Monthly Archives: June 2011

This MetArt movie is a perfect example of just how good a behind-the-scenes video can be. Like a master chef, director Luca Helios starts with the finest ingredients. The location is elegantly furnished and beautifully lit. And his subject, perennial Top Model Lorena B., is as charming as she is beautiful — and she is very beautiful. While Helios mans the still camera, an unseen videographer is making his own kind of art with thoughtfully chosen angles, graceful, unobtrusive movement, and judicious use of zooms and close-ups.

The perfect complement to all this high visual style is the soundtrack. Or should I say, the absence of a soundtrack. There is no music in “Properly,” just the live sounds of the photo session in progress. We hear the clicks of the camera’s shutter, the splashing of water, the photographer’s spoken instructions, Lorena’s responses, and her sparkling laugh. “Properly” puts you on the set with two of MetArt‘s most gifted contributors, and watching them work is a rare and engaging pleasure.

While it’s interesting to hear the photographer instructing his subject, it’s no less fascinating watching Lorena make her own choices. She has the instincts of a truly skilled professional and has a genuine knack for subtly adjusting her poses in almost telepathic anticipation of her photographer’s cues. Whether she’s dressed to thrill in a sheer, skin-tight, lace mini-dress, or stripped nude and submerged in the crystal clear water of the spa, Lorena is a masterpiece in motion — and “Properly” is a masterwork in its own right.

My practice is to view a set in numerical order – I start at the beginning, and look at each image in sequence. For reasons that may never be known, the contents of the “Attimi” folder were, it appears, not numbered in sequence. The model is totally nude, but for a pair of stiletto sandals, when the series opens, and appears fully dressed several dozen shots later. A simple error, but it did have an effect on my reaction to the pictorial.

If I rearrange the series, going from fully clothed to totally nude, I think it is much more effective. I have a chance to see Sandy Summers for the first time, as she’d appear on the street – or, in this case, perhaps at a party – and she has the opportunity to demonstrate her stripping and teasing abilities.

Because I had been “cheated” of the opportunity to be introduced to Sandy in “proper” fashion, my initial reaction to this set was somewhat muted. Even after compensating for the error, which was certainly not her fault, I think I can honestly say that her range is somewhat limited. This is exacerbated by the somewhat static nature of Jason Self‘s framing and composition. There is a certain blandness to a shot like #019, for example. Compare that to #021. The poses are similar, but a simple deviation in the oft repeated pose (moving her hands), and getting a little light to bring out the shape of her face results in a much more pleasing shot. In fact, one of the better images here, #043, is technically “flawed” by the presence of a lens flare, but the technical glitch does add a bit of spice.

Brigitte C. makes her MetArt debut in this informal offering from Majoly. The setting — a backyard pool — is somewhat cluttered and the primary piece of furniture is upholstered in a vivid shade of green that may be a bit too loud. The off-hand, casual nature of the series suggests that it’s something of a test sitting, a chance for a new model and photographer to get comfortable with one another.

Brigitte C. has a pleasing shape, delicate breasts, and a ripe and round rump. Her long, dark hair and big, brown eyes may be her finest assets, though, particularly when she treats the camera to a big, energetic, and genuine smile. She’s pretty when she’s pouting, or thoughtful, or seductive, but when she smiles the photos really come alive. See for yourself in #0023 and #0046.

The bulk of the set takes place on the chartreuse chair mentioned earlier, and there is a certain sameness as the series unfolds. When Majoly asks for major changes in position or alters his framing dramatically the monotony is broken. There is a sequence at the very end of the set, for example, when Brigitte C. stands up, the chair is minimized, and the sky becomes the backdrop with a very nice result. If I had to pick a single favorite image, however, it would be #0067, a somewhat formal composition that captures Brigitte’s gifts artfully.

Consisting of 83 images in total, this set from Goncharov is limited in size, and it is also somewhat limited in scope. The setting – a niche set into a wall just large enough for a model to sit in, and a mirror placed on the floor in front of it – is tightly framed, as well. There are no sweeping panoramas here.

