Monthly Archives: March 2012

There may be, somewhere, somebody who doesn’t find Jenya D. at all attractive. I don’t think it’s highly likely, but I recognize the possibility. Should such a person exist, while I understand that differences in taste and aesthetic preferences are entirely individual and personal, I extend my deepest sympathies.

To her legions of admirers, Jenya D. is nothing less than a legendary beauty. Highly prolific — as I write, she has 110 pictorials and films in her MetArt portfolio — and exceptionally talented, Jenya’s bombshell beauty and multidimensional on-camera personality place her in the erotic modeling elite.

In “Cover” Jenya has a fine showcase. The set has, shall we say, certain “issues,” but one of these are due to any weakness or failing of the model. On the whole, this is a very beautifully designed and executed set. Lens-master Leonardo gets nearly everything right with his lighting and set decoration, a study in bright white. He does, however, get a bit carried away with diffusion added at the image editing stage and some absolutely beautiful images are compromised by the heavy-handed application of digital Vaseline — see shots #004, #050, and #069.

Delete the over-manipulated photos and you’re left with a more than ample collection of superior erotic artistry. “Cover” also provides Jenya with the opportunity to express a wide range of moods and emotions. The prevailing sentiment here is steamy, sultry sexuality. When this model turns up the heat one can’t help but feel it — Jenya projects smoldering desire with an ease that (I hope!) implies that it’s her default state, on the photo set and off.

But, adding to the richness and rewards of “Cover,” Jenya D. also has a spontaneous, carefree, even zany side that is on prominent display in the group of images beginning with #077 through #085. The smiling and clowning around in those pictures is as engaging as her sexiest super-vixen poses. I hope you will forgive me when I say that Jenya D. is a impressively well-rounded model.

This is the second MetArt HD erotic movie starring Candice B. that I’ve had the pleasure of critiquing. Ordinarily, I would make an effort to review a production starring a model I’ve not yet seen in a motion picture. But I’ve been so impressed by this model’s still galleries (here and here), and by an earlier movie, that I can’t resist risking the repetition.

After viewing “Aclamat” my enthusiasm for Candice B. is undiminished. Between her exceptional physique and sweet, lively, flirtatious personality, she’s quite irresistible. But, in all honesty, this outing pales a bit when compared to earlier efforts.

The problem is one that I’ve discussed several times — and that readers frequently comment on — but with an interesting, somewhat redeeming twist. The first half of “Aclamat” is a video recording made while a still shoot is taking place — the pictorial “Sevikis” I reference above. This means several things. One, Leonardo isn’t operating the video camera. Two, the video is punctuated by flashes of the still camera’s strobe. Three, the model is playing to the still camera which distances her from the video viewer. There is one wonderful moment, at the 3:03 mark, when Candice turns her attention briefly to the camcorder, smiles warmly, and raises her eyebrows playfully.

Shortly thereafter, there’s a noticeable change in the production. At approximately 4:54 Candice transitions to posing for the videographer — who may indeed be maestro Leonardo. From this point to the conclusion, Candice B. is front and center — as befits a MetArt Top 10 model — and directing her full attention to the camcorder. Much, much better!

I’ve commented on over 60 pictorials and erotic movies created by (obviously prolific) MetArt contributor Leonardo. After viewing this production and giving considerable thought to those previous works of his that I’ve seen, I was reminded that one of Leonardo’s greatest talents is his skillful use of light, both natural and artificial.

This talent is immediately apparent in “Assets.” And the fact that this MetArt HD erotic movie was shot at night makes the lighting all the more impressive. While necessarily artificial, Leonardo’s lighting scheme bathes his subject in a warm, even light that makes her skin glow invitingly. Shadows are kept to a pleasant minimum, but so is any hint of harshness or glare. Leonardo deftly balances the nighttime atmosphere with the viewer’s desire to see what he’s filming in clear, revealing detail.

The ability to capture that clear, revealing detail is all the more important when the subject in question is Lily C. This MetArt Top 10 model’s debut set — also shot by Leonardo, as it happens — won me over instantly, and I’ve enjoyed her subsequent appearances immensely. There’s a distinctly physical, animal quality to Lily’s charm, and her bold, teasing, fun-loving personality gives her work an impact far greater than her (considerable) beauty.

In “Assets” Lily C. freely shares all she has to offer, both the ripe delights of her body and the less tangible aspects of her personality. The look in those, dark, glittering eyes speaks volumes, and her movements and varied poses also communicate her amorous and alluring message very directly.

Lily C., artfully lighted and lensed by Leonardo, brings real heat to the night in “Assets.”

Rules, as you have doubtless heard, are made to be broken. That’s certainly true in the case of this MetArt erotic photo series. Several rules that I frequently employ while judging pictorials are broken during the course of “Paravan,” with quite entertaining and impressive results.

