Monthly Archives: May 2011

With just a single, diaphanous garment, a bouquet of flowers, and a few yards of dark blue fabric Alex Sironi has all he needs in the way of props and set decoration. The “location” is a window seat set into a rustic brick wall. His model, Frances A., is the irresistible ingredient that brings all these elements together in beautiful harmony.

That hair. While Frances boasts a full complement of physically appealing parts, it’s her long – make that extremely long – blonde hair that makes the most dramatic statement here. Those lustrous locks fall enticingly down the model’s back very nearly covering her entire ass. Hair that long creates a range of posing options that are particularly well explored in this pictorial — it’s practically a prop and set decoration in its own right. #0001 tells the tale.

Her hair can be used to conceal, reveal, highlight and enhance her body – and what a body Frances is blessed with. With long, graceful limbs, a slender build, and breasts in delicious, perfect proportion, Frances A. is a physical delight. And her face is equally delightful, a word that also describes her intimate areas.

A few favorite images: #0008, a capsule and concise summation of the pictorial, enhanced by extra rays of natural light. #0036, for the pose, the skin tones, and that refined face. #0114, a somewhat similar pose, beautifully revealed limbs and torso — and Frances A.’s long hair in a co-starring role.

This series opens with shots of Kira K. in stylish street clothes, outdoors on a bright, crisp afternoon. Although her short skirt may not offer much in the way of warmth, her energetic spirit and natural beauty provide all the heat needed to begin the series on an inviting note.

Photographer Catherine then moves her subject indoors. There are no transitional images. Outdoors she is clothed, indoors she is totally nude, but for an elaborate necklace. Although the teased-out, gradual removal of clothing is a trusted technique, here the clothed/nude contrast is quite effective.

Kira can certainly project glamour and sophistication, as she does here while dressed, but when she’s stripped down to nothing but a smile she appears very much as a girl next door. With her diminutive breasts and girlish build her appeal is wholesome and natural.

Kira K. is relaxed and comfortable in front of the camera and it is interesting to see her deliver a wide range of poses and attitudes. I find some of the more formal posing to be a little stiff and not completely in harmony with her natural qualities. In a spontaneous shot like #0113, where she’s sticking out her tongue playfully, we get a glimpse of her youthful spirit. However, in a stylized, almost gymnastic stance, as captured in #0141 and #0142, there is no question that the nubile beauty of her body is artfully rendered.

Have I mentioned that Landysh A. in “Simenia” is particularly cute? Forgive my redundancy, but I can’t think of a more perfect description of this adorable minx. I can uncover no definition for the word “Simenia,” so, from this point forth, “Simenia” now means “cute!”

Yes, Landysh is cute, powerfully so. And it seems that her photographer here, Rylsky, has been captivated by her cuteness. How can we otherwise explain the striking preponderance of headshots and non-nude portraits contained in this series? I’m not complaining, by the way. Many, indeed most, of the multitude of headshots here are particularly enticing and reward close scrutiny. And these headshots, infused as they are with Landysh’s signature trait — cuteness — are not at all repetitious, indeed they are quite varied.

#0014, with her hair down, is outside. And is she ever cute! #0025 and #0026, now inside, with her hair intriguingly styled. More, and different, cuteness. #0060, another headshot, is a beautiful image (cute, as well). And #0057 and 0058 show the model experimenting with her expression in a particularly cute way.

There is heat, there is eroticism, there is seduction in these images — no matter how kittenish Landysh may appear, no matter how girlish and playful, she is a proud and uninhibited little vixen. In shots candid or posed, clothed or totally nude, Landysh A. is a pixieish piece of pure cuteness.

This MetArt movie is Janette A.’s second contribution to the site. When I critiqued her first appearance I was impressed. If this movie was merely a continuation of her debut series, I’m sure I would be quite satisfied. Although it seems to have been shot at the same time, and contains some footage of her still shoot, there is a whole lot more to like in “Touluk,”

As it opens, Janette is drawing a bath. There is just a hint of uncertainty in her movements as she disrobes, but I find this endearing. And watching a girl as attractive as this one as she undresses can only be a pleasurable experience.

