Monthly Archives: November 2011

“Charm” is a particularly apt title for this MetArt gallery. The model certainly exudes her own unique and irresistible brand of charm. And the photographs are designed and executed in a way that is also stylish and charming.

Simple art direction and lighting, two Alex Sironi signatures, are on display here. Costumes and props are minimal, and a white bed is the only furniture. Here he’s created an interesting effect. While I believe the room is white, through some lighting or technical device the background takes on a subtle, light yellow, tint — #068 is an excellent example of this effect. This bit of warmth in the background gives a gentle boost to the female heat in the foreground. And, while the lighting is soft and natural, Sironi adds just a kiss of key light to emphasize the gloss of a luscious lip or a golden hank of hair (see #011 for an example of the latter).

MetArt Top Model Barbara D. has vast reserves of nubile charm, and she dispenses it freely here. But she’s never overbearing, never pushy, never trying too hard. In fact she has a bedroomy expression in many of these images — see 100 and 101, for example — that is relaxed and, well, effortlessly charming.

In the right pose and the right light, Barbara D. can deliver real bombshell glamour — she does exactly that in #025, a stunning figure study. But, overall, her greatest charm is her youthful, natural beauty. It’s hard not to be charmed by an image like #035, in which she smiles softly and spontaneously. And her explicit poses — #057 is a sizzler — are no less effective.

To state the obvious, I was completely charmed by “Charm.”

Last week, here in the United States, we celebrated our Thanksgiving holiday. In that spirit, I think it’s worth noting that MetArt members have much to be thankful for. We have access to the largest archive of erotic art photography in the world. We can view the work of the finest photographers in the field. And we can feast our eyes on thousands of the most beautiful young women ever lensed. Plus, to top it off, new models appear on the site with dazzling frequency.

Kaitlyn A., a fresh-faced new arrival, inspired these thoughts of gratitude — along with several other thoughts and emotions. This tiny-top treat, with her bright blonde hair, energetic smile, and tanned and flexible body is nothing if not inviting. And photographer Catherine‘s stylish pictorial presents her subject in a broad range of poses and compositions that make for a fine and detailed introduction.

I wasn’t at all surprised to learn that Kaitlyn A. has previous modeling experience, albeit non-nude. She’s clearly at ease with the camera. And she has a confidence that is particularly impressive in view of her youth — she is only 19, after all.

As I review my notes I’m struck by the wide variety of photos in this series. There are several notable extreme facial close-ups, for example (#004 is my favorite, but #005 and #006 are also interesting, as is #019, a study of Kaitlyn’s lips and nose). In #053 and #054 extends her hand or foot towards the lens with an intriguing result. For a pretty headshot, free of distractions, #062 is perfect. And check #045 and #048 for a demonstration of the model’s flexibility. There’s a lot more in this MetArt gallery to enjoy, and for that — and this appealing new model — I am, indeed, thankful.

While this set is the first appearance at MetArt of a promising new model, it is also the second contribution by this photographer — and the first example of his work I’ve examined. In a nutshell, model and artist both deliver fine performances.

I’m most impressed by the art direction and lighting. The set unfolds on a white sofa, in a white room, in front of sheer white curtains, which diffuse but do not block the bright daylight. Working in a skillfully limited depth of field, Abelanet keeps the emphasis on the model while creating interesting effects in the background. An introductory shot, like #015 is just one example of this: Hannah E. occupies the foreground while the background glows dreamily behind her.

Hannah E. took her time working her magic on me. I liked her from the start, but I found myself picking nits. This girl has a habit of tilting her head to her right. The habit is so ingrained that I started noting those rare shots in which she tilts her head to the left — #024 is a particularly cute one.

As the set unfolded I was completely won over by 19-year-old Hannah. She’s sweet without being too sweet. She manages to blend a subtle shyness with a natural boldness that is quite endearing. And her body can look girlish in one image, and womanly in the next. There are a cluster of shots — from #079 to #087 — that capture her (not at all girlish) posterior and other charms particularly well.

Some of Hannah’s posing is particularly inventive, and Abelanet makes the most of it. Have a look at #099, an exceptional shot. And then treat your eyes to #104, same pose, from a nearly reversed angle. Great stuff.

Veronika F. is blessed with beauty and attitude, in ample portions. Even in this simple setting — a balcony with its vine-covered railing — and wearing nothing but a pretty pair of panties, she radiates polished, high fashion glamour. The styling amplifies this effect – with her hair pulled back tight into a single braid, there is nothing to conceal her refined and elegant facial features.

And Veronika’s body is equally refined and elegant. Long, lean, and toned, hers is a body that would be as at home on the catwalk as it would be on the athletic field. This is not a body that is only for display, one gets a very real sense that it is built for action, and the set’s title, “Heat,” seems particularly appropriate.

