Monthly Archives: September 2011

The raw and wild beauty of the natural world provides this series with a dynamic, changeable, and unpredictable backdrop. Vigorous gusts of wind whip through the trees and bend tall reeds until they’re at a pronounced diagonal angle. Unseen clouds scuttle across the sky. The scene is overcast and the light muted at one moment, then a ray of sunshine bursts through and the scenery is bathed in warmth. This might be a challenging situation for even the most experienced photographer. And it is most certainly a challenging situation for a model posing for her very first MetArt gallery.

I’m pleased to reveal, however, that both photographer Goncharov and his subject have risen to their respective challenges. But the beauty and splendor of nature isn’t confined to the location here. Merinda A. is blessed with some unusually eye-catching attributes of her own. One is the long, flowing, wind-whipped glory of her hair. I’m certain that some effort was expended before the shoot to brush and style that luxurious coif, but when the wind starts to blow Mother Nature is the stylist — this results in some beautiful and spontaneous images, of which #016 is just one. In that shot Merinda A. is fully clothed. When she’s totally nude the wind works considerable magic — I direct you to #074, one of the finest images in the gallery.

Merinda A. boasts a second natural attribute that is sure to draw plenty of attention. I won’t describe it explicitly, but I urge interested explorers to begin their search below the navel. Once you’re in the region it won’t be at all difficult to spot!

The series includes a blend of clothed, semi-clothed, and fully nude shots. They are mixed in at random, something that has distracted me in the past, but for whatever reason it works quite well here. The location changes somewhat — we appear to have moved to somewhat higher ground — at the end of the set. Here the sun is shining and the sky is a cloudless blue. The wind still blows, however, and in #103 Merinda’s hair is flying and her body is stunningly showcased.

There are times when it makes me laugh, other times when I scratch my head in confusion, and others when I do a bit of musing, and reach a higher level of understanding. However, no matter how many of them I’m exposed to, the internal logic of MetArt’s set-naming convention continues to elude me. What this MetArt movie has to do with a “Gazelle” is completely beyond my comprehension, but I will leap over this impediment, as swiftly and gracefully as possible, and get to the business of reviewing this recently released production.

As it opens, we find blonde and beautiful Miela A. seated on pillows next to a window. She is writing a letter, it seems, and as she puts pen to paper we get a glimpse of her white panties under the short hem of her dress. This subtle but effective bit of tease sets the tone for the entire movie, and whets the viewer’s appetite for more.

Of course, a tease without some form of follow-through is one of life’s frustrations. But we need not worry about that, because “Gazelle” steadily offers up more and more of these tempting visuals.

With his restrained camerawork and adroit editing, Koenart maintains a pleasant pace with a satisfying amount of variety. Miela goes from clothed to topless in an eye-opening instant at the 1:20 mark, and her curvy, voluptuous body is a sight to behold. The fact that she then picks up her pen and continues writing goes further in establishing that this is not a homework assignment or a shopping list, but an emotional and amorous letter to a lover. A minute later, inspired by the words she’s just written, Miela removes her panties. And her thoughts of her unseen correspondent move her to continue writing, with pauses to pose, reflect, to tease the camera, and to tempt those in neighboring buildings by pacing back and forth, totally nude, in the large picture window.

This is a subtle yet entirely engaging visual experience. Miela transitions gracefully from thoughts of her lover to direct interaction with the camera. Close-ups and detail shots are seamlessly mixed into the leisurely pace. And highlights – like when she brushes her lips with a hank of her blonde hair at the 5:43 mark – pop up at exactly the right moments to keep the heat at a satisfying simmer. Now, if only someone could explain why it’s called “Gazelle.”

If regular readers have sensed that I’ve been griping a little more than usual lately — you’re not alone, I’ve noticed it, too — I’ll do you a favor and wait until the very end of this entry to voice my sole complaint about this MetArt erotic photo gallery.