This treatment puts first-time MetArt model, Karen A., front and center. Youthful and modestly proportioned, Karen has an understated, natural, and approachable style. Her charm is very much in the girl-next-door category. When – given the limiting constraints of the set on which she’s posing – she steps out of her sweet persona and reaches for something a bit more artistic the result is my single favorite image in the series, #0036. Reclining on the mirror, knees up, elbows out, her gaze averted from the lens, photographer and model arrive at a composition that is erotic and artistic in equal measure.

In an attempt to inject some pizzazz into his series Goncharov gifts his subject with a saxophone. As props go, this one fails to move me. I don’t see this petite femme making music, and certainly not with that tarnished apparatus. This may be a personal problem, however, and perhaps the sax will appeal to jazz aficionados. Having said all that, let me add that in #0078, posing with the horn, Karen A., minus her usual smile, delivers one of the stronger images in the collection.

Are you in the mood for a bit of fun? Could your spirit do with some elevation? Is your life filled with too much stress and too little joy? If your answer is “yes” to any or all of those questions I have the perfect cure for your condition, and no prescription is required. It’s a delightful little something called “Mauritius,” and the primary active ingredient is Dido A.

In purely physical terms, Dido A. is a natural wonder. Her nubile physique is flawless, her individual attributes are all exceptional, and her proportions are endlessly eye-pleasing. But to view Dido in purely physical terms is not only unfair, it’s very nearly impossible! This model has a joyful spirit that is impossible to resist. Her smile can’t help but put a smile on the viewer’s face. And that smile — so warm, so playful, so genuine, and so infectious — rarely leaves her lips. That smile infuses this series with a truly delightful energy.

Luca Helios has chosen a particularly photogenic seaside location to showcase this photogenic blonde nymph. The sky, the water, the rocks, a passing sailboat, it all makes a splendid backdrop. Surrounded by such natural beauty, Dido takes obvious pleasure in sharing herself with the lens, the photographer, and the audience. I will name just two highlights out of many: #0025 — a full frontal view that perfectly captures the perfection of Dido’s body; and #0083 for her smile, the splashing surf, the pose, and all those caressable curves!

The MetArt movies I’ve seen thus far seem to fall into two basic categories. They are either self-contained films, envisioned and executed on video. Or they are recordings of still photo shoots, over-the-photographer’s-shoulder or behind the scenes views of the making of a pictorial series. “Cotone” belongs to the second group.

The photo set of the same name first appeared in 2008. Just over three years later we have a chance to visit the scene of the shooting. Shot in a bathroom, space is tight. Between the model, Tim Fox manning his still camera, the unseen videographer, lights, reflectors, and the make-up artist, the location is cramped. The movie does a good job of placing the viewer in the room and provides an intimate view of what it takes to create a pictorial.

The spontaneous and unrehearsed interaction of a model and a photographer is one of the things I most enjoy in this type of production, and Cindy B. laughs and jokes with the crew as she moves from position to position – she even smiles and waves to the videographer a couple of times. There is no live sound, however.

Tiny-top Cindy B. is a spirited and uninhibited model, and while the video does contain explicit moments, the production leans towards the documentary end of the spectrum rather than the erotic. But that’s one of the strengths of these behind the scenes movies: after watching it one can open up the still series and satisfy your hunger for detail.

Based simply on a list of the participants, this series has all the makings of a winner. But even being well acquainted with the principals – Liza B., Sharon E., and Leonardo – didn’t quite prepare me for the entertaining and erotic excellence that is “Athenias.”

The models are similar enough in structure to complement each other, and just different enough in coloring to provide the idea amount of contrast. Shot between two towering columns of a portico, the natural light is skillfully augmented and the architecture of those two elegant bodies is thrown into bold, beautiful relief.

As the set opens both women are holding glasses of wine, and I can only imagine that a sip or two may have served to enhance the afternoon’s efforts. There is certainly an energy between Liza and Sharon, and it is a rare treat to watch them work together.

Many of the poses are stylized and “posey,” but there are numerous flashes of spontaneity — the smirk on Liza’s face in #0079, and Sharon’s smile as Liza gropes her in #0144. And there are moments of smoldering sensuality and passion, as well. The sequence beginning at #0124 through #0133 includes some vigorous and graphic French kissing, for example. You’ll find another memorable kiss in #0155 — and a whole lot more!