If Veronika F. has a single physical flaw, I cannot find it – and I looked particularly closely. The only criticism I might voice is that she does tend to try a bit too hard at times. Some of her expressions are a bit too dramatic, a touch too theatrical for the setting. When she relaxes and lets her beauty and body do the talking the communication is clear, direct, and extremely engaging.

Leonardo‘s approach to the set is subtle and unobtrusive. He captures his subject in a wide range of poses, some of which are particularly inventive, but attention is always on the model, not on the photographic technique. I would hate to pick a single favorite, but #010 is a real contender, brimming with that beauty and attitude I mentioned at the opening of this critique. Numbers 014, 015, and 016, a series of butt-shots, are stylish, indeed. #047 captures Veronika’s lean and sculpted body quite nicely. And in #162 her relaxed expression remains as intriguing as her body is beautiful, which is to say: very.

This MetArt gallery opens with a light-hearted and quite unexpected series of images. You have probably seen this type of thing at a fair or carnival. Characters in some fanciful scene are painted on a board or canvas. Holes have been cut in the painting, and individuals place their faces in the openings to have their photos taken with humorous results. That is certainly the case here. The cartoonish painting in this case is a scene of Russian domestic life: a woman presents a samovar to a bald-headed old man playing a balalaika. Irina J. is the woman, and Virginia Sun is the old man. And you will be amused.

After this comic introduction things move rapidly in a much more serious direction. The girls, both in fetching summer dresses, wander the grounds and pose in the rustic setting. There is flirtation, there are physical revelations. Next the girls are in some sort of stone room equipped with a tile-lined spa or bath. Totally nude, the twosome spend some time immersed in the water as they caress and explore one another. Of these shots, I think #071 is among the most effective. Not simply in terms of composition and framing, but for the erotic energy it captures.

The pairing of these particular models is quite effective. They are of distinctly different types, particularly in terms of coloring. Irina J. is dark, and Virginia Sun, a Swede by birth, has a pleasingly pale complexion. When Rylsky captures them side by side, as in a below the waist portrait like #067, the result is eye-pleasing and offers a chance to compare and contrast.

Another unexpected twist occurs towards the end of the series. Here the twosome are wearing entirely different dresses as they admire the goods offered by vendors at some open air venue. In #122 the last shot, the peripatetic honeys hug and smile, a happy end to an enjoyable day.

Prolific MetArt contributor Goncharov appears to have employed the “grab bag” technique while conceiving this pictorial. The costuming and, in particular, the props have a jumbled, disconnected quality.

This creates something of a challenge for first-time MetArt model Semmi A. However, she does her best to make sense of things, and exhibits an undeniable warmth along with an undeniably attractive physique.

In much of the series Semmi A. is wearing a horizontally striped black and white dress. In shots #022 and #023 she’s holding an odd-looking pussycat. Where the animal came from, or where it vanishes too is not made clear. But when she pulls down the neck of the dress to reveal her breasts in #033, there is no mystery at all, and effect is splendid.

The central prop in this series is an old suitcase. In much of the set Semmi is seated on it, and in several she reclines across it. It doesn’t look all that comfortable, but, as the pictorial opens it makes the slightest bit of sense. In those shots, Semmi is fully dressed (although barefoot) and wearing a large off-white hat. Could she be waiting for an imaginary bus in the elaborately lighted studio? Another mystery.

At some point the dress disappears and is replaced by a zip-front bustier. I don’t find the garment, particularly its color, terribly flattering. And its appearance is unexplained, because Semmi clearly wasn’t wearing it under her dress. Perhaps she pulled it out of the suitcase when she put away her cat.

My favorites here are those shots where the clothes are off and the props are minimized or off-camera. #074, shot from behind wearing only the bustier, is nice, as is the totally nude profile, #075. The suitcase performs platform duty in #093, which, despite being a touch “posey” is still a pretty image of this curvy MetArt debutante.

I like this girl. I like this girl a lot. And I expect others will share my affection. But, having made that explicit declaration, I must admit, I like this girl despite this set, not because of it.

The level of effort expended here is minimal. The room and its décor is ugly. And busy. And distracting. Any “art direction” is so subtle as to be undetectable. The lighting? As far as I can tell, it’s limited to ambient room light, and a single, camera-mounted flash. No bounce, no fill, no diffusion. In fact, the set has a casual, almost candid feel. It’s almost as if Egon Schneider and his model were under the gun. Shoot this set, right here, right now. You will have no time to prepare, start now, finish, and that will have to do.

The fact that it does succeed is due to Rita H. For a newcomer, and a 19-year-old newcomer at that, she has a real poise and confidence. And her exotic beauty and voluptuous body are truly striking. The combination of professional poise, an engaging on-camera personality, and a voluptuous physique are more than enough to overcome the slapdash nature of the set.

The room is dark, cluttered, and the various patterns clash and clang. The colors are all wrong. In a shot like #041, with a nice pose and composition, Rita’s dark hair disappears into the dark background – an elementary level error. And the series is filled with similar compromised images.