A girl — Domenica A. — sprawls on the crisp white sheets of a bed in what appears to be a hotel room. She is wearing a matching camisole and panties set, her eyes aimed at the ceiling. That’s the introductory image here, and it’s a bit of a puzzler. But she quickly directs her attention at the camera and the results are quite pleasant.

Domenica has a build that straddles the divide between girlish and womanly. Her breasts are petite, her nipples puffy, but there is a pleasing fullness to her hips and a generally plush look to her body that is quite inviting. And, in the many included explicit images, she absolutely glows with active, vital — and perhaps recent? — sexual energy.

The artist guiding Domenica through her MetArt debut does so with considerable skill. Domenic Mayer fully documents all of his subject’s varied physical attributes. And, in the process, he captures her engaging, friendly nature as well as flirtatious and sensual aspects of her personality. Some of my favorite shots in the series are beautifully composed and posed figure studies. #038 begins in mid-thigh and ends towards the top of Domenica’s torso, and the contours of her body are beautifully revealed. #080, an unusual pose, is almost a geometric abstraction. And #094 combines equal measures of artistry and old fashioned pin-up style.

As promised, I will now air my personal grievance: For a model who has been so nicely styled and strategically shaven, I do wish the shadow line of down decorating her upper lip had been dealt with. Some may not mind it, some may even like it, but I don’t care for it. That is all.

My initial reaction to Rylee A. in her first MetArt gallery is that she is very much a girl next door type. And, just so I’m understood, this is a simple description, absent of any negative judgment, and it’s a type that I’m generally fond of. With her big, brown eyes, and gentle demeanor, she’s got a genuine sweetness. And when those pretty lips part into a smile — and reveals her braces — I can’t help and smile back at this fresh-faced 19-year-old.

While John Emslie has done a good job of capturing Rylee in this series, the choice of costume is a curious one. Here’s this girl who radiates sweetness and unaffected, natural, next door appeal. But he’s chosen an outfit that would better suit a stripper or big city streetwalker. The red pleather hot pants and matching bikini top are sexy, to be sure. And Rylee wears them well. But they create a conflict. Based on first impressions, I think we’d be a bit closer to reality if she was wearing denim shorts, say, or a boyfriend’s oversized plaid shirt – the sort of outfit the girl next door might wear.

The series has a pleasant pace and includes enough variety in terms of poses and compositions to satisfy viewers with many specific preferences: fully clothed images, headshots, full length figure studies, detailed close-ups (a close shot of those revealing shorts like #022, for example), demure poses, as well as explicit anatomical renderings. I’ve made note of #039, for those round breasts, those braces, and that sweet, smiling face. Also #075, a rear three-quarters view that emphasizes hair, face, and haunches. And #129, in which Rylee A. is seated, completely revealed, but with downcast eyes adding a bit of thoughtful mystery.

When I’m composing an entry for this forum it is my stated practice to “look for the good and praise it.” Sometimes this is more challenging than others, of course. And if, in the process of looking for the good, I encounter something bad, it is my duty to comment on it. A MetArt gallery like “Laukos,” thanks to its charismatic subject, makes looking for the good exceedingly easy.

Dido A. radiates warmth and charm. The platinum blonde has a sunny, free-spirited, and irresistibly attractive nature that the camera has no trouble capturing. In every set of hers that I’ve had the pleasure of viewing, I never fail to get the feeling that Dido A. is enjoying the photo session every bit as much as I’m enjoying the photos.

If Dido’s personality on the set is at all like the personality I perceive in her photos – and I would be quite surprised if it was not – she must be a delight to work with. She has an “eager to please” quality, and I expect she makes the photographer’s job as easy and enjoyable as possible.

A blue dress improvised from a large piece of semi-sheer fabric and an elaborate necklace are the only bits of costuming. Luca Helios has placed Dido on a sandy hillock, a fallen tree trunk the primary “prop.” The lighting is natural and when a stray ray of sunshine hits Dido’s hair it adds an extra bit of magic. #001, a fully clothed headshot, is one instance of this effect. And #113, a totally nude shot of Dido A. spread out and reclining on the tree, is another fine example. #041 adds a similar “sun kiss” to a low angle shot in which Dido’s facial expression is a little less smiley, but even more intriguing.

