a train, then I started with soft erotic shootings in a couple of workshops in Venice  in 2006, and then in 2007 I finally started with my first semi-professional erotic shootings in Czech Republic and Poland – both countries I was familiar with due to my several trips riding my motorbike in the summer across central-eastern Europe.

You started contributing photo sets to Metart in early 2012, later that year you began contributing work to Sexart, and to The Life Erotic in 2013. Had you published any of your erotic photography before your work for the Metart Network?

D: Publishing my work at Metart had always been my aspiration since the beginning of my erotic shootings and I never really thought of submitting to any other website. Although my very first exposure to soft nudes was with Playboy magazine – I bought my first issue in August 1990 – my view of erotic nudes was shaped and influenced by Metart some years later. I had created my first e-mail account in 2000 and a few months later I subscribed to the Metart newsletter, soon after discovering the site. I remember I saved all the 16 preview images of the featured sets and was amazed by the beauty of models and their erotic attitude captured by the perfect photography. Metart has been my leading influence in erotic photography and one of the biggest influences on my erotic vision.

My early erotic work was closer to The Life Erotic‘s style in terms of lighting and models’ facial expressions, then evolved towards Sexart‘s main features in a way, while I was stillOriginally for The Life Erotic, by DeltaGamma a bit distant from the average Metart style, with crystal clear images and brighter lighting and models smiling and in a happy mood.

Paradoxically I started publishing on Metart first, with “Presenting” Grace C, then Sexart with Mia Sollis, and finally on The Life Erotic, also with Mia.

I only decided to give publishing a try in 2010, when I sent my first submissions to Metart. After the first feedback (good work/style but models not interesting or already published) I let some time go by, then tried again in 2011 with a few other submissions which were not interesting enough, and then finally had my first sets published in April 2012, with Grace C.

In the summer of 2011 I actually collaborated with a Metart photographer who got in touch with me, Peter Guzman. We arranged a few combined shoots to share costs and models, and I integrated some of his sets with Edwige A, as well as Mia Sollis, and Marjana A.

By the end of the summer 2011 I decided to start shooting and submitting alone, and I started with Mia Sollis and Edwige, two of the models I knew better.

Back to the question: I have actually thought of expanding  and publishing my work on other erotic websites, especially when I didn’t have many sets released on the Metart Network. But recently, when I had my work released on a more frequent basis, I started thinking to be loyal to the Network for a number of reasons. One of them is that I consider Metart the top erotic website, the first and only for me, which keeps evolving in a thoughtful way, taking into account ideas and suggestions by members. The other reason has to do with a fact which happened this summer and made me reconsider several things in my life and my career, I’ll explain later.

Metart, Sexart, and TLE each have a distinct, unique style, focus, and format. Your work has appeared on all three sites. How do you adjust your style and approach when you’re shooting for Metart as compared to TLE, or TLE compared to Sexart.

D: When I shoot a model for Metart my main goal is to simply bring out the model’s beauty and her happiness of showing her intimate beauty to the viewer, connecting with him, using a location and a lighting that match this overall feel, possibly in a simple and not too distracting setting. The focus is on the model’s beauty and sensuality. One of the first sets embodying this aesthetic feel is my first with Mia Sollis, Voile, which was also reviewed by you in the Metart blog,  and that’s where I actually started exchanging comments with some members back in February 2013.

For my TLE work, if we speak about open legs style, the focus is not only on beauty and sensuality but also on a more intriguing side of the model’s mood, or  a fetish such as shaving, sometimes combined with the silver mirror insertions, like the one with Tess B, along  with an overall “darker” feel given by the lighting, with lower intensity and higher contrast, making the setting look a bit more undefined and mysterious, like in my first set with Mia Manarote.

For TLE masturbation, and some fetish sets, the model also has to appear involved in the erotic action showing her sexuality in an almost dramatic way, the darker side of her erotic potential, pretending to be aware that someone is watching hidden in sort of a voyeuristic situation.

