Monthly Archives: December 2010

A dirt road, a sunny day, a new model. With these simple elements photographer Angela Linin has all she needs to create a fresh and engaging en plein air pictorial.

The model, Evgeniya A., is a type I find particularly pleasing. She has a trim yet curvy body, dark hair, and a very natural sort of beauty. She is pretty, and she seems confident and comfortable with that, but there is an ease and a “down to earth” quality being projected here that makes her seem friendly and approachable.

The outfit she’s wearing early on — a girlish tank top, very short denim cut-offs, and sandals — is youthful, casual and effortlessly sexy. Of course, once it comes off, the sexy factor increases dramatically. But this isn’t an extreme or lurid set, the mood is always light, carefree, and playful. Whether she’s standing in the untravelled road, sitting or lounging on a cushion of her cast-off clothing, or using a fallen tree trunk as a prop, Evgeniya is an extremely playful and engaging model in her MetArt debut, and I look forward, eagerly, to future appearances.

In the very first image in this set, #0000, Anna strikes a fairly formal pose. A faint smile is on her lips, her wrists crossed, hands on knees just so, sandal-clad feet up on tiptoes. Her long hair falls neatly past her shoulders and, from our P.O.V. we can’t quite see if she is wearing anything more than an elaborate corset.

But, elsewhere in the series, the model (making her third appearance at MetArt) is much more relaxed, much less posed. The set swings between the two extremes with plenty of variety as an inevitable result. Of the more “natural” shots I must single out #0139. Here the model is totally nude. She is on her back. Her hair is mussed against a pillow, the fingers of her right hand rest casually against her head. She is a the very essence of pale, delicate, femininity in this almost painterly image.

Compare that to #0057, a far more stylized full-length shot in which the model reclines, right leg outstretched, left leg folded, and with her right hand very consciously arranged on her right hip. It is an alluring image, make no mistake. These two shots — #0139 and #0057 — could have come from two entirely different series. The fact that they are both contained in “Vestale” is a big part of the pictorial’s charm.

Apart from the model, of course, choices made while selecting props, colors and lighting are critical to the success (or failure) of a photo series. For this, the MetArt debut of Kayla Louise, photographer Majoly has chosen a scarlet sofa against an orange wall. The simple lines of the couch and the bold colors “pop” even when softly lit, as they are here. And the tonal palette is extremely complementary to the model’s smooth, rich, tawny skin tones.

Kayla brings the ease of a professional to these photos, and she “hits her marks” without the slightest hint of effort. A figure-hugging black and white dress plays a central role, and the hem is quick to rise revealing the pleasing absence of panties. Foot and shoe enthusiasts will no doubt enjoy the strappy high-heels she wears for the set’s entirety, and the smooth, strong, shapely lines of her legs project a powerful and undeniable sensuality — #0108 illustrates my point perfectly.

I was surprised to find that Virginia Sun, who makes her MetArt debut in Rylsky’s “Presenting,” is a 24-year-old. In some of these images she appears younger, perhaps as young as 19. The impression of nubile youth is reinforced by the petite proportions of her body, of course. But there is a look in her eyes, an innocence, that the photographer seems to celebrate in a generous selection of headshots and non-nude portraits contained in the series. Of these #0009, 0012, and 0029 are, quite likely, my favorites.

But Virginia is 24, she is well into the age range we can consider to be “womanhood.” And she displays a confident maturity in shots that are far from innocent or demure. In some of these she is seated in a chair, thighs wide spread. In others she turns her back to the camera and, legs parted, she goes up on tip toes to provide extremely inviting views.

And then, in the final image of the series, #0113, model and photographer conspire to toy with the viewer’s perceptions once more. Smiling sweetly, and wearing a t-shirt, she radiates pristine, virginal youth.

A young model makes her MetArt debut in this series from Majoly. In “Presenting,” Honey A. makes up with exuberance and energy what she may be lacking in experience before the camera. Much of the set employs an elaborate marble fireplace as a prop. Clad in thigh-high leather boots and a bra and micro-mini skirt ensemble, the limber lass uses the mantelpiece as if it were a gymnastic apparatus. Her long, dark hair frames a pretty face that is rarely without a high-voltage smile.

Moving away from the hearth, Honey takes to a leather arm chair and strikes an entirely new set of poses. In some of these she hangs her head off the seat and her long hair swings fetchingly towards the floor. In others she offers up tempting views of her intimate anatomy, from the front and back, as well.

As I alluded earlier, there is a certain roughness, the slightest lack of polish to this debut. But Honey is, after all, only just beginning to learn the sophisticated science of erotic poseology (yes, I just made up the word). And Honey’s charms more than warrant further exposure. Wouldn’t you agree? Please share your opinion in the comments section.

Mountains loom in the background. The sea, if not angry, is, at the very least, agitated. The beach is strewn with a thick carpet of black stones. She appears, a long-limbed vision, her hair and brightly colored wrap teased by the breeze. These are the natural constituents of “Everything,” starring Eufrat, as photographed by Luca Helios.

