Monthly Archives: January 2012

The title of this MetArt erotic photo series is the Greek word for “clarity.” I had this bit of information in mind when I sat down to examine the pictorial. And it didn’t take long for a bit of confusion to take hold. I suspect the word may have been used ironically, because the pictorial is filled with diffused lighting, soft focus, and detail-obscuring shadow.

The setting and subject are certainly pleasing. Isabella C., wearing only a necklace and a pleasantly skimpy white bikini, is on a sandy beach, a large, placid body of water is out of focus in the deep background. The model seems eager to please. But the Sun, apparently the only source of light, is not in a similarly cooperative mood. Hazy skies and scudding clouds create a certain unpredictability in the lighting, and the result is some unevenness in the exposures.

I also sense that photographer Peter Guzman is working with minimal gear here. The apparent lack of a reflector to fill in unexpected or unfortunate shadows takes its toll, and this can be noticed in shots where the sun is at its brightest, as well as when it is dimmed by a passing cloud.

Isabella C., cute, nubile, fun-loving, and uninhibited is not concerned, it seems, with the technical difficulties of shooting under these conditions. She strips, teases, and flirts with the camera throughout. Her enthusiasm results in some novel poses — in #047, she is happily contorting herself into an abstract human pretzel. And in #107 she arches into a high and graceful full back-bend.

When the light, composition, and pose are in synch, the result is a beautiful shot like #067, one of the finest in the collection. While it may be somewhat short on actual clarity, “Diavgia” does clearly possess some beautiful images.

As “Refinat” opens, Erika F. is dressed to impress in a sleek, clinging, tight, white dress and black high heels. The dress is so tight that every curve of the model’s body is revealed, and, even when she is entirely clothed, it’s a pleasure seeing her pose.

And, like the model who is wearing it, that dress is particularly versatile. Not only does it showcase a particularly pleasing shape, it is constructed of a stretchy fabric that allows Erika F. to reconfigure it on the fly. With the hem pulled up to mid-thigh, and the top tugged down to free her beautiful breasts, it becomes an instant mini-dress in a stylized image like #040. Some more pulling turns it into a corset, with bosom and bottom exposed in #060.

Of course, even the most sexy dress ultimately needs to be taken off entirely, and Erika F. is eager to oblige. This model has range. In some shots she can have a natural, girl next door quality, and in another she’s a polished performer, elsewhere she’s serious, and in other shots playful. In #066, totally nude, she eyes the camera with an inscrutable, but extremely intriguing look on her face.

Sergey Akion has plenty to work with in this subject, and he takes full advantage of it. We find close-ups of feet, with shoes and without, figure studies, explicit intimate close ups, and a handful of edgy, artsy compositions that hint at the breadth of the artist’s creative range. In #112, for example, a curtain, out of focus in the foreground, bisects the model’s beautiful face to create a moody, painterly portrait.

A versatile model and a creative and adaptable artist behind the camera help make “Refinat” a refined and rewarding erotic art experience.

While I clearly can’t claim to have discovered her, I can say that I knew a good thing when I first saw it — my review of Candice B.’s debut MetArt gallery was profuse in its praise, glowing in its admiration, and energetically optimistic about her future as a MetArt model.

While I recognized the debut of a major talent, I had no way of predicting with any certainty how successful Candice B. would become. As it happens, she’s been very successful — Candice has become a MetArt Top Model — a Top Ten Model, in fact — and her popularity is easily understood (I understood it, again, in my second review of a Candice B. gallery).

Now I have the “Opportunite” to view this stellar specimen in a motion picture. I am expecting a rewarding experience, and I am not disappointed by Leonardo‘s creation.

As “Opportunite” opens, Candice B. is wearing nothing but a subtle smile and an abbreviated denim vest. Color me tantalized. While every inch of this model’s body is delectable, her magnificent breasts are two of her most outstanding (ah-hem!) assets, and making us wait to see them exposed adds some pleasant tension to the proceedings. And when they are unveiled it is absolutely worth the wait. Mother Nature does some truly wonderful work, but this girl’s body really is a masterpiece.