Perhaps there is a more hard-hearted critic who could find fault with this model or this pictorial, but I pity the man who isn’t completely disarmed by the delicious and delightful Dido A.

I was extremely impressed by this model’s first MetArt gallery. Will her second offering, with the same photographer, elicit similarly enthusiastic praise?

Unfortunately, I must answer that question in the negative. The styling of the series is fine, clever even, and I don’t have a single complaint about Rylsky‘s execution here. In technical and artistic terms, “Lustroso” is virtually without flaw.

Through an elaborate and complex process of elimination you may have reached the conclusion that I’m less than pleased with the model here. If so, you are quite correct.

It took me some time to realize what was troubling me about Kristel A. in “Lustroso.” I know some will complain about the unshorn axillary and public regions. (And at the same time others will rave about her hirsute state.) But that is not the problem.

The difficulty I have with the model is her mouth and lips. From beginning to end her mouth is locked in a single expression. She neither smiles nor frowns. She doesn’t pout or purse her lips. And she never reveals her teeth. She maintains the same neutral expression for the entire set. As a feat of endurance, this may be notable. But in terms of emotional expression and nuance, it is a distinct liability.

Conceptually, the series is interesting. At first the blue speckled background appears to be simply that — a background. But when Kristel A. leans back, and gets splashed with falling “raindrops,” we realize that the background is a dynamic, liquid, animated optical illusion. And the water is put to good effect as the model gets wetter and wetter.

Shot #095 is my pick of this particular litter. Here we can experience the “raindrops” illusion, as well as its very real results. And the composition, a torso shot framed from navel to clavicles, further illuminates my reasoning.

Is my assessment unduly harsh? I’d be interested to hear conflicting opinions. Feel free to educate me in the comments, below.

Yes, there is a bit of costuming, some accessories, shoes, but the two central visual elements of this MetArt erotic movie presentation are Hunter A. and the old fashioned lamppost she spends much of the production interacting with.

Leonardo shot this at night, and the light (not supplied by the antique lamp, incidentally) and shadows infuse the film with a rich and evocative mood. This appears to have been shot as a stand-alone movie, there are no telltale strobe flashes to signal that a still shoot is taking place simultaneously, which also contributes to its effectiveness.

With a throbbing sound track providing the beat, Hunter A. dances and writhes, playing to the camera and teasing the viewer mercilessly. This model can say a lot with her body, and even more with her eyes, and one doesn’t want to blink and risk missing a second of the performance. Although it may well have been chilly on that night, which might provide an explanation of Hunter’s ever-erect nipples here, it is no great leap to suggest that she’s in a heightened state of arousal. The heat this gorgeous creature generates is more than sufficient to banish the chill on the set, as well as raise the temperature in the viewer’s location.

Topless from the start, Hunter is “wearing” a tight, pale blue dress that’s pulled down and bunched up around her waist. She makes quite a show of taking off her black belt, and that’s followed, not long after, by the taunting, drawn out, removal of her skimpy white panties. That undergarment gets thrown in Leonardo’s direction, with a wicked little smile, at the 3:13 mark. Another moment to savor begins at 5:19. With her back turned to the camera, Leonardo frames Hunter from a low angle and the rear aspect of her beautiful body is thrown into delicious relief.

This collaboration between a heated Hunter A. and a creative Leonardo results in one hot “Spietato.”

Things fresh, new, and never before experienced are a staple of the MetArt experience. Our members crave it, and the company works around the clock, and around the world, seeking it out and presenting it with pride and unrivaled frequency. Here we have a set that delivers a double debut — model and artist are both making their first appearances at MetArt.

