Monthly Archives: August 2011

I’m familiar with — and extremely fond of — Alina F. So it was with no small amount of anticipation that I approached “Secreto.” My reaction to the first image in the series was qualified – I wondered why this young, playful angel was all dolled up in a quite elaborate, and somewhat old fashioned lingerie set. After viewing additional images it all began to make perfect, indeed wonderful, sense.

The setting is a fancy, extremely plush bedroom, complete with elaborate draperies, gilt wall paper, and luxurious bedding. Could this be the honeymoon suite in a grand hotel? And could Alina F.’s lacy finery be a special treat for her newly wedded husband? It could, but I certainly hope not! There’s a hint of playing “dress up” here, and I’d much prefer to imagine that this playful minx is merely putting on a bit of a show for her lucky lover.

There is something magical about this girl. There’s a pixieish glint in her eyes that’s often accompanied by a delicate smile on her lips – and those cheeks! As I’ve said before, Alina F. is the very definition of “cute.”

She’s also thoughtful, tempting, expressive, alluring, inviting, giddy, adventurous, teasingly sexual, and entirely natural. And Antonio Clemens lets her stretch out — sometimes quite literally — in this MetArt gallery that includes an extremely generous 170 photos and an abundance of widely varied poses and compositions. With not a single false move in the set, I have far too many favorites to list. Pick a number, any number, between 001 and 170 and prepare for an extremely enjoyable view of this entirely adorable beauty.

A hillside crowded with boulders at the shores of a still body of water provides a particularly promising setting for this MetArt gallery from Luca Helios.

With her strong facial features and long-limbed body, and wearing nothing but a leather belt and a necklace, Chiara A. is a striking addition to this desolate landscape.

Although I have a list of preferred images from this set, one of my favorites is #010, a casual shot in which the model smiles warmly and is captured in the act of brushing her hair out of her face with her left hand. That smile really stands out. And it also signals one of this pictorial’s two weaknesses.

For most of “Corali” Chiara is wearing her serious “model face.” This can result in pleasing images, without doubt, but after a while it seems somewhat contrived and out of synch with the natural surroundings. My feeling is that she is trying the slightest bit too hard. But in a shot like #075, with a natural, relaxed facial expression, she is as beautiful as can be.

The limited emotional range is accompanied by a somewhat limited range of poses, and exposures – and by that I mean physical revelations. While there are several “full frontal” views, the model (or the photographer) has chosen to keep her tender bits out of view. I know that MetArt members have their own tastes and preferences regarding more explicit images, but I would prefer to have them and not need them, rather than need them and not have them.

If you are interested in a far more explicit look at Chiara A., as I was when I reached the end of “Corali,” you’ll find it in another Helios series entitled “Sleepless.”

When I critique a MetArt photo gallery, I generally read the model’s bio after I’ve had an opportunity examine all the images. When I read Nata F.’s bio I had to chuckle. What inspired my laughter was this quote: ” I am definitely a very sociable and kind girl.” I don’t doubt that this is a statement of unquestionable fact. But I believe Nata omitted one obvious and overwhelming adjective: “seductive.”

Nata F. has a warmth and sweetness that is readily obvious in this series, but it’s her steamy, seductive bearing and expression that readily and completely captures my attention. I can only imagine the effect she has on the men she comes in contact with during a typical day. There’s nothing insincere or forced about it – when Nata treats Leonardo‘s lens to a seductive facial expression — which she does nearly constantly throughout the series — it has an undeniable and irresistible effect on the viewer.

Wearing one of the sexiest and most flattering black lace camisoles ever made, the model is seated on a white, padded platform of some indecipherable sort. Behind her is a curtain of cream fringe, behind that clothing hangs on a chromium rack — a stylized dressing room. While I sometimes grow impatient with models who remained dressed, however scantily, for too long, here I savor every moment. Nata’s style — the voluptuous curves of her body, her long, auburn hair, and that seductive face — conveys pure, sultry eroticism whether she’s clothed or exposed. I certainly would have enjoyed a selection of more intimate close-ups, but this is a young woman who could radiate magnetic sexual charm wearing an overcoat. Thankfully, she isn’t wearing one here, and I don’t see one hanging in her improvised “Armario,” either.

Like the last Tony Murano production I evaluated (“Noche” starring Niki Mey), this is an evocative, after hours series. Candles flicker, but more as set dressing than as a light source — the most incandescent element in these photos is, without question, the model.

I make no apology for my affection for Sharon D. She is a versatile talent, the personality she projects is warm and approachable (a possibility that is extremely appealing), and her body is exceptional.

The introductory images in this MetArt gallery win me over yet again. In the very first shot, Sharon holds a raised finger to her lips as if to say: “Hush, what you’re about to see is just between you and me.” Combined with the nighttime lighting this does much to create a sense of intimacy. The two shots that immediately follow are headshots – one thoughtful, one cheerful – and I’m eager to discover where “Axensus” takes me.

