Monthly Archives: February 2012

It’s been nearly a year since I’ve had the pleasure of reviewing the work of MetArt model Anika A. I had the good fortune of reviewing her very first MetArt erotic photo gallery, and she made an extremely favorable impression. That impression was confirmed, some months later, when I reviewed “Control.”

Since that time Anika A. has built up a tidy little portfolio — 11 sets at present. The two sets I’ve previously commented on were created by Ron Offlin who shot the first seven of Anika’s pictorials. Since then she has been working with Alex Sironi, and “Marzenie” is their latest collaboration. Here I have the opportunity not only to revisit an impressive model and gifted photographer, but also to see how they work as a team.

One difference emerges relatively quickly. In Mr. Offlin‘s sets Anika A. is subtly but stylishly presented with just enough artful makeup to bring out her beauty. In “Marzenie” the presentation is much more natural. Although I think I prefer Anika’s styling in the Offlin sets, the fresh, unadorned look Sironi has chosen is still very appealing.

No matter who is shooting her, Anika A. invites and excels at steamy, sexy, explicit poses. Whether she’s glammed up or dressed down, there’s no way to suppress or conceal her sensuality. And Alex Sironi‘s lighting scheme and art direction, true to his established form, create a stylish and unobtrusive setting that doesn’t divert any attention from his stunning subject.

The MetArt model roster boasts an embarrassment of riches. The variety is truly staggering, and the range of types is breathtaking. If you hunger for a polished, high style beauty with some supermodel flavor, you might begin with Anna AJ. If you prefer a more voluptuous woman, with an emphasis on generously proportioned breasts, Sofi A. makes a splendid start, but she is just one of many shapely, bountifully gifted MetArt models. And if you value slender, youthful, vibrant, adorable, unquestionably cute nymphets I direct your attention to Landysh A.

The first time I saw her I subtitled my review “cute, cute, cute…” Limiting myself to just three cutes was an exercise in self-control. Whether it’s her slim, curvy, perfectly proportioned body, her warm, youthful, energetic, and engaging personality, or her flawless facial beauty, this is one extremely attractive girl. But her predominant, overriding trait is pure, natural, cuteness. If you’re unclear on my meaning, simply have a look at her latest set, “Suzette,” and full understanding will soon follow.

Photographer Egon Schneider — quite wisely, I think – employs a direct, natural style to this series. At first he has his subject in a summery little dress, but she’s quickly rid of it. The setting, a commercial boat at its mooring, is interesting, honest, with ample opportunities for varied set-ups and poses, but it is not glamorous or contrived. Landysh is immediately at ease and appears to enjoy every second of the experience.

My emphasis on the model’s cuteness isn’t intended to diminish her other qualities — Landysh A. presents a complex, multi-facetted personality in “Suzette.” Landysh is, by turns, thoughtful, seductive, playful, casual and relaxed, stylish, flirtatious, direct, silly, and engaging. But, no matter what mood or emotion she’s projecting at a given moment, her cuteness never wanes. If cuteness floats your boat, get ready for an extremely enjoyable voyage.

The vast majority of MetArt‘s erotic photographers are male. This makes perfect sense, given the subject matter. But one need not be male to be drawn to the nude female form, and several of our contributing artists are, themselves, women. Of these, Catherine is certainly among the most prolific.

Her latest subject, and a first-time MetArt model, is Kate E. Based on the first shot in the series, I can easily see much potential. Kate’s face is particularly pretty, her lips full, her eyes a deep blue, and all this framed by long, wavy brown hair. In the second shot, although I do not yet realize it, she exhibits one of the telltale errors made by inexperienced models. Her hands — one held above her head, and one down at her side — are stiff and self-consciously “posed.” Indeed, there are few images in the set in which this isn’t the case. Now, I admit, the style and placement of her hands may well have been at her photographer’s request or direction. But, no matter the origin or motive, these rigid hands impart a stiff, artificial feel to the set.

And, for the second post in a row, I must grumble about two other factors here, both of them chosen by the artist. There is a light in an adjoining room that casts a coppery glow on the subject. In certain compositions, headshots in particular, the effect is flattering. But when there is more skin on display it skews the flesh tones in an unfortunate direction. Catherine also throws in a selection of oddly tilted frames. Between the light and the illogical tilt, I can now say I’ve had the opportunity to voice my two current pet peeves.

