Monthly Archives: January 2011

I had the pleasure of first discovering Fidelia A. when I evaluated a girl-girl set she co-starred in, Oleg Morenko’s “Avilias.” Having the opportunity to view her in a solo pictorial is welcome, indeed.

I have but one minor quibble with this series, and I will dispense with it as quickly as possible. There is a television set visible in several of the images that somehow doesn’t fit in with the mood of the set and the furnishings of the room. Beyond that, I have only praise.

Fidelia is tall, slender, lithe, lean, and long of limb. And her face is both exotically beautiful and pleasingly expressive. She can project a youthful sort of innocence that is completely disarming, and a moment later can be sultry, knowing, and brazenly sexual. Oh, and she has a smile that is entirely irresistible.

Favorites here include: #0056 for a particularly relaxed and genuine smile; #0005, off the tabletop, on her knees, and simply beautiful; #0049, a perfect “pin-up;” and #0085, for moody, steamy, sexuality.

Leonardo delivers a mood-drenched, evocative set in “Validias,” starring Sandra D. Evening is impending. Outside, the sky is leaden, ominous. The shadow of a mullion on an unseen window falls across the couch where the model is seated. This creates opportunities of two distinct types. When the shadow falls just so, the effect is dramatic and imparts the image with a pleasing air of mystery. However, when the shadow falls across Sandra’s face, the effect can be disquieting.

This concept may be somewhat difficult to understand as I describe it here, but it is readily noticeable throughout the series. In #0034 and #0041, for example, the illusion of a bruise on the model’s face is created by this unfortunate trick of the light. In #0038 and #0047, however, the shadow is absent and the true beauty of the model is abundantly evident. Please note that shadows are still present in the pleasing images, and still creating a distinct mood.

Despite the presence of several somewhat compromised images, the strengths of “Validias,” far outweigh its weaknesses. As noted, the set possesses ample drama. And it possesses Sandra D., a voluptuous and uninhibited model who is sexy and alluring beyond the shadow of a doubt.

A verdant meadow and surrounding woodlands provide a deep green backdrop against which “Grapes,” starring Juline A. unfolds. The contrast in color is really quite striking as this model has particularly pale skin and hair of an extremely vivid red.

Clad in a simple frock, sheer panties and wedge sandals, Juline cheerfully poses and quickly begins to seductively disrobe. The tactile, physical pleasure the model experiences being nude in the natural setting is evident throughout. And the physical reality of posing in such an environment is captured in several shots in which the flora she’s been lounging on leaves an impression in her soft skin.

Several images in the collection are worth noting. In #0050, Juline is spread out on the grass, face to the camera, with both foreground and background in soft focus. And in #0060 where her right breast is slightly out of focus, putting the visual emphasis on her left breast which she is gently touching.

Yes, there are grapes. And, yes, there are numerous intimate anatomical close-ups. Sweet.

Five years have elapsed since Marina K. first bared her beautiful all at MetArt. And the photographer of “Tiger,” Joanna Edwards, has been absent for a similar length of time. We welcome back both contributors, and then turn our attention to the work.

A seamless backdrop in a rich, dark shade of cordovan. An animal print scarf, a few pieces of jewelry, and Marina. Neither photographer Edwards or your humble scribe need much more than that. As the series unfolds I’m impressed by the painterly quality of many of these images. Examine #0050, if only for a moment, and I think you’ll concur.

And Marina, without elaborate props or scenery to rely on, performs admirably, projecting moods from studied to spontaneous with apparent ease and enjoyment.

I have no way of knowing if Marina K. or Ms. Edwards will once again contribute a set to MetArt. It might be another five years, perhaps more. In that case, enjoy “Tiger” fully, because it is a truly rare breed.

Those who prefer their potential mates in a largely natural state will want to go over Rylsky’s “Free Spirit” with a fine tooth comb. The model presented therein, Francine A., has declared her armpits and pubic region razor-free zones, and lush thickets of dark floss have consequently flourished.

There is no avoiding the hair here, and it will either attract or repel, depending on personal preference. On second thought, there is one way to avoid it, and that is by focusing one’s attention on the non-nude images and headshots. In #0037 Francine’s spontaneous smile and perfectly pert breasts are powerful distractions. And in #0055, a double-headshot thanks to a mirror, is pretty, indeed. Of the full-fur shots, #0060 is a personal favorite due to an unusual pose and Francine’s lively, engaging expression.

But I have to wonder, if Francine is such a “Free Spirit,” why has she bothered to shave her legs? I’m not being needlessly provocative by asking. Well, actually, maybe I am.