We next find Janette, totally nude, on a bed strewn with rose pedals – the scene of her first series. She looks every bit as delicious as she did in the still shots, and the added motion is a distinct bonus. She is also seen elsewhere in the room, posing on the furniture. She tosses the pedals into the bath and then joins them for a soapy interlude.

As the film moves from scene to scene director Luca Helios (or is that “A. Fresno”?) makes sure to include a nice mix of detailed close-ups and full-length compositions.

Janette ends up in the shower, and it’s hard to tell if it is the water or her beautiful body that is steaming up the glass enclosure. A wave, a blown kiss, and a playful smile end this varied and enjoyable offering on a particularly satisfying note.

If I could employ but one word to describe this series it might be “uneven.” Single word reviews might be easy to write (harder than you might imagine, actually) but I doubt they’d please you, dear reader, or my superiors at MetArt, so I will elaborate.

There is a hit-or-miss, up and down quality to this set. Two shots provide an example of what I describe. In #0079 we find Lachia A. posed on a chair, on her knees, hands on the chair’s arms. Light strikes her nude body from above and to the side creating pleasing shadows and emphasizing the inviting curves of her body and planes of her face. In #0077 the model is similarly posed, but the light is dimmer, diffused almost to the point of underexposure. And so it is throughout the pictorial. Perhaps the set would benefit from some more rigorous editing.

The unpredictable nature of the collection results in a certain amount of frustration. When it is good it is really quite good. Lachia is a versatile, adventurous model who exhibits a wide range of moods and who seems to enjoy experimenting with subtle adjustments of her expression and pose. And when photographer Balius gets the light just right his artistry is obvious. When model and lensman are in synch — as they are in #0041 and 0042, among others — I have nothing but praise. But then I open an image like #0118 with its odd pose and odder lighting and I can only scratch my head. Up and down, an odd mixture. But it certainly has its moments.

In this steamy offering from Tony Murano his subject, Rachel B., smiles a lot. I might even, under different circumstances, be tempted to say that she smiles too much. But then I revisit favorite images in the collection and I realize that Rachel B. has a lot to smile about!

Rachel’s smile has a contagious quality. It is hard to look at her smiling face and those feline eyes and not feel a certain uplift in one’s spirit. This lovely lady radiates a warmth that is nothing if not inviting. But it’s her body that generates and radiates the real heat and humidity here.

Watching her peel off her clinging pink dress is a delight, and the gradual revelation is well paced. A body like Rachel’s deserves to be savored, piece by delectable piece – this isn’t an experience any sane man would want to rush through. Her breasts, stunning in and of themselves, are worthy of extended study, and Murano provides ample opportunities and angles.

When complete nudity is achieved neither model or photographer is at all timid. Rachel freely exposes all, and Tony moves in extremely close for all the libido-pleasing detail one could ask for. Yes, Rachel B. smiles a lot. Have a look at “Interest” and you will, too!

This debut set — the first MetArt appearance for Patrizia A. — falls into two distinct segments. It opens in the dressing room. Fully clothed, the model relaxes with a cup of coffee, peruses a magazine, and tends to her hair and make-up. Of these initial images my favorite might be #0010. Shot in profile, with a hank of her long hair combed down in front of her face, we get a sense that this is a dedicated model who takes her job seriously, and we also get a hint of the beauty of the body she will soon be revealing to us.

The bulk of the set is a stylized, formal studio shooting that stands in stark contrast to the casual quality of the opening shots. Wearing white stockings and a lacy white garter belt, Patrizia A. stands on a light blue seamless backdrop, her sole prop a clear umbrella.

Of the umbrella shots, #0047 is an excellent example. It provides a flattering, full length view of the model’s slim and shapely body, and the stylized nature of Dolce‘s concept and composition is fully realized. I must also mention #0069. This is a simple headshot, it almost has a passport photo quality, but the beauty and clarity of Patrizia’s pale blue eyes is anything but simple.