For Sexart I ask my models to “make it real.” Once I show them the setting and the outfit I tell them what the story is about and to believe in it, acting in a continuous action as if I was shooting a video, so that the flow of the action looks more natural, only stopping for the single shot. I also ask them to pretend I am not there and to concentrate on their own pleasure in a natural/realistic way, without exaggerating with facial expressions, but they’re allowed to glance at the camera from time to time, when they feel like or when I tell them to do it, in order to keep the contact with the viewer and remind him that the action is for him and also to give a flirty taste to some headshots which I include to let the viewer see what’s in the eyes of the model while feeling the pleasure. One of the most satisfying sets is my second with Sapphira.

Have you ever shot something for, say, Metart, but then ended up submitting it to Sexart, instead?

D: When I plan a shooting with some model in a certain location of course I already have an idea of what site I’m going to submit it to. If I had to give a priority that would be Metart, Sexart, TLE for a number of reasons, and this also reflects the number of sets. But sometimes when I am actually shooting it happens that some factors make me change Sunshine on TLE, originally submitted to Metart, by DeltaGammamy mind and switch to a style suitable for a site which is different from the initial idea. But it also happened that after taking a look at the photos before editing I realize that the overall feel of a certain set is more suitable for another site, but that’s possible from Metart to TLE, or from Sexart to TLE, seldom vice-versa (for lighting reasons) and never from Metart to Sexart (because of the poses/style). Once, after initially scheduling a Metart shooting with some models who had never done masturbation in photos, we ended up giving a try to a Sexart or TLE set (none of these sets has yet been published). And I’ve submitted sets to Metart and Sexart but then it was suggested I submit them to TLE because the photo editor found the set or the model more suitable for that site, like in the case of the first sets with Paula Shy, Sunshine, and Chloe Coco, and there are a few more.

In the studio or on location – which do you prefer?

D: I generally prefer to shoot indoor with a soft natural light from the window and a realistic setting, because I have everything in control, the ambience is relaxed  with some good music, and posing is generally more comfortable for the model.

I set up a small studio in my old apartment, with a few backdrops in front of a big window, so I could use it either with natural light or with studio light, or combining the two. I have in mind my own private studio for the future, it would be halfway between a painter’s and a photographer’s studio, with plenty of natural white light during the day.

When the weather is nice and the temperature warm enough for the models, I have a nice location nearby that’s also a great option to go shooting outdoor, but it depends also on how happy the model is, because posing is usually not as comfortable as indoor, then there may be some interruptions for various reasons – the lighting conditions may change more dramatically than indoor, then there may be some logistic issues that could distract from me from focusing on the model and the posing.

But basically it’s the light of the moment that inspires me and drives me.

A typical set has about 120 images, give or take. How many total images do you shoot during a single session? And how do you approach the task of editing a set for submittal?

D: I usually shoot 160-200 images, depending on the model’s skills/attitude (beginner/experienced, willing/bored) and the lighting conditions (affecting shutter speed, therefore risk of motion blur). When I have the feeling I have at least 130-140 good images I check quickly on the display the variety of poses and if I think it’s enough I stop. But there are times when the model is so good that I just can’t stop, when we are both in good mood and the poses keep coming different and sexy. I know that I am not going to use all of the images but I can’t help, I still shoot for the fun of it. And I also like to show the model many nice pics of herself, especially portraits.

I start editing the set usually after my regular job, at night, or in the weekends, when I am not too tired. I take a look at the whole set, deleting the bad pictures, separating the repetitive shots, and selecting the good images, usually no less than 120. Then I work on Mia Sollis in a favorite location, 2011, by DeltaGammathe RAW files, starting to give the image the light temperature/tone that best matches the model, the setting and the feel of the set.