Because Kate E. has a “go-to expression” (lips neutral to almost pouty, head turned slightly to her right), the best shots are where she strikes an unusual or surprising pose. In #016, leaning against a large wardrobe, her costar in the set, she’s on her knees, with her feet raised, toes pointing skyward, and regarding the camera over her left shoulder. In #038, a stylish figure study, captures Kate from the rear, her face in thoughtful repose. And, for sheer, what-the-hell, variety, #084 provided a spontaneous laugh. Here Kate performs a graceful handstand and provides an unusual and eye-catching view of her body. Similar displays of spontaneity and athleticism will prove valuable in future sets.

When Nichole A. first appeared in a MetArt erotic gallery I was “roundly impressed” (you can read my impressions here). Will her second appearance, working with the same photographer, prove as impressive, or will she fall victim to the “sophomore slump?”

The answer is a bit of a mixture. But, in the model’s defense, I can lay what quibbles I have at the feet of the artist, Arkisi. I must say, in the spirit of fairness, that this set’s technical and design aspects far outweigh the primary flaws in its execution. Those flaws are a slight reddish pink tint to many of the images, and a bit of TCS — Tilting Camera Syndrome. Neither flaw is terminal, however, but it is my duty to mention them.

Arkisi has designed a set with a pleasing bit of theatricality. He’s placed an upholstered, cream-colored armchair against a patterned scarlet curtain. In the foreground he’s hung two panels of sheer, golden fabric. It is on this “stage” that Nichole A. delivers her performance. When the set opens she’s wearing open-toe stilettos, lacy pink panties, and a smile. While I do love that smile, Nichole has a range of expressions, and I very much like the quiet, calm, direct look in #005. Then again, the spontaneous smile she exhibits in #012, as she slides her panties down her thighs, is a thing of beauty, as well.

The photographer can create beautiful images that are completely free of any “naughty bits,” as he does in #023, in which the model obscures her body with the golden fabric. But he also delivers powerful, eye-opening explicit close-ups of Nichole‘s fleshy delicacies. The details available to the eye in extreme close-ups like #074 and #079 seem certain to satisfy lads who love lush, lavish, labia.

A personal favorite here is one that straddles the extremes contained in “Eftaxis.” In #084 Nichole A. is seated. Her feet are far apart, her knees touching. Her elbows rest on the arms of the chair, her hands are raised, her fingers curled. She looks directly at the camera with a sweet, but somewhat mysterious, look on her face. There is something whimsical about this photo that is in perfect harmony both with the model and the clever design of the set.

The MetArt erotic HD movie titled “Ready?” has an amusing premise. As it opens our star — the always lovely Loreen A. — is sitting on the floor of a parlor and adjusting a camcorder mounted on a tripod. Once she’s happy with the set up and framing of her “shot” she smiles with playful joy (see the 00:33 mark) and rises.

Clad in a top and short skirt, Loreen A. takes her position on a sofa facing her camcorder and a leisurely strip tease performance begins.

While there is actual self-shot footage contained in “Ready?” the movie plays with the point of view, and most of the film was shot from the side — capturing Loreen on one side of the frame, and “her” camcorder on the other. For the sake of the “story,” and when we are viewing director Rylsky‘s footage, Loreen A. is playing to “her” camcorder and not to the viewer. Some may consider this a weakness, but the storyline does provide a solid excuse.

One thing I have a bit of difficulty excusing is that there are two large windows, covered by diaphanous curtains, in the background. And this somewhat harsh back-lighting creates detail-obscuring shadows. It may add a bit of realism that fits with the story — we are watching a young girl create an erotic video for her personal use — but for our purposes, a bit more detail would certainly be welcome.

Loreen A. is cute and extremely appealing, and she moves gracefully and naturally while delivering her solo performance. I particularly enjoyed her spontaneous, totally nude, jumping-jacks that begin at 02:24. Another not to be missed highlight occurs when she crawls across the table that separates couch from camcorder and aims an “air kiss” right at the lens (at 06:19).

“Ready?” ends on a cute and clever note, and leaves this viewer ready for more Loreen A.

