Monthly Archives: November 2010

I easily found much to enjoy in this, the third series featuring model Belicia A. She has long, shapely legs, which is never a bad thing. And I found her delicate, pale pink nipples particularly attractive. The dark-haired beauty also has a relaxed yet seductive manner which is accentuated by the leisurely pace at which she removes her dress and panties.

But just when things were showing signs of getting truly torrid. Blank. No more. The set just ended, without warning. At 92 images, in total, the set is on the short side — by MetArt’s lofty standards, at least. But I got the distinct impression a whole sequence of photos was missing. I can certainly say, without reservation, that I would have enjoyed seeing much more of what Belicia has to offer.

As I began: There is much to like in this set, but I feel there is something missing. Do I make a valid point? Yes or no? Let me know, in the space provided.

Lily. B. has decided to take her Jeep for a drive deep into the countryside. The weather is warm and the air is still, so she’s quite comfortable wearing only a pair of sandals. While driving down a shady path, she decides to stop and stretch her legs. And so begins the eye-pleasing adventure titled “Vilimia.”

Lily has a firm, taut, and beautifully shaped physique, and she takes obvious pleasure in stretching, spreading, bending and arching into whatever position strikes her fancy. In many of these well-composed images it is almost as if the model is utilizing the rugged off-road vehicle as a piece of gymnastic apparatus. One image, out of many, that illustrates this is #0015. Poised on her knees on the hood of the car she assumes an arching back-bend. Her breasts jut skyward as her hair hangs from her inverted head, and her playful gaze is straight into the lens.

Rarely in automotive — or erotic — history has a hood ornament been so profoundly inviting!

This is my first exposure to a model who has appeared many times before at MetArt. Her many admirers are well acquainted with Nelly’s beauty, but it caught me unawares and I’m still enjoying the feeling of surprise and delight that I get when I find a model who really “trips my trigger.”

Early on in the set I was intrigued by the red, see-through dress Nelly A. is wearing. But, until the dress was taken completely off, teasingly, I wasn’t fully aware of what a sublimely shapely body this model possesses. She has all the freshness of a young nubile, but she’s also sculpted into a womanly “hourglass” shape — the swell of her bosom, the trim, narrow waist, the full, rounded hips.

In addition to her physical delights, Nelly also possesses a model’s natural instincts. Even in this particular setting — is it outside a house that is undergoing renovation, or perhaps demolition? — amidst dirt, chunks of plaster, and broken masonry, she is elegant and refined. And desirable — very, very desirable!

I refer, in this post’s title, to the simple prop Halik provides his model: an old fashioned, wooden, steamer trunk. Although we’re certain that her pretty posterior would be far more comfortable on soft upholstery — or the sheets of a lover’s bed — Monika Vesela uses the antique chest to superior effect.

Seated on the trunk, or standing, the photographer also provides his subject with a stylized painted backdrop. Most viewers will hardly notice — Monika has such a sultry, smoky expression in so many of these shots that it’s hard to take ones eyes off of her. Her mouth, in particular, is ripe and luscious, and one doesn’t doubt that she’s quite adept in its proper use.

In such a simple setting the focus is foremost on the model and Monika rises to the task, treating the viewer to pleasing views of everything she has to offer (with a few bewitching smiles thrown in for good measure). For reasons unknown the series is titled “Later.” May I suggest you look at it…sooner?

Some sets possess a theme that is distinct, obvious, and readily observed. In others the theme is something that must be slowly figured out through careful study. And other sets have no theme at all. To my mind, “Charme,” by Ron Offlin is such a set. I am not complaining, mind you, I am merely making a comment.

While it has no theme, “Charme” does have Simone B., and that is certainly a good thing. A very voluptuous good thing. Posing on a sofa, in a parlor or antechamber, she is dressed in fetching lingerie. As her frillies come off, the temperature in that room quickly rises. And when she is nude the set takes a particularly explicit turn. As he’s been known to do, Offlin offers his subject a piece of jewelry to play with, and the glittering embellishment adds a bit of sparkle to exposed anatomy that is already moist and glistening.

In some of the photos Simone is reading an automotive magazine. I find this curious. But maybe that’s the key to the set’s theme! Is Simone in a doctor’s waiting room? If so, he’s certain to enjoy her appointment! What do you think?