My wife Phi – a member suggested this nickname, the ancient Greek letter for “F,” because it’s the initial of her real name – is there for this phase. She both helps me find the right settings – sometimes it gets too subjective, especially when the lighting during the shooting varied – and she also does most of the editing herself, especially when the photos also need to be retouched. I prefer not to retouch unless it’s necessary to comply to the standards of photography on Metart or other sites in the Network. So there are tattoos to get rid of and skin imperfections to fix, as well as details in the setting which are not nice to be seen, in order to make the image look pleasant and eliminate unnecessary small details distracting from the main subject. This phase, for the most complicated sets, can even take up to two or three days for just one set.

Lately, as you may have noticed, my sets have become larger. I’ve started to extract some images that inspire me for artistic black and white and desaturated color treatments. These are usually images that normally would look like repetitions or be too serious in the Black & Whites, Dominika, Prague 2012, by DeltaGammaset, but that are good for a different image style. I also include close-ups and interesting details. I decided to add these shots as a bonus to a standard set, because I felt the need to let the viewer see the model in other ways, like I do whenever I shoot, trying to imagine the photos in different styles as if they were different techniques of painting or drawing.

It’s still kind of an experiment for me, especially if you consider that I started working on black and white and desaturated images not so long before including this type of work in my sets, although B&W is very close to pencil and charcoal drawing, which are one of my favorite techniques.

Members seemed to have appreciated enthusiastically so far, so I consider it kind of a trademark and even if it takes time to do it I will keep doing it willingly. The first set where I included some extra images was my first with Michaela Isizzu, although it was mostly some plain black and white backstage images, so actually the very first attempt was with one of my sets with Sunshine, also reviewed by you in the blog.

All your work for the various sites in the Metart Network have been still galleries. Do you have any interest in shooting motion pictures?

D: I would really love to start shooting movies. I did shoot a few videos with my DSLR a couple of years ago, but I haven’t edited them, and anyway I don’t consider them good Screenshot from backstage video, Connie Carter, by DeltaGammaenough yet. I have also shot some backstage video for fun. Videos are very challenging, and I think I have the eye to shoot them, but at the moment it’s a matter of time: I am working too hard to have the time to start shooting and reaching a satisfactory level, and I would need more time to edit the videos, too. I always have a very thoughtful approach when it’s about starting something I really care about, but then when I start I work very hard and it’s difficult to stop me. You can consider the wish of starting to shoot videos my resolution for 2015.

You had a severe misfortune last summer – all your photographic gear and the laptop with your latest work was stolen. How did you recover from this devastating blow, and has this experience changed anything in your approach to shooting?

D: The theft of all my gear last July was a real shock. Now, so many months later, I still think about the few seconds when I was distracted by a man crying out and running to me as someone grabbed my backpack with everything inside and ran away.

I had just come back from one of my most successful shootings in Prague, four days of hard work with Sapphira, Nici Dee, Vanessa Angel, Paula Shy, Dido A, Celeste A and a couple of other models, shooting about twenty-five sets, mostly for Metart and Sexart, and a few for TLE. In few seconds I lost everything: my photo/video gear, my laptop, the hard disks and memory cards with all the work, making the time and expenses for the entire trip a total waste. I saw the robbery on the CCTV the day after, and it was very hard to take. I stayed in bed for a couple of days, trying to get some sleep, staring at the ceiling, hoping to have some news from the police or from friends searching the markets, or from Internet, but nothing.

I stopped being a photographer for some days, suspended in a very uncomfortable situation, but already the day of the misfortune things started happening: my wife let my closest friends know about the robbery, she even wrote to [Metart Network Photo Editor] K to let her know what had happened, and then a post on Facebook kick-started the reaction of some of my most loyal fans, especially from the US, supporting and offering help, easing the shock and giving me back self-confidence little by little. My “Number One” fan in particular also alerted [Metart Network owners] Jon and Niko about the theft. In a very short time I was offered an incredible amount of support by Metart which allowed me to get back to shooting with new gear and with an appropriate budget.