There’s a definite pace to the set. Even though Mr. Murano has a reputation for explicit images (and this set does not disappoint in that regard), Sharon’s teddy and matching panties are slow to come off. Such is the model’s talent that she can appear fully clothed and still radiate sultry eroticism, as she does while “riding” the arm of the sofa in #021.

The lighting in this series is particularly flattering to Sharon’s eyes, they possess an enhanced sense of clarity and depth. In #030 those eyes lend real weight to her expression. Additional favorite images include, but are by no means limited to: #083 (a seated profile, just beautiful), #090 (a stylish figure study), #095 (spread and smiling, wide), #101 (a wonderfully explicit and enticing “without-headshot”), and #108 (a delicious pin-up).

A bed is a fine place to discover a beautiful, young, completely nude girl. And that’s where we find Dido A. in the MetArt movie titled “Platina.” And, while there is certainly plenty of movement — of both camera and subject — Dido never leaves the comfort of the mattress for the duration of the production.

The bed is in front of a window, and the strong backlight creates an interesting effect — I can only imagine that it also made the shoot just a little bit more difficult for still photographer Luca Helios and his uncredited videographer. The crisp white sheet and several large orange pillows prove a particularly flattering combination and Dido’s tanned body has a luscious and inviting glow throughout.

Those hoping for a gripping narrative or involving theme will feel slighted here — this is a simple recording of a still shoot, put to music, without a second of live sound. The lens hood and strap of Luca’s camera appears at the edge of the frame intermittently, and the flash of his strobe provides a certain visual punctuation. Some effort to spice things up was made in post production, but this is limited to a variety of optical fades and digital transitions.

Dido A. is focused and self-assured in her performance. She moves from pose to pose with ease, and offers every inch of her scrumptious body to the two lenses that she’s working with. Fans of Dido A., myself included, will find “Platina” an enjoyable diversion, others may want to make an alternate selection from the MetArt HD movie library.

An imposing wrought iron portal provides this MetArt gallery with both its title and location. Outside the gates we see what appears to be a lightly traveled country road and a lush green landscape. The gate itself is framed with climbing vines. In the shaded area inside the gates we find Chantelle A. And it is not at all difficult to find her — the pink and white bikini she is wearing stands in strong contrast to the setting, and the model’s long-haired, long-limbed beauty attracts the eye with a powerful magnetism.

The costume – which is completed with a bulky necklace, a pair of black stilettos, and a sheer pink shawl with odd, worm-like embellishments – doesn’t seem completely (or even partially) in place here. Has Chantelle A. wandered onto the grounds of a country estate in search of a pool party? But, while the logic of the series may be elusive, the photos themselves are readily accessible.

I am glad when Chantelle dispenses with the scarf, it adds little to the set, and functions best as a bit of ground cover for the model to spread out on later in the series. Indeed, images numbered 104 and 105, in which Chantelle reclines on the scarf, are two of this gallery’s finest images.

I have one slight quibble with “Gates.” Luca Helios uses the rigid vertical and horizontal bars of the gate as a visual element in many shots, and they contrast nicely with the model’s lithe curves (see #036 or #052). But he also tilts the camera in many shots. I love Chantelle’s genuine smile and stance in #035, but the tilted composition doesn’t make aesthetic sense to me. I do quite like #061, however, and here the tilt seems to work well to balance out the model’s striking, backward arch.

Technical points aside, when Chantelle A. drops her professional pout in favor of a sincere smile – as she does in #026 or #050 – I cannot find fault with this gorgeous keeper of the “Gates.”

A hint of muted moonlight, a heavily shaded lamp, and a pair of flickering candles augment Tony Murano’s subtle lighting in the moody, after hours offering titled “Noche.”

Blonde Niki Mey, wearing heels and black lingerie, is seated on an ornate fainting couch. The visual elements – stylistic, technical, inanimate, and human – combine in a pleasing and promising way.

The model is captured in a range of poses, clothed and nude, sitting, standing, and lounging in several distinct positions. And, because this is a Tony Murano series, there is no shortage of explicit, intimate close-ups.

While those anatomical revelations are indeed pleasing, one of my favorite images from the set is a rather demure composition, #046, in which Niki touches her right nipple and looks at the camera. The shot is framed in such a way that the background is mainly the gold brocade upholstery of the couch, and the diffused lighting gives the shot a soft, warm glow and a painterly sensuality.

Another aspect that makes that shot so pleasing is eye-contact. And that brings me to what I consider this MetArt gallery’s greatest liability. In many shots, perhaps even a majority of them, Niki’s eyes are closed. Sometimes I find this evocative – is she lost in a romantic reverie? But most of the time the closed eyes don’t really make much sense, they’re inconsistent with the poses and the setting.