This set seduced me almost instantly. And Izabelle A. gets full credit for that. From the opening image straight through to the last, she is simply a perfect piece of indescribably delicious eye candy. This little doll just exudes pristine, youthful, beauty.

And “Agamian” is a seemingly simple set. By “seemingly” I mean that the tangible elements — a sofa, sheer curtains, a hardwood floor — are basic and unobtrusive. But here is where Oleg Morenko’s artistry enters. He has a beautiful subject, one that he has worked with before. He seeks to emphasize and enhance her beauty, not distract from it. Clever composition, creative posing, and particularly deft lighting are his tools, and the results are pleasing in the extreme.

I love the way a subtle side-light kisses Izabelle’s raised arm, jaw line, and breast in #0017. And how the pose in #0043 is artfully improved by slightly tighter framing in #0044. There are some very sexy shots here: #0059 despite (or perhaps because of) the soft focus in the foreground sizzles, to select one out of many. And there are simple beauty shots, as well, like #0078 — pure silk and honey.

The opening “sequence” of Rylsky’s “Calef,” starring Ilze A., takes place before a roaring fire. The model is lively, she is lovely, and her body is entirely luscious. Some of the posing, however, is curious. Do we need to see Ilze put a log on the fire when she can generate so very much heat without such histrionics?

Perhaps to answer the question, the set next moves to a lavatory equipped with a spacious spa tub. Posing next to and in the bath, Ilze now is in a far more flattering and versatile setting. The model is gifted with a firm and ripe rump, and several shots capture this particular asset particularly well — on all fours in the water, in #0074, it’s a double-bubble delight. Ilze’s physical charms don’t “end” there, however, and her entire erotic arsenal receives ample exposure.

This is a playful set, and while some of the posing feels just the slightest bit forced or contrived, Ilze appears to be having so much fun — and is so much fun to look at — that one wouldn’t dream of complaining. When Rylsky mixes Ilze A. with fire and water the results are nothing if not steamy!

Here is a moody tropical interlude from the lens and imagination of Pasha, and starring Nadya C. The sea is still and calm. The sky overcast. Although we soon realize the location is some sort of resort or retreat, there is no sign of another human anywhere.

The model, wearing a long, simple dress, poses on the sand and in the water, the fabric clinging to her body. When the dress is retired from service, Nadya is topless, and wearing bikini bottoms. She poses with a coconut. When she is finally completely nude, she poses with the same coconut and on the trunk of an accommodating palm tree.

There is a downbeat, almost somber quality to this set. It is not without appeal, mind you, but I find it somewhat lacking in energy. Personal highlights include #0106 where the model unexpectedly unleashes a lively smile. And a series of shots — #0083 is a prime example — where she relaxes in a hammock. Perhaps if the sun came out and somebody ordered a round of piña coladas the mood would lift?

Viewers of this set may experience a bit of déjà vu, I know I initially did. But I was able to unravel the mystery. Every visitor to MetArt gets a glimpse of it. And every time a member returns to the site, it’s right there, in the upper, left of the landing page: an image of Jasmine A. in her ballet slippers and violet tutu. While that single image is a longstanding element of MetArt’s site design, the multi-part series has a rich history here. The first installment of Goncharov’s “Ballet Rehearsal” appeared in January, 2004. Additional “episodes” appeared in 2004 and 2005. But the photographer has waited until now to bring down the curtain on his masterful series.

Let me simply say that it was certainly worth the wait! But wait a bit longer before jumping to any conclusions about the set. Jasmine isn’t simply a model wearing a ballerina costume. She is a classically trained ballerina who is also a model. As a result, she can assume poses far beyond the physical ability of even the most fit and agile female. In dozens of images here, for example, she is en pointe, standing gracefully on the very tips of her toes. To adequately describe this set would require far more space than I’ve been allotted, and I find myself compelled to go have a leisurely look at the first three sets in this masterful quartet. I expect many others will have a similar reaction.

It is not in the least subtle. And, though it may have it’s roots (pun intended) in nature, the shade of Ariel’s crimson locks has obviously received a dazzling boost from a bottle. That shocking shade of red even seems to tint entire frames in this series, but it is only one of this magnificent model’s eye-catching attributes.

The location for this essay by Luca Helios is a desolate, rocky shoreline. But this is a highly stylized photo set, not a nature documentary. There are times when the landscape takes on a surreal quality, and this results in truly memorable images.

Ariel A. is not only physically stupendous, she’s also extremely skilled in the art of the pose. She can be spontaneous and natural. She can be classically formal. She can create the illusion of movement when she is still. She can be coy and kittenish. And she can be stunningly, overtly sexual. Have a look at #0116 for a mouthwatering example of exactly what I’m talking about.