In the end, although that was a very hard lesson for me, it turned out to be also an important occasion which showed me how much Jon and all the Metart staff believed in Early & unpublished work, Anaïs, France, 2010, by DeltaGammame and in my work, as well as an opportunity to find real friends from the community of regular commentators, especially from Metart. It felt like belonging to an extraordinary family. Now I am in touch with several members of this great community on a regular basis, we speak about a range of things besides erotic photography, and it’s all so fun and interesting.

The first sets released right after this disaster were with Connie Carter, first on TLE, and then on Sexart, followed by Lauren Crist on Metart, which kept me “alive” on the Network and made me experience the unexpected, incredible support from the members through the comments. I would like to thank all of them for giving me strength during those hard days.

I have also started being in touch with other Metart Network photographers, like Catherine, Luca Helios and Flora, after already being friends with Peter Guzman, Ken Tavos and Balius. I think that the exchange of ideas and points of view between artists is very fruitful, bringing the overall level of the entire Metart Network higher and higher, while the interaction with members keeps the Network evolving and facing the new challenges of modern erotic still and motion pictures.

This experience made me rethink all of my work and reconsider everything I did so far, being more aware of the actual value of all the equipment and the work itself, therefore giving more value to the efforts I do to carry out a shooting and produce a set.Venice, church at sunset, by DeltaGamma

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“Ricale” Starring Lucy Heart — temptation on a table top…

Lucy Heart: Ricale, by Deltagamma, stunning blonde, explicit pixPhysical beauty and an appealing personality are two entirely different things, and the presence of one is by no means a guarantee of the other. I can certainly think of women who are, by any standard, beautiful, and yet in photographs there is no charm, no spirit, no spark, or emotion to engage the imagination. And I can think of girls who project all the most attractive traits in abundance, but who still fail to catch my eye because they are not physically to my liking. But Lucy Heart? This magnificent Metart model is a thrilling example of a young woman who has it all — she’s breathtakingly beautiful and she’s got an irresistibly appealing personality. Granted, stunning blondes with playful, sultry, vixenish personalities may not appeal to you, but for the rest of us Lucy Heart is a genuine delight.

DeltaGamma, with the experience, insight, and intuition of a seasoned artist, clearly recognizes Lucy’s gift. “Ricale” is striking in its simplicity. He dresses her in a single simple, sexy piece of lingerie, in a striking shade of deep purple. She’s in a space with a tile floor, ample natural light, and the sole piece of furniture is a clean-lined wooden table. And these few, basic ingredients are all that is needed. From image #001, all the way to its conclusion, “Ricale” lets Lucy Heart display her physical beauty and personal charm without impediment or distraction.

There are quite a few outstanding headshots in “Ricale,” no surprise when the subject has such a beautiful face. And Lucy Heart’s lively, spirited, and varied personality makes those headshots particularly enjoyable. She’s subtly sultry in #021, simply beguiling in #092, warm and enticing in #125. Full body shots are equally satisfying with pleasing poses and a range of moods — see #043, #048, and #074, a saucy pin-up, for three representative examples.

Lucy Heart is so beautiful you could simply gaze at images of her face and continue to find fresh expressions and attitudes. But everything else she has to offer is equally alluring, and DeltaGamma has taken care to catalog every luscious detail of Lucy’s physique. Intimate anatomy gets ample exposure, and Lucy presents it eagerly and generously. A shot like #063, the model delivers a striking pose, the artist captures it in a perfectly composed image, and “Ricale” reaches one highlight among so many in the series. To further enhance the offering DeltaGamma includes a generous assortment of manipulated images and several of Lucy, fully, clothed, in pre-session candid shots. “Ricale” easily earns my enthusiastic recommendation. Please feel free to share your opinion and observations in the comments, below.