I’ve given photographer Erik Latika demerits in the past for his set design and choice of props. The model’s costume here, sheer thigh-high stockings, sheer black panties trimmed with a bit of coral colored net, and a pair of elbow length lace gloves in similar, but not matching, shade is curious, but here it works. The set is busy, as well. The central prop is an ornately carved wooden privacy screen, there are mirrored closet doors, what appears to be a tutu sits on a bed in the deep background, and the sharp, parallel lines of the hardwood flooring add additional visual complexity. To top things off, Latika freely indulges in off-angle tilts creating a woozy, eye-assaulting visual confusion. But, in this context, and with this model, the results are undeniably pleasing.

Ah, yes, the model. This is my first experience with Alisa G., and I’m impressed. Perhaps rising to the challenge presented by the slightly odd style of the set, she embraces it fully and delivers a rich and varied modeling performance. She’s playful, serious, experimental, thoughtful, flirtatious, and steamily sensuous. She even makes a shot like #096, certainly a quirky pose (one might call it a contortion), interesting and intriguing.

Alisa G. is gifted with a natural, easy allure. And even when she’s not trying hard she projects genuine sex appeal. In #028, for example, that subtle smile and the look in her eyes send an unmistakable message. When she just goes with the moment and expresses her amusement — as she does in #030 — one can’t help but share it.

This beautiful and versatile model and her creative photographer prove that breaking the rules can sometimes be extremely rewarding.

I must state, in the name of fairness, that Sofy B. is not my favorite MetArt model. It doesn’t come down to any dramatic fault or flaw, she just doesn’t have a particularly strong effect on me. I can certainly see and admire her modeling abilities, however, and I did just that in my critique of her second MetArt gallery — you’ll find it  here.

Although that set was shot by a different photographer, it actually shares a fundamental characteristic with “Ostrako.” I’m referring to the barebones presentation, the mundane locations, and the near total absence of props and embellishments in both sets.

Here Sofy B. is dressed casually: sandals, denim cut-offs, a boyish shirt. The location, a rocky hillside, is not precisely picturesque, nor does it look particularly comfortable to pose in. Perhaps artist and model were driving to a more suitable place and their car broke down? At any rate, Sofy B., displaying her game professionalism, makes valiant effort to add some beauty and eroticism to this unlikely spot.

Antonio Clemens adopts a simple style for this pictorial. The bright sunshine appears to be the only light, and there doesn’t appear to be any flash or reflector to brighten up and bring out detail in the deep shadows.

The highlight of the series may the quartet of images, starting with #029, in which Sofy B. is joined by a Praying mantis. The model displays genuine delight while posing with her insect friend, and it makes for an unusual “co-star.” But I have to wonder if Sofy B. would make a better general impression with the assistance of a stylist and a more inviting setting.

This MetArt erotic photo gallery is cause for two celebrations. Not only is it the first appearance of an appealing model, it’s also the premiere pictorial from a new contributing photographer. Before getting into the particulars, let me say that both artist and subject demonstrate considerable talent and much potential.

With her refined features, dark, brooding eyes, and long, luxurious mane of deep-sable hair, and splendidly proportioned body, Bony A. is certain to draw many admirers. Although I can’t confirm this, I do feel that she is new to modeling, and not simply new to MetArt. She tends to hold herself, particularly her head, in the same way from shot to shot, a habit displayed by many inexperienced models. But her looks are so striking it’s easy to forgive this mistake, and I certainly hope additional time in front of the camera will result in a wider variety of expressions in future sessions.

Photographer Ivan Harrin has a clean, simple style, both in his compositions and in the design of his set. Simple, unobtrusive lighting illuminates a hardwood floor, a white, S-shaped chaise, and a boldly patterned background. The shape and the color of the chaise provides a fine contrast to Bony A.’s coloring, and a bit of geometric drama, as well. With the clean lines, pleasing colors, and intriguing shapes, I do have to wonder how tilting the frame — #066 is one example — is of any aesthetic benefit. I’d call it a minor quibble.

My only other criticism is that this series lacks any truly revealing intimate images. All viewers are different, of course, but when a model is as attractive as Bony A., I would prefer to see everything she has to offer — and I certainly hope we will in future pictorials.

Despite the tilt, I like #073, #074, and #075 very much. Perhaps because the “upside down” pose is unusual, and also because it forces the model to break out of her typical posture. #067, eyes closed, long hair flowing, is beautiful both for the mood and the model’s facial and physical features. And #096 and #113 are two beautiful, thoughtful, figure studies.

The MetArt erotic photo gallery “Verder” begins with a particularly pretty portrait. Here the model, her body in profile, her face turned toward the camera, is against a diffused pastel background that compliments her long blonde hair, her dark blue eyes, and her off-the-shoulders pink dress. And it concludes with an informal shot of Helen F., outside and now wearing a jacket over that short pink dress. While these two images do a good job of capturing the model’s facial beauty, it’s what lies between these two tame extremes that gives this series its potent erotic kick.