An old friend of my mine used to say, when discussing the irresistible sexual power of a gorgeous girl: “Short hairs can pull a train.” He was quite right, of course. And, although Nastya E. has shaved off all of her “short hairs,” she has a huge reservoir of high-potency erotic appeal. What man could resist any request spoken by those sweet lips, or even a silent plea from those big, dark eyes?

Oh yes, Nastya is a genuine confection, a honey-sweet sample of red-tressed, youthful beauty. Her hand-filling breasts are the very definition of pert, and her nipples are erect throughout the series, sending a tantalizing message of their own.

Ingret’s photos capture the model in a nice variety of poses, expressions and moods. I found the shots using the mirror to double the impact quite effective. The choice of lingerie — a frilly garter belt and a pair of crimson, sheer-to-toe, stockings — complements the model’s coloring, and will no doubt add some extra sizzle for the leg and foot lovers in the audience.

The aspiring erotic art photographer who wants his work to appear at MetArt faces a daunting challenge. Not only must he produce work that meets our exacting technical demands, but he must also understand our aesthetic sensibility. We welcome photographic erotica in an unlimited range of styles, but if the photographer doesn’t “get” what MetArt is all about — and what our worldwide membership has come to expect from us — he cannot hope but fail.

Jay Cordero’s debut MetArt series, aptly titled “Cordero,” is anything but a failure. The newcomer may have an area or two he needs to refine, but his debut is a success. Of course, he has a bit of an advantage. And that advantage is Cikita A., a seasoned model with a particularly photogenic face and body.

Cordero excels in capturing the glowing tones of Cikita’s body. But here is also an opening for weakness — in several shots the glow is allowed to dim — to a point that can be objectively described as underexposure. Apart from this quibble, “Cordero,” both the set and its namesake, make a fine addition to MetArt. And, of course, Cikita is always welcome here!

Here is a set that is filled with subtle nuance. And here is a set that is, at the same time, filled with blunt and forceful impact. It ranges from kittenish softness to clinical exposition. There are images that inspire a sigh of mellow appreciation. And there are images that elicit a gasp of lusty surprise.

Who is responsible for such a rich series? Photographer Tony Murano is almost shockingly adept at his craft. From full-body images to extreme close-ups he is simultaneously a gifted artist and an impressive technician. And his model, the exotic and shapely Rachel B., gives Murano much to work with. But neither of the two — photographer or model — can claim dominance or sole ownership of “Ammix.” It is a collaboration, two talented individuals striving, together, to create erotic art. And this collaboration is an undeniable success.

Rachel is gifted with almond eyes, pale-nippled and generously proportioned breasts, and feminine amenities that must be seen to be properly comprehended. Murano devotes much time and talent to revealing these gifts, and he extracts maximum dazzle from each and every one of the 22 megapixels at his disposal. “Ammix” is never less than amazing!

Water is a favorite component of many sets crafted by frequent MetArt contributing photographer Luca Helios. In “Fiorita” the vast majority of the images feature eye-catching Caprice A. immersed, to one degree or another, in a bathtub filled with crystal clear liquid. The effects attained with this combination are vigorously erotic.

Slim, trim, toned and petite, Caprice is a dark-eyed nymphet who exhibits not a single shred of shyness. She is bold and uninhibited, to be sure, but there is an eager, energetic sexuality on display in these images that could never be misconstrued as lewd vulgarity even in her most explicit and revealing postures.

The set leaves much room for fantasy and speculation. Is Caprice relaxing and refreshing herself after an energetic tryst? Or is she bathing in anticipation of a meeting with a lover? In either imagined scenario, and in these wonderfully wet images, she truly is a bathing cutie!

The model, the location, the style, lighting and photography in this set are all of exceptionally fine quality. Anastasia F., making her second appearance at MetArt, is a treat — pale, creamy skin, flowing hair, petite breasts with plump nipples, beautiful blue eyes, fine facial features, and an animated spirit. And she’s posing in the middle of a sprawling field of spring flowers under a bright blue sky on a glorious day. The series really does have a lot going for it.

Early on, a couple of shots really caught my fancy: #0033 and #0039 are close-cropped headshots that distill Anastasia’s arresting beauty. And #0053, posing with a single flower, is a portrait of a young woman at the peak of her considerable beauty. Hypnotic.

But, as I progressed through the set, I developed the sense that something was missing. I kept waiting for it, for even a glimpse of it, but it never appeared. I never saw it because Anastasia never showed it, or because photographer Dolce chose not to photograph it.

Do you like this set the way it is? Or would it be improved with more “it” in it?