Sara D. has a particularly strong look. And it goes well beyond her flowing crimson curls and pale, creamy complexion. She has a particularly strong face – a very strong, square jaw and a dimpled chin. Her eyes also have an unusual quality that is difficult to define. To say that they have a feline quality is not far off, however. This type of beauty may be polarizing. She is at ease in front of the camera, though, and has no difficulty projecting a varied range of looks.

First-time MetArt artist, Adam Livos, has a lot to work with in this model. And he’s chosen a location that provides a lot of variety. The series falls into (roughly) three sections.

Early on, Sara D. is wearing a sheer, filmy dress over a pair of sheer panties. She’s standing barefoot in the sand and tall grass next to (and sometimes in) a body of water, an indistinct ironwork structure is in the background. Later on, there is a grouping of shots — my favorites in the collection — where she’s totally nude, and reclining in a luxuriant patch of tall, green grass. The sun behind her lights up her hair like fire, and in many shots of the images in this section the grass throws fascinating shadows on her luminous skin.

The third group comes as something of a surprise. Now Sara is on her back, laying on an expanse of sand, and the photographer is shooting from some height — pale skin, shapely body, feet tracing patterns in the gray sand, flame-red hair providing a brilliant burst of color. An interesting debut, times two.

Another day, another new model appears in her first MetArt erotic photo gallery. Life is good!

And the model is good, as well. Amanda B., a leggy blonde with a particularly impressive superstructure, will have no trouble at all attracting admirers.

The series itself is something of a mixed bag, at least in my humble estimation. While some of my niggling complaints might spring from the model’s lack of experience before the camera, I choose to lay the blame behind it. But bear in mind that my complaints are minor.

Amanda B. is, for much of the set, positioned in a tall, narrow niche in a blue wall. For no apparent reason, there is a saxophone next to her. Thankfully, she never picks up the horn, but I still find it an unnecessary addition. It adds nothing, and when it is hidden, or removed from view, the images are far more pleasing.

As he has done before, photographer Goncharov places a mirror on the floor in front of the niche. Although this does allow the most explicit images in the pictorial, it seems contrived. Surely explicit close-ups could have been achieved through some other means.

Some, but far from all, of the posing has a similar feeling. With arms and legs akimbo, Amanda’s natural charm is sacrificed in the name of artifice. And it is exactly that natural charm — not to mention that stellar physique — that combine to create the most impressive and pleasing photographs in the set.

In #008 Amanda opens her vest (the only piece of clothing here) to reveal her chest to breathtaking effect. In #020 we get to take in a full length view of Amanda B., and it really is something to see. Seated in #038, and with the sax hidden from view, Amanda strikes a pose that’s both formal and relaxed. And in #084 the model is at ease and extremely pleasing.

In her first MetArt gallery, Denisa Heaven is totally nude from beginning to end. She isn’t wearing a single stitch of clothing. She is completely free of jewelry of any kind. And she is very nearly bereft of makeup.

The set — a sofa and a couple of throw pillows in front of a window shaded with vertical blinds — is nearly as simple and stripped down as the model. The combination provides and opportunity to view Denisa Heaven in a natural, unembellished state.

Denisa’s most striking physical attribute has to be her hair. This lush mane of wavy red is truly eye-catching, and she can attain widely varied looks with a shake of her head. In some shots she looks somewhat plain, freshly-scrubbed and natural, as if she’s recently taken a shower. In others she has a polished, glamorous look that is entirely different. With no real props to play with, aside from the pillows, and no clothing to remove, Denisa’s hair becomes one of the most important visual components of the series. Those with a weakness for redheads will be rewarded.

Koenart has a way of presenting his unadorned subject that captures the full range of her expressions. Some images — #027 for example — have a natural, nearly candid quality. Others are beautiful, formal compositions — I like #018 — and there is a very generous, very frank series of explicit, intimate close-ups.

One appealing aspect of seeing a model in this type of pared down presentation is that one can get a clear, unobstructed view of her physical assets as well as her basic ability as a model. Here Denisa Heaven is a bit like a blank canvas, and the potential for embellishment and erotic artistry is virtually limitless.