Candice maintains a cheerful, warm, and engaging spirit for the entire film. And she is completely comfortable, and generous, in front of the camera. Those who seek the intimate details will certainly find them. And those who simply want to revel in the sight of a sweet, flirtatious, and exquisitely constructed young woman will celebrate every shapely second. If you are an admirer of Candice B., “Opportunite” is an opportunity you must not miss.

A seamless backdrop, colored lights, some fabric and a pillow on the floor, a paisley-patterned peasant dress — and a dark-haired model to show it off, then take it off. Those are the rather basic ingredients of “Idoni,” but don’t mistake “basic” for “simple,” “crude,” “bland,” or “uninteresting.”

True, there is not an overabundance of drama here. There is something restrained yet entirely self-assured in Ganna A.’s performance. And the style of the photography is very much in tune to her somewhat muted mood. I’d suggest that it’s the perfect series to enjoy when the viewer needs a retreat from the chaos of daily life and wants to share some quite time with a beautiful and subtly engaging young model.

There is something classical about some of Ganna’s posing here, and that may also have something to do with her physical proportions as well as her controlled demeanor. An image like #023, with her dress down around her waist, her torso in profile, her face turned to the camera, the lush cascade of dark hair down her back, has a painterly, almost sculptural simplicity that the model and her photographer, Antonio Clemens, must surely be proud of.

While it is easy to enjoy the sight of Ganna’s willowy, shapely body, and quiet confidence in these carefully composed and thoughtfully posed photos, I have to admit that the set scores its highest points when Ganna A. “breaks character” and shares a warm smile or laughs at the photographer’s jokes. Standing on tiptoes in #040 her body is beautifully presented, but notice how that natural smile gives the shot a burst of sweet vitality. The pose in #089 is more formal, and the smile a bit more muted, but the effect is basically, and enjoyably, beautiful.

I didn’t immediately recognize the star of “Anemos.” In fact it was only after conducting a search of the blog that I was reminded I have, in fact, seen her before — in MetArt HD erotic movie “Lavico” (you’ll find my impressions here).

“Lavico,” which was directed by Luca Helios, left me scratching my head. But he also photographed “Anemos,” and it has me grinning and nodding my head in emphatic approval. This series takes an undeniably beautiful model, places her on a scenic stretch of sandy shoreline, and results in some extremely pretty pictures.

A necklace of brightly colored beads and a piece of red/orange fabric are all Indiana has in the way of costume — and they are all she needs. Although it isn’t a piece of clothing or a prop, there is a third crucial ingredient in the set — the breeze that flutters Indiana’s fabric wrap and which teases her hair in unpredictable ways (see #016, #071, or #100 for three distinct examples). And #046, with the model on all fours in the sand, gets a real burst of energy from a gust of wind.

Even at a distance, Indiana A. is breathtaking. In an image like #118, standing tall on those long legs, with her long, wind-blown, hair, and her perfect breasts, she is a vision. But move in close and her charms are no less impressive. In #109, a head-and-shoulders shot, the model radiates a youthful, kittenish quality. In the very next image Helios moves in even closer — so close that all we see is her right eye, a bit of her freckled nose, an eyebrow, and breeze-ruffled hair. This photo really does give one a finer sense of the model’s mood, attitude, and engaging personality.

I’m pleased to say that I have more favorite images than I have space to list them, but I will direct you to #028, #032, #034, and #037. That exquisite body, the variety of poses, the wind, water, sun, and sand all make for fine images. But it’s Indiana’s smile and spirit that makes them utterly delightful.

I’ve critiqued MetArt erotic galleries featuring Dominika A. on three previous occasions, one just a month ago (the other two are here and here). After revisiting those posts I’m struck by this model’s versatility. Viewed as a group, all four sets are distinctive and unique, and Dominika brings something different to each one.

“Gallie” was shot by Luca Helios, who also happens to have lensed the three pictorials I mention above, and the photographer also demonstrates considerable versatility. None of the series under discussion are alike, but, of this quartet, “Gallie” is the most dramatic.