Another day, another new model makes her first appearance at MetArt. Life is good! And the same can be said of the model herself. Cloud A. is unquestionably appealing. Long-limbed, lithe, but not at the expense of alluring curves and a full, shapely bosom. Everything she displays to the camera — and I will have further comments on this in a moment — is inviting and enticing. So far, so good.

The art direction and execution of this series shot by Luca Helios is at best interesting, and at worse curious. Whether the background wall is white, and has been tinted pink through the use of gelled lights, or if it is painted pink, and is bathed in additional pink light I cannot say. But it is pink — and that pink tends to tilt the entire color scheme of the photo set towards the red/pink section of the spectrum.

And, speaking of “tilt,” in the overwhelming majority of images here the camera is tilted one way or the other. One grows accustomed to it after a while, just as a passenger on a ship gets used to sailing on choppy seas, but I can’t help but wonder what these same poses would look like if they were square, plumb, and true.

In #044 we have fine, totally nude introductory image that captures Cloud standing, tall and tempting — and that little smile sweetens it further. There’s a bigger smile in #064, showcasing her breasts as she holds her hair up with both hands. And #066, a headshot with just a tiny glimpse of nipple, even if it does suffer from the pink tint syndrome, is another loveable headshot with a lively, candid feel, and great dimples, too!

Cloud A. is a charming and eye-pleasing model, and I look forward to seeing more of her. And not just more sets, but more of her body — there isn’t a single explicit image, hardly even a suggestion of one, in the entire collection. Next time, I hope.

Have I ever mentioned that I love to see new MetArt models in their debut photo sets? Yes, I have. And more than once. A new set featuring an established, well-loved model is something to eagerly anticipate and to savor. But the “thrill of the new,” is a unique experience, and once you’ve enjoyed that rush of discovery it can’t be repeated. There can only be one “first time” after all.

I will cut to the chase in the case of Romina A.’s MetArt debut: She’s a winner, without reservation. Of course my assignment here is to provide details, opinions, and observations, so, feel free to read on. If however, you’d rather go straight to the “Presenting” Romina A., by all means, do so!

I believe Romina is something of a “natural.” The techniques and skills of modeling come easily to her and there’s not a false move in the entire collection. It’s also particularly fitting that Rylsky, in his wisdom, has chosen to present this naturally talented model in a natural setting, and employing a naturalistic style of photography.

Wearing a simple white frock, Romina A. sits in the sandy beach (I can’t be certain if it’s a large lake or an inlet from the sea). A light breeze teases her long, brown hair. And there’s a playful, youthful glimmer in her dark eyes — after viewing only a handful of images there is no doubt: this girl is enjoying herself. And that always adds an extra layer of enjoyment to the viewer’s experience. Look at her face in #006, as she runs, still dressed, in the soft sand and see what I mean. Or #045 and its companion, #047 — this little doll is delighted to be sharing herself with the camera. And I’m delighted to be viewing the results.

Let me list some favorites. #015 is a great butt-shot. In #061 we have a fine detail shot of two petite breasts (and two particularly stiff nipples). Numbers 037 through 040 find the totally nude minx on all fours in the water, capturing her natural beauty as well as the beauty of the location. There’s a wonderful pin-up quality to the cluster of shots spanning #100 through #105 (love those legs, love that smile). And #095, with her face in soft focus in the background while her eagerly displayed succulence is revealed in the foreground is one of many tempting explicit shots. A most welcome new addition to the MetArt talent roster!

Dark hair and blue eyes makes for an alluring combination on an attractive woman. One of the great screen sirens of cinematic history, Elizabeth Taylor, is a singular example of the legendary beauties blessed with this comely combination and it certainly did nothing to hamper her success.

Dark-haired, blue-eyed Aprilia A. uses these two pleasing physical assets — along with several others — to potent effect in this MetArt erotic photo gallery. It may not be to every viewer’s liking, but if you find the look attractive, you will find much to enjoy here.

Obviously, the hair and eyes receive the most attention in dedicated headshots, and Koenart includes a selection of pleasing portraits in his photo series. Early on, before she disrobes, in #004 he captures Aprilia A. in a somewhat moody shot and the eyes contribute much to that image.

If I must find fault with “Idéale” it is that the photographer is prone to tilting the camera to, perhaps, add some extra interest to certain shots. Sometimes, to his credit, it’s effective. In other shots, #016 for example, it adds an almost queasy element to the shot — it would be, in my opinion, a more effective composition if the vertical elements were, indeed, vertical.