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“Rasfei” starring Nancy A — satisfying simplicity…

Nancy A: Rasfei, by Alex Lynn, long blonde hair, blue eyes, pretty titsWhether you’re quoting Shakespeare — “Brevity is the soul of wit.” — or repeating Mies van der Rohe’s oft-repeated dictum — “Less is more. — you’re addressing one of the great truths of art. There is beauty in simplicity. And as the world grows more complicated and chaotic, this truth becomes even more relevant.

In his Metart erotic photo gallery titled “Rasfei,” Alex Lynn has chosen a naturally beautiful model, given her just a few pieces of black clothing to flatter her physique and complexion, placed her in an uncluttered setting, and relies mainly on natural light. This is not a dramatic or at all theatrical photo series, by any means, and that is one of its greatest strengths. The simplicity of the presentation makes the model’s physical beauty and personal charm the central element of the photos, and that is exactly as it should be.

Fittingly, Nancy A‘s styling and presentation here is natural and unembellished. A session in the stylist’s chair could easily prepare this model to conquer the couture catwalks or the glossy pages of high fashion magazines. But in “Rasfei,” with minimal makeup and a shake of her waist-length hair, her natural beauty is abundant and obvious. She could be the girl next door — if that girl happened to be a natural beauty with a pleasing dimple in her chin, refined features, and big, friendly, eyes in a beguiling shade of blue.

“Rasfei” unfolds at a relaxed pace, appropriate to serenity of the setting’s atmosphere. In #007 Nancy sits on the edge of a claw foot bathtub, head turned to the camera, eyes averted, filtered light shining softly on her long hair. #012 is a relaxed headshot, in profile, subtly moody and naturally beautiful. Slowly, she begins to reveal more. In #030 her splendid breasts vie for attention with her subtle smile and a teasingly arched eyebrow. And in #047, explicitly exposed, Alex Lynn‘s artfully abstract composition captures sheer panties out of focus in the foreground, and perfect breasts outlined against raised blouse high in the upper background — trust me, it’s easier to see and enjoy than it is to describe.

Pretty headshots (#076 and #080), fine figure studies (#093, an explicit rear view), and painterly images like #099 are just a few highlights in “Rasfei,” a photo set that exemplifies satisfying simplicity.

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“Presenting” Zola — exotic, erotic, enticing…

Zola: Presenting, by Fabrice, exotic beauty in erotic nude art photosWith her dark hair, dark eyes, olive complexion, and sultry attitude, Zola — making her Metart modeling debut in “Presenting” — is an enticing exotic beauty who radiates erotic appeal. Zola’s combination of physical beauty and steamy personality is difficult to resist — the fact that she so enjoys the process of posing and sharing herself with the viewer only adds to her allure.

Although I was instantly charmed by Zola, “Presenting” gets off to something of a shaky start. Much of the set takes place on a large sofa of beige leather. Behind the sofa is a sort of sheer curtain hanging in front of a room divider of glass shelves, and behind that there’s an open space that photographer Fabrice has absolutely blasted with backlight. When the framing and exposure is right — and I hasten to add that it is right in the vast majority of images — the effect is flattering and appealing. But there are shots, #020 is one, where the excessive light bleaches the entire image.

As I mentioned earlier, Zola appears to be enjoying the experience. For a girl with such dramatic features — those fabulously full lips are the very picture of plump and luscious — she has a sly, subtle, vixenish manner. This is a girl who can be powerfully and wonderfully seductive simply by pursing her lips and slightly narrowing her eyes — you’ll see exactly what I mean when you have a look at #079, a bedroomy and beguiling headshot.

While “Presenting” isn’t the most dramatically explicit photo set at Metart, it is by no means tame. Zola has an ease and confidence that adds extra impact to her complete lack of inhibitions. While artist and model experiment with a wide variety of poses, they do take care to include a full selection of explicit images that provide the viewer with a comprehensive view of the goods.

Presenting” Zola is a promising debut by a model who is exotic, erotic, and enticing.

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