The design of this studio shoot is simple yet clever. A black fabric backdrop extends to and covers the floor. To the model’s right, a blue light, to her left, a red one. A white light illuminates the middle. In the introductory image the model stands en pointe, directly facing the camera. Dominika A. is posing, but she finds the perfect balance between natural and stylized. Totally nude, her body glows with a sheen of oil, and the colored lights create an intriguing blend of highlight and shadow.

But what is perhaps most striking about this overtly artistic scheme is how it emphasizes Dominika’s physique. The artificial amplifies the natural, physical beauty of her firm, fit, and shapely body. In #011, this time with her back towards the camera, the details of her body — subtle sacral dimples, toned calves, etc. — are made plain in a lovely figure study.

The female body as a work of art receives a boost — literally and figuratively — when a white cube is added  to the set. In a handful of shots — 033, 045, 051, and 069, are fine examples — Dominika’s poses atop the cube evoke a stunning human sculpture on display in a gallery or museum. In “Gallie,” model and artist have created a striking work of erotic art.

I concluded my review of Alysha A.’s first appearance at MetArt with this: “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!”

Alysha’s debut happened to be a MetArt HD erotic movie, and her performance was truly winning. In “Seductor” we have the opportunity to view her in a proper still photo gallery, and it more than lives up to the high standard established by her debut.

The bulk of the series was shot in a large field in the countryside on a sunny afternoon. Wearing a floor-length white embroidered dress – her only bit of clothing as we soon see — Alysha A. is a vision of loveliness (see #003 or #005 a ethereal topless shot). Her bright blonde hair, fine features, and warm smile are, indeed, effortlessly seductive. In an image like #015, with a pensive, intriguing look on her face, her beauty is beguiling. And in a playful, explicit up-skirt shot, her lively spirit is as appealing as her physical charms. And how beautiful is she in #050? Nothing less than angelic, despite the devilish pose.

Later on in the series the setting changes. Now she’s on a blanket on the roof of a shed, perhaps. Here the temperature climbs, considerably. The sequence of shots spanning numbers 092 through 102 or so, with the model on her stomach, legs parted, are frankly sexual and explicit. But notice how her facial expression and attitude changes from shot to shot. Alysha A. has a genuine knack for honest, open self-expression.

Photographer Rylsky, who created all four of Alysha’s MetArt contributions, does us a service by including several shots unrelated to the main photo shoot. We see her in an oversized T-shirt, for example, and she’s on a bed wearing only a blousy sweater. These images help round out our knowledge of the model. And do have a look at #129 — what beautiful eyes she has. I will absolutely be keeping my eyes peeled for future appearances of this delightful dream girl.

Although this MetArt model has half a dozen still sets in her portfolio, this is Sandra D.’s first erotic movie appearance. My first two reactions are: Better late than never! And this was definitely worth waiting for!

“Verbena” starts innocently enough. It’s nighttime and Sandra, casually dressed in tight jeans and a red and white ski sweater, stands in front of a white balustrade. But while Sandra displays a wholesome beauty, the minute she begins to move her innocence evaporates. This is a very sexy woman. Even fully clothed, or with just a bit of her midsection revealed as the hem of her sweater rides up, there is no mistaking it. Her movements, her expressions, her smile, her attitude project a particularly inviting brand of erotic allure. And when the sweater comes off and she sashays towards the camera, beautiful breasts jiggling, just after the 2 minute mark, it’s a magical moment.

It’s also a significant transition. After fading to black we now find Sandra D. seated on a couch. A subtle circle of light illuminates Leonardo’s sultry subject perfectly, while also adding a hint of voyeuristic intimacy. Sandra is wearing nothing more than a white blouse, and it soon comes off. But, semi-nude or totally exposed, Sandra exhibits an incendiary sexuality.

Nothing really “happens” here, but Sandra D. is in near constant motion. Even while seated or reclining her hips writhe, flex and undulate. And the more she moves, the more aroused she becomes — this will most certainly be the case for the lucky viewer, as well!