The cool, rugged beauty of the setting contrasts pleasantly with the warm tones of hair, skin and fluttering fabric. And, whether she is standing tall or lolling about on the rocky shore, she appears perfectly at ease and to be enjoying her interaction both with the natural world around her, and with the camera that is capturing her.

Towards the end of the series Eufrat migrates to a more sandy stretch of beach. She delights in the feeling of soft sand beneath her feet. She strolls, leisurely, along the strand, completely and totally nude. An elderly couple, fully clothed, are seen in the background. Thrilled and titillated, the model breaks into a run. Her breasts bounce and jiggle. She smiles. Delight, pure delight.

“White” might not have been the title I would have chosen for this set featuring Agata A. Her soft, pale skin is a creamy shade of white. But the deep blue of her eyes certainly merits mention. As does the rich, dark red of her wavy hair. And there is also the blue animal print pattern of her panties and bowtie. Yes, the model is bedecked with a colorful cravat for the entire duration of the series. A cryptic fashion statement, perhaps, but the model wears it particularly well.

The pictorial unfolds in a bedroom. In much of it, Agata poses on an armchair. It’s a useful device that allows her a variety of positions, and she uses the chair to both conceal and reveal various parts of her body in creative and enticing ways. There is a mellow, “late night” mood to the set, but there are also moments of surprising dynamism. Several close-ups are included that are certain to energize the viewer.

With her diminutive breasts and gentle smile Agata can, at times, project a girlish innocence. A moment later — in the scant fraction of a second required to depress the camera’s shutter — her look can be entirely, incitingly adult. This attribute contributes, in no small measure, to the heat in “White.”

The central purpose of this blog is to showcase notable photo sets as they are added to MetArt. While we all crave the latest and greatest — the thrill of the new — the material in the archives is well worth exploring. It was on just such an expedition that I discovered “Kigher,” a set that initially appeared on March 27, 2010. My impressions follow.

Drama is both boldly expressed and subtly implied in this stylized offering from lensman Leonardo. The bulk of the essay is devoted to Jenya D. Cigarette in hand, her extremely curvy body encased in a clinging red dress, she appears in a desolate alley, captured in a circle of illumination — she might be an actress in the spotlight or a lady of the night, caught in the glare.

Jenya proceeds to work herself into quite a state. Along the way, as she becomes ever more aroused — and exposed — her beauty and heated allure are masterfully captured. In #0043, breasts bulging lewdly, eyes closed, her profile is exquisite. In #0089, she squats, knees apart, and grins giddily. And those are but two of the many moods she projects.

In the final third of the series a mysterious blonde appears. A customer, perhaps? Her face is mainly hidden. Her clothes come off quickly. And a sapphic dance begins. Nothing explicit, mind you, but what is implied is steamy, indeed, with undeniable overtones of kink. In the final frames Liza B., face down, legs spread wide, is spent, conquered, satisfied. I expect that’s how viewers will feel about this set — the “satisfied” part, at least.

Can one grow tired of the sight of 18, 19, and 20-year-old girls, nude, and in all their youthful, nubile glory? In theory, under the perfect set of circumstances, and after an extremely long period of constant exposure, one supposes it might conceivably be so. This condition is to be avoided at all costs, of course, and I have nothing but sympathy for any individuals so afflicted. However, yes, there might come a time in a MetArt member’s life when he might want to retreat, if only temporarily, from the youthful end of the model spectrum and spend some time studying the charms of an ever-so-slightly more mature woman. There is a time for the girlish delights of a young nymphet. And there is also certainly a time for a more mature, fully ripened woman.

When that time comes, Eve Angel has what you’re looking for in abundance. She is no giddy girl. She has absolutely “been around,” and wears her experience like a badge of honor — the look in her eyes makes that clear. And there is a relaxed, knowing ease she projects with her body, so plush and curvy. She may be a bit riper than your regular, but that fact, in itself, may be the single best reason to experience her in “Pageant.”

There is a nearly palpable sense of Latin heat to the star of Leonardo’s “Aventia,” Belinda A. But the model’s ethnic extraction is immaterial to this discussion — we have these photos to evaluate, and the smoke and steam this dark-eyed, bronze-skinned, vixen radiates is undeniably potent.

The “set” consists of a bright yellow seamless backdrop — a color which both flatters the model’s skin tones, while also offering a pleasing contrast to her eyes, hair, sky-high stiletto pumps, and black lingerie. In many of the images Belinda is seated or leaning against a stylish bar stool. With her feet on the floor, or high in the air, the prop supplies a multitude of posing options, and Belinda clearly enjoys experimenting with them.

For pure visual, erotic, and artistic impact, however, I tend to prefer the photos in this series from which the bar stool is absent, leaving the totally nude model to her own impressive devices on the glossy floor. Photo #0099 illustrates my point. Is it my imagination, or is there steam rising from the beautiful body in that relaxed and revealing pose?