I don’t expect to maintain constant eye-contact with a model in this set or any other, I just find those closed eyes (often accompanied by a tilt of the head to the model’s right) somewhat overdone. I much prefer a shot like #070. When Niki Mey opens her eyes (and her thighs) this “Noche” is at its most memorable.

It didn’t take me much time at all to fall in love with this model and this MetArt erotic photo series. Indeed, by the time I’d reached image #006 I was well and truly hooked. That photograph — a headshot in which Emilia A. looks directly at the camera — is a gem. That hair, those luscious lips, those eyes — that face! All that feminine beauty, front and center, against a rich, red background, it’s really quite striking. And my initial affection for the set only grew as I continued to examine it.

Dolce‘s series has a simple, logical progression. The barefoot beauty appears at first wearing a white top and a pair of white panties. The set decoration is simple and uncluttered but strong colors, bold lines, and a bit of foliage create a pleasing but unobtrusive setting. It does take Emilia quite some time to disrobe, but her great beauty and subtly engaging personality make the process extremely enjoyable.

From the tips of her toes to the ever-erect nipples of her pert breasts, Emilia A.’s body is a delight. Although we’re never provided with absolutely explicit anatomical views, Dolce does move in for some revealing extreme close-ups. Stepping back, and with Emilia standing up, her shape is stunningly captured in #129 and the exceptionally fine #131.

Emilia has beautiful long hair, and Dolce devotes several images only to those flowing locks. But when the model turns to face the camera my very favorite images in the collection are created. A head that beautiful deserves beautiful headshots, and there are many here to be enjoyed. Here’s a selection of my favorites: #038 (with a single nipple to sweeten the deal); #058; and #061 and #062- profile shots of an exceptionally refined profile.

Some MetArt models are chameleons. Put them into a scene or situation and they can instantly mold their expression to match the setting. Others are open books. They don’t attempt to hide their feelings, no matter where they are or what is going on around them, and their expressions are entirely spontaneous and sincere. And there are those models who, by temperament or calculation, choose to restrain their emotions and withhold those facial and physical signals that inform us as to their thoughts and feelings.

Kalina B. belongs very much in this last group. She projects an extremely narrow range of emotions in “Beviz,” and it is nearly impossible to guess what she is thinking or feeling. Yes, she does deviate from her “poker face” several times. She treats us to a smile in perhaps half a dozen images — she even appears to be laughing in #091. But, overall, this young woman is very, very difficult to “read.”

This is not a bad thing – far from it. The more I tried to decipher and determine her mood or emotion, the more complex and intriguing I found her to be. In #069, a headshot framed from just below her breasts, I can’t tell if she’s pensive, angry, impatient, frustrated, thoughtful, or simply relaxed. She could be any of those things. What is so intriguing is how she “plays hard to get” with her feelings.

When I turn my attention from the model’s interior life to Paromov‘s photos of her, I find much to like. #021, with its soft, pastel tones and lighting, has the feeling and composition of a painting. #070, hugging a pillow and raising her ass, has a subtle erotic glamour, and #074 continues in that vein with the addition of a pleasing, dreamlike quality.

I know what I’m thinking while I study Kalina B.’s beautiful body — I only wish she’d give a few more clues as to what’s going on in that pretty head.

When I review a MetArt gallery or erotic movie I take deliberate care to avoid seeing the model’s numerical rating or reading the reader-submitted tags. But in the case of “Mythos,” I made an exception. I have, after all, reviewed a Lorena B. movie before, and I’ve also evaluated one of her still galleries. I wasn’t at all surprised by what I found. Users are effusive and prolific in their praise. The word “beautiful” is used eight times, for example, and a wide selection of additional superlatives reveals the depth and intensity of the devotion of Lorena’s adoring fans.

Lorena B.’s status as a MetArt Top Model is a testament to her great beauty, but her physical appearance is only one part of what’s made her so popular – this woman has an absolutely magnetic and mesmerizing personality.

Lorena’s combination of physical beauty and personal charm is so potent that simply watching her be herself is immensely entertaining. And that’s a fair description of this production from Luca Helios. There’s no story, just Lorena B. in and around a backyard swimming pool. Underwater shots of the totally nude siren are visual poetry. These are inter-cut, seemingly at random, with footage of the model wearing a red dress, as she walks around the pool and pets a pair of tail-wagging dogs. When the dress comes off Lorena jumps in the pool, swims around, plays with an inflatable raft, and generally appears to enjoy herself. There’s not any story in “Mythos,” and at times it has the feel of a casual home movie, but that doesn’t matter – indeed, that’s part of what makes it so enjoyable.

Lorena B. is so beautiful, and so warm and engaging, that I would be happy to watch her cooking a meal, shopping, or doing the laundry. And I image that reflects the feelings of her countless fans and admirers.