Without a single forced or false move, Sandra D. continues to raise the temperature. Things get distinctly feverish at the 5:30 mark, as the model directly faces the camera. Leonardo takes full advantage of this vulnerable pose and moves in for exquisitely explicit close-ups. And when she raises her body off the couch and pushes herself towards the lens the viewer can’t help but feel that he’s a participant in a supremely satisfying virtual sex act.

In the mood for something sexy? Let Sandra D. show you how it’s done.

A friend tells me that the name of this MetArt erotic photo series is the Swedish word for “rays,” as in rays of sunlight. That seems particularly apropos, as the illumination provided by the setting Sun figures prominently in “Straler.” And not always in an entirely good way.

I’ll discuss the lighting issues in a moment, but there are a few other curiosities in this set I feel the need to mention. The first eleven shots in this collection present nubile beauty Milena D. as she carries a bird cage — complete with bird, a budgerigar (Melopsittacus undulatus), if I’m not mistaken — here and there on a beautiful day. She is wearing a floppy hat and a exposes a breast in a couple of shots.

Then, absent reason or rhyme, she is wearing comically huge sunglasses, a skimpy denim outfit over exposed bra and panties, while posing before a graffiti-painted sea cliff. It is against this backdrop that the bulk of the set takes place, and where the challenges of the setting sun are manifested.

At first I suspected some inherent underexposure — see #054, for one example. But then have a look at #065. Here the light is much brighter, with the distinct warm tones one expects as daylight fades. This inconsistency is present, to one degree or another, throughout the set.

What of the model and her photographer? Milena D. is a cutie, a fact I’ve made clear here and here. In “Straler” she is shaved clean, I mention this because she wasn’t in the two previously noted sets. When the light is right, with the wind toying with her long, flowing hair, and her nubile body free of distracting accessories and costume, Milena is as appealing as can be.

Although her first three MetArt galleries were shot by other photographers, the remainder of Milena’s portfolio was shot by Erik Latika. He obviously knows his subject — I suspect in the biblical and romantic senses, as well — and the series, although compromised to some degree by the difficult lighting, presents her in a range of poses and compositions. My favorite may be #091, one of the few “reverse angles,” where the sea is visible and surprisingly close, and Milena D. sprawls on the rocky shore.

As happened with yesterday’s entry, “Provoquer” took some time to win my affection. But today the reasons are nearly reversed. In yesterday’s post I liked the model but took issue with some of the photographer’s choices. Today I liked the art direction and approach that Balius has taken, but I failed to respond to his model. At least initially.

The fact is, if you look at ten pretty girls — or 2,595 by today’s total MetArt model count — you’re going to find some of them more attractive than others. We are all individuals and have our own unique tastes and preferences. So, speaking candidly, Liv B. didn’t really “trip my trigger.” At least initially.

Oh, there are some fine shots early on in the set. And Liv’s pale, creamy skin is set off quite beautifully by the dark background and rich colors of the set design. I very much like #016, for example, with that glowing skin, the fur rug adding warmth and texture, the foot reflected in the high-gloss floor.

Then, with #030, Liv B. begins to win me over. It may be something about that subtle smile, and it certainly has something to do with that beautiful behind with its nearly lunar radiance.

But when Liv B. bares all — and Balius moves in for a series of explicit images — she finally reaches me on a profound and undeniably animal level. This may not be everyone’s ideal, but my reaction to shots like #039 and #040 is powerful and immediate. And when Balius captures Liv from a greater distance — but still in an enticingly explicit pose — her physical charms are joined by her personality with wonderful results. Note the contrast between eyes open and eyes shut in #049 and #050. And #055 and #056 are two powerfully erotic, painterly photographic gems.

There’s much more to enjoy here, not all of it so frankly revealing — I’m thinking, specifically, of #090 and #095. And for an amusing conclusion to an unexpectedly heated session, Balius captures Liv B. as she tidies the bed in the closing shots of “Provoquer.”