The last time I had the pleasure of feasting my eyes on the glory that is Anna A.J. I somehow managed to include a tiny bit of criticism. In the video I was reviewing I felt that Anna was a bit limited in her expressions. I won’t flatter myself to imagine that the model reads this humble blog, but in her latest contribution, Anna delivers a stunningly varied and entirely beguiling range of entrancing emotions.

It’s not difficult to understand why Anna is a perennial MetArt Top Model and member favorite. She is beautiful — breathtakingly so. She is elegant. She is superbly proportioned and seemingly without a single discernable flaw. She is so entrancingly appealing that even when she is fully clothed she exudes an unmistakable erotic allure. In fact she is fully clothed in the first two dozen or so images in “Axuntia,” and several of the fully clothed shots (#0022, 0039 and 0102, to cite a tempting trio of headshots) easily make it to my favorites list.

Clad in a blue plaid mini-dress and sky-high wedge sandals, Anna is a tower of mouthwatering temptation in Leonardo‘s “Axuntia.” And she hits all her marks in the high fashion style her looks so ideally suit her for. But she goes well beyond that. She is flirty, playful, giddy, gleeful, even jocular as the set unfolds. She projects soft, subtle sensuality. But she also “cuts loose,” experiments, and displays an invitingly silly side. No matter what mood or feeling she displays she is never less than exquisite — physically and emotionally. A Top Series from a Top Model.

Alysha A. makes her MetArt debut in a movie, rather than a pictorial, and it’s an extremely pleasing first-time effort. She appears in a glittering dress and high heels. After a bit of tantalizing strutting and preening, off comes the dress with a playful kick. A bathtub in the background beckons, and the svelte blonde makes the most of it.

Alysha wears her long, blonde hair in two impressive braids that frame her pretty face and accentuate her lissome physique. Her proportions are delicate and her features refined – this is a model who should have no trouble building a large and enthusiastic fan following.

My sole complaint here, and it is indeed minor, is that the soundtrack to this satisfying bit of cinematic artistry doesn’t quite fit the content. It’s a pleasing composition for solo piano, but I find it somewhat dour and serious, and the highlights of this high quality offering from the mind and lens of Rylsky are light and humorous. There is a bit of conflict between the visual and aural. My solution? Turn down the sound – problem solved!

With that trivial pursuit put to bed, I must mention something I find particularly entertaining in this production – and endearing in this model. Alysha performs admirably throughout. She takes her job seriously and I expect she’s following Rylsky’s direction to the letter. There are moments, however, when things don’t go as planned. At around the 2:52 mark, while playing with a red rose, one of the petals sticks to her lip. Alysha smiles at the “error” and looks right at the camera. In this “imperfect” moment, I find perfection. If your reaction at all matches mine, I think we can flatly state that we’re eager to see more of Alysha A., in movies, in stills, in whatever form we can get her!

The first time I evaluated a set featuring this model I was doubly impressed. Not only was it Sophia E.’s first appearance at MetArt, it was also the photographer’s first contribution to the site. Although this set differs greatly from the initial offering, I’m pleased to say that my initial impressions have been confirmed and amplified by this pictorial.

Koenart shot Sophia’s debut on a beach at sunset. The setting and her presentation was entirely natural. In “Vimasia” we move indoors, into the controlled environment of a bedroom. No longer the wind-blown girl next door, now Sophia has a much more polished appearance and much talented effort has been expended on her makeup and styling. She is still a naturally beautiful girl, of course, and even though the “flavor” here is distinctly different, she remains a visual delight.

Relaxed and completely at ease in front of the camera, Sophia E. can’t help but project an enticing warmth. Whether she’s striking a stylized pose or erupting in laughter – as she does in #0097 – she engages the eye and the imagination. Another spontaneous burst of personality occurs in #0038 when she shoots a big smile to somebody off-camera.

Perhaps my favorite shots in this pictorial, three of them, form a sequence – #0086, 0087, and 0088. In the first Sophia is shown (very nearly) full length, her expression is intriguing as she regards the lens. In the second shot her face is more tightly framed, her expression now slyly inviting. And in the third image, a mix of the first two, her blue eyed beauty and relaxed poise are in full effect.