There are, despite its handicaps, plenty of pleasing shots, most of them due to the model’s charm and beauty, and the photographer’s skill under less than ideal conditions. I like #018 for pure vah-voom. #011 packs a physical/sexual punch. #053, a reclining nude, is somewhere between a snapshot and a masterpiece. In #123, suddenly outside, on a balcony, the model is clothed, the background flattering, the light natural, and Rita H. is undeniably appealing, as is the entire image. More like this, please.

I have a feeling we’re not in Kansas anymore. In fact, we’re in a sprawling green meadow, dotted with yellow flowers, and it’s probably somewhere in Eastern Europe. It’s a beautiful afternoon, wherever it is, and it’s made far more beautiful with the addition of Eva I.

Topless from the start, the pert-breasted and willowy model is wearing nothing more than a necklace, a bracelet, and a billowing skirt — there’s also a straw hat that she periodically plays with. As the title implies, this is a relaxed, calming interlude. Eva I. has a sweet personality and an eager smile, and appears to be at complete ease as she enjoys the day.

And Eva isn’t the only sweet and eager participant in “Placidus.” A costar soon appears, hiding in the crown of the model’s hat – a tiny puppy dog. Eva’s interactions with the diminutive doggy provide some of the movie’s undeniable highlights. In fact, that petite pooch is a real scene-stealer. At the 2:56 mark, for example, as Eva cups him in her hand (it’s a very, very small dog) he lunges in and plants a canine kiss directly on Eva’s lips. Later on, at around the 4:25 mark, he returns for seconds. Lucky dog.

When Eva isn’t lounging in the meadow she spends some time strolling and cavorting through it. While her skirt stays in place around her waist for much of the production, she does make sure to lift the hem, repeatedly and at some length, and we enjoy ample views of her clean-shaven nether regions.

A scenic location, a lovely girl, and a playful pup make “Placidus” a pleasant diversion.

I’ve had the pleasure of reviewing a MetArt gallery and a MetArt HD movie starring Caprice A., and in both instances it was quite clear why she is a constant resident in the uppermost ranks of MetArt Top Models.

In “Sumaku” I have another chance to linger over this lovely — and particularly lusty — young woman, and I am not disappointed. This is not a complicated or elaborate series. In fact, it is really quite simple, even casual. But the model’s physical beauty and potent sexuality make it a highly enjoyable experience.

The setting is a patch of lawn at the foot of a weathered palm tree. Caprice is wearing high heels, a little black dress, and a whole lot of steamy attitude. She isn’t wearing panties — a fact made clear in the very first image — and it does take a little time before she is totally naked, but there isn’t a lot of effort expended on “tease” here, the set opens hot, runs hot, and ends hot.

Of the introductory images, #017 may be my favorite. Here the hem of her dress has crept up, and she’s pulled down the top to reveal her breasts. Her hair swings in the breeze, her eyes are downcast, her features exquisite.

Explicit images are the rule rather than the exception here, and Caprice displays her succulent charms in a range of stances with a variety of moods and expressions. In #048, on all fours in the grass with her ass aimed at the camera, she looks back at us with a look of smoky sensuality. In #084, seated, knees up, thighs spread wide, she smiles with genuine joy and delight. Even in a shot like #117, which is far from explicit, and in which her expression is somewhat enigmatic, Caprice A. radiates erotic energy.

The presentation may be simple, but Caprice A. makes “Sumaku” sizzle.

There are two principal sources of illumination in this debut MetArt gallery. One is the model’s smile, the other is Leonardo’s lighting design. And this makes for a very effective combination.

Mia D. has striking features. Her body is long and lean, her breasts petite, her skin tanned to a warm bronze glow. Her smile is bright and brilliant. At times it feels just a bit theatrical, but when it’s spontaneous, as it is in #085, it’s impossible to resist. Her eyes are also exceptional, and an image like #080 captures their depth and beauty.

Although it may, at first glance, seem like a relatively simple series, there is a great deal of care and craft in Leonardo‘s design and execution of this pictorial. One of the more subtle elements is his choice of colors. Mia is wearing pink panties the color of which is a perfect match to the flowers on a bush in the background. The most dramatic element, however, is the lighting. Mia poses on an upholstered chair on a balcony or patio. As the set begins the sky behind her is darkening, and by the end night has fallen. There is a light source, out of view above and towards the right edge of the frame. This not only illuminates the vivid pink flowers, it also creates flattering highlights in Mia’s hair, and brings out the contours of her body (see #136). It also hints at the bright light of a full moon, adding more than a taste of interesting atmosphere.

Mia D.’s bright smile and sunny disposition is mated to a pleasing lack of inhibition, and explicit poses are offered in abundance. An eager model and a stylish presentation make “Presenting” a success for both Mia D. and Leonardo.