There are many explicit images here, and the subject certainly warrants the attention. The set hits a prolonged series of high notes in a cluster of shots in which the model’s back faces the camera, spanning numbers 063 through 071. Here Aprilia A. is totally nude and positioned on the hardwood floor. #063 is a simple figure study, with a pleasing emphasis on her feet — note the delicate toe ring. This sequence of shots quickly heats up, however, and reaches a peak of erotic artistry in #070. On her knees, head resting on the floor, the flared fingers of one hand gripping her ass, and those blue eyes regarding the camera with a subtle but unmistakable sensuality.

After so many powerfully erotic images it’s refreshing that the set closes with several pictures of Aprilia A., in casual dress, out in the street — it’s a sweet way of winding down from the intensity of the collection.

(PS: Does anyone else find that ring on her left hand unsettling?)

Lilies are lovely, forget-me-nots are fine, but in the romantic, literary, and artistic worlds, the rose is the undisputed potentate of the flower pot. From the intoxicating perfume, to the dazzling colors, to the soft, satiny petals, the rose is an apt metaphor for woman — even the thorns represent the fatale aspects of the femme.

So there’s plenty of logic and no surprise when MetArt photographer Ron Offlin gives his model a single rose to pose with in this MetArt erotic series. Set in a white room, on a cream-colored bed dressed with white sheets, the bright pink blossom adds a valuable burst of color to the images it appears in. And it even matches the tiny flowers printed on the model’s bra and panties.

The design, theme, and “story” of “Alecto” isn’t difficult to decipher. A pretty blonde teases us while lounging on a bed. Only the most oblivious observer could miss the message Sarah C. is telegraphing. And, even if her presentation is somewhat erratic and at times lacking in subtlety, seeing her move around on that mattress is pleasurable in and of itself.

Sometimes I think Sarah C. tries too hard. Her “come hither” glances can be a tad heavy-handed, and the pouty mouth doesn’t always come across as entirely sincere. But when she relaxes and lets her natural sensuality and sexuality — she has ample supplies of both qualities, by the way — she becomes quite appealing.

Although Mr. Offlin resists the urge to pose the pink flower in direct juxtaposition to Sarah’s feminine counterpart, there are plenty of frank and explicit shots in the collection. But even a “fully clothed” shot like #023 packs an erotic punch, as does the painterly, completely nude, flower-free, #087.

Before I proceed with my comments on this MetArt erotic HD movie, a scheduling note: Of the most recent MetArt movie releases “Cyan,” starring Mia D. was the one that most appealed to me. However, since I wrote about her latest still series only yesterday, I thought it best to postpone my critique of the Mia D. movie. I do look forward to seeing it, and hope that it merits the wait.

Some MetArt movies can be a polarizing proposition. There are members will embrace and enjoy any production featuring their favorite model. I sometimes like the girl while the movie fails to move me — and vice versa. And there is certainly an ongoing controversy regarding “behind the scenes” videos that were recorded simultaneously with a still shoot.

The good news regarding “Foulari” is that it is a stand-alone movie. Further, the star, Night A., is a pleasure to look at. The not so good news, at least in my view, is that there is an aimless quality to the “action” and a lack of direction or sense of purpose. The muted natural lighting and the somewhat somber interior décor also contribute to the generally downbeat tone of the proceedings, such as they are.

It opens nicely enough, with the model seated on a window sill, flanked by two shoji screen-styled windows, and backlit almost into complete silhouette. Next she’s seated on a sofa where, at a languid, meandering pace, she takes off her dress and moves around. Night A. has a lovely body, and there is certainly pleasure to be derived from seeing it in motion, but her lack of expression and the randomness of her movements don’t make much sense, and any drama or excitement evades me.

I can’t tell if director Rylsky has given his subject the freedom to improvise her performance, or if he is actually directing her. At 4:43, for example, prone on the floor, she buries her face in her balled-up dress and appears to be inhaling its aroma. That may be the most curious moment in “Foulari,” but it isn’t the only one. Night A. is “caught in the act” here, but the question remains: the act of what, exactly?

Have I missed the mark? Any clarification, insight, or education the reader cares to offer is most welcome!