There is a curious thread running through this series. It isn’t unpleasant, in fact it can be rather amusing. There are times when I sense that model and photographer may be sharing a private joke. I find it entertaining and enjoyable, but it isn’t something one often finds in the MetArt archives.

Julia AB is eye-catching, not least for her extremely long, flowing hair. And she’s got a trim, nubile body that is a pleasure to view. But what stands out most in “Corsean” is her lighthearted, playful spirit. And this is more than a smile or a twinkle in her eyes. There are, indeed, images in this set where she is somewhere beyond playful, and getting pretty close to silly. I have appended the note “odd expression” to several shots – #0002, 0003, 0041, 0056, and 0060. Have a look for yourself and see if they don’t put a smile on your face. And for #0038 I’ve written: “She must really like that pillow!” Yes, it’s silly, but I like it – the photo, I mean.

This is only the second set by Elena Ray that I’ve viewed. The first set was polished and formal — in this series she employs a casual, informal style. This doesn’t appear to be a carefully designed, styled, or executed pictorial. We have a chair, an elaborate floral wall hanging, a couple of items of wardrobe, a curtain (which easily converts to a floor covering), and that loveable pillow. I can almost hear the photographer asking the model, excitedly and gleefully: “Hey, Julia, wouldn’t it be fun to shoot some naked pictures?!?”

While the humor and playfulness of “Corsean” is plentiful, so is beauty and sex appeal. Even clothed and in an unusual stance, as she is in #0024, Julia’s beautiful face and body come across loud and clear. And her sultry expression and suggestive pose in #0075 are nothing if not inviting.

Under the guidance of a competent photographer, a new model’s “newness” is often enough to excite and maintain the viewer’s interest. Although we may have our own favorite models, we are always looking to add to that list, and if a girl has talent and appeal, she can be presented in the most simple manner and manage to satisfy.

But frequent contributor Tony Murano is no mere “competent” photographer. And while he certainly had the option of presenting new model Coco A. in a simple and straight-forward series, he has chosen a particularly stylish and elaborate approach for this pictorial. And it is a spectacular success, on all counts.

The room is dark. Moonlight throws a eerie blue glow through sheer curtains. A lamp casts a mellow glow in a corner, while a row of candles on a shelf flicker and dance on the breeze. Coco, skin glowing, full breasts exposed, sits on the edge of an antique fainting couch. This introductory image drips with dramatic atmosphere, with romance, and no small amount of mystery.

In this theatrical setting Coco A. proceeds to deliver a stunning performance. She disrobes slowly, deliberately. She is expressive, but in a subtle, restrained way — the setting is theatrical, there is no need for her to resort to overblown dramatics. This is an accomplished and impressive debut.

Favorites? More than a few! #0003 (candlelight and angel face); #0015 (full lips and ripe breasts); #0088 (classical, painterly, beauty); and #0119, #0122, #0133, and #0138 (eye-popping, explicit, erotic impact).

I can’t quite decide what the title of this set means. No matter how much I concentrate, no matter how I strain my ears, I hear nothing more than the pounding of my pulse and my increasingly heavy breathing. My eyes, however, are wide with pleasure and delight as I take a leisurely look at “Listen.”

The model is particularly impressive. Kari A. is a genuine beauty. She’s so beautiful, in fact, that one wouldn’t mind if she was cold and distant in a way that some beautiful women are. But Kari radiates a natural, down-to-earth warmth that makes her even more appealing. From the subtle dimple on her chin, to her trim waist and the womanly flare of her hips, to her eyes, and on to her intimate bits, Kari is a study in feminine fineness.

Koenart‘s treatment takes full advantage of his subject’s attributes and attitude. He has her on an inviting bed, in flattering lingerie. In several shots a stray ray of sunlight strikes her in a visually pleasing and evocative manner – is it morning, or perhaps a lazy afternoon well suited to romance and passion? The photographer has and eye for pleasing composition, and he also has an effective sense of pace. The bra and panties come off slowly, and anticipation builds very effectively.

Extreme close-ups are featured, and quite impressive (#0062, for example). But some of the most enticing images are far less explicit, including headshots where her most intimate areas are concealed – #0099, #0100, #0102, and #0105. Let me also quickly mention #0004 (for the sunlight), #0024 (thighs and chin), and #0044 (ass). In case I haven’t made myself clear, I loved looking at “Listen.”