When a flirtatious young woman wears a dress that short the potential for tease and titillation is abundant. Neither Helen F. nor her photographer, Rylsky, waste the opportunity. They don’t waste any time, either. In fact, in shots #010 and #011, when she raises a long leg and rests her knee on a low wall all is revealed and her facial expressions add an extra bit of “oomph” to these enticingly explicit up-skirt images.

Indoor and outdoor shots are included, and there are an interesting array of artistic, non-explicit images in “Verder.” I like the detail and composition of #064, for example, in which Helen rests a long-nailed finger on her plump lower lip while her left breast, in soft focus, occupies the foreground. Two more modest images — #050 an indoor portrait, and #055, a tightly-framed face shot — capture the beauty, cuteness, as well as some subtle intensity.

The series is not without its miscues, however. There’s something odd about #003, for example, in which Helen has pulled her dress down to reveal her pert breasts while gazing upward with an inscrutable look on her pretty face — is it surreal? Perhaps devotional? And in #016, standing between two trees, she takes hold of a branch of each — another head-scratcher.

There is nothing odd or indecipherable about the explicit images here, however. And some of them are unqualified gems. #046, a delightful detail shot of Helen F.’s backside, scores a perfect bull’s-eye. With her smiling face only just discernable in the diffused background, in #060, Helen’s moist magnificence sits in open invitation. And those who relish up-skirt images will find much to enjoy in the shots spanning #093 and #102 (of these I love her expressions in #099 and #101, and I can’t resist the detail in #102).

With a cast of one, the constraints of a brief, limited running time, and the high standards demanded by the parent company, these MetArt HD erotic movies present a set of very real challenges to the filmmaker. If you think anyone with a suitable model and an HD camcorder could easily create an acceptable movie…either do just that and prove me wrong — or think again. And simply being a gifted still photographer won’t get the job done in the cinematic arena either — despite some overlap, motion pictures really are an entirely different animal.

Koenart, as you may well be aware, is a fine still photo stylist. But he’s also versatile, and demonstrates real skill when he trades his digicam for a camcorder. If you’ve never witnessed his work, “Invito” provides an excellent (and highly enjoyable) introduction.

It doesn’t at all hurt that the director’s star here is MetArt model Mia Sollis. I was highly impressed by her MetArt debut, also shot by Koenart. And her second still sitting, artfully executed by Peter Guzman, reminded me that Mia Sollis is a uniquely beautiful and talented model.

Wrapped in a blanket, the scarlet-tressed starlet steps out of a contemporary house. With a demitasse and saucer in hand, she takes a seat on the pavers of the patio. The pace is languid, the implication is that it’s early morning. Mia is thoughtful and alone. I get the feeling her lover has recently departed and she is reflecting on the time they’ve just shared. It’s only after the mood is well established that Mia even looks at the camera — it’s quite a pleasant surprise, actually, and it happens a the 2:23 mark.

The remainder of the production continues in the thoughtful, romantic mode, but there are many sensual and explicit moments and images. Look how she moves at around the 3:50 mark. And notice how a retreating hand at 5:26, after some particularly explicit close-ups, subtly implies the act of self-pleasuring. The animated and extremely intimate action at 6:41 and 6:51 will also impress and arouse.

A beautiful and talented model, and a skilled and inventive director combine to make “Invito” inviting, involving, intriguing, erotic, and entertaining.

This MetArt erotic photo series is a bit of a jumble. There’s a casual, thrown-together flavor to the set design. The model’s costume — a shirt and panties — seems somewhat randomly chosen. And there’s an odd and — to my eyes — unappealing and completely unexplained and unexpected twist that appears later in the set (and which I’ll discuss later in this post).

Here Swan A. makes her first appearance as a MetArt model. Long-limbed and with a sweet, girl next door demeanor, Swan poses eagerly and freely, offering explicit, intensely suggestive poses along with demure images that seem more in keeping with her youthful, genial personality.

Rylsky is no shrinking violet, either — he maneuvers his lens as close as can be and some of these intimate views are almost startling in their proximity and detail.

Oddly enough, but in keeping with the slightly odd nature of the entire pictorial, there are also a group of shots that appear to have been subjected to rather extensive image editing. #023, for example, almost looks like a piece of airbrush art circa 1980. Interesting and curious.

As mentioned earlier, the oddness here extends to the set design with includes various curtains for background, a red leather couch with a white frame, and flooring composed of photographic tiles of white button-tufted leather cushions. Interesting, yes (in an odd way) but the effect is far from harmonious.

The unexpected twist comes in the form of dessert — an orange filled with ice-cream on a plate of sticky fruit syrup. Like a good girl, Swan plays with her food and makes a mess of herself in the process. Certainly a memorable debut, but perhaps not for the right reasons.

Cute is cute and pretty is pretty, and I’m drawn to MetArt models who fall into both those categories. But in Alina H. we have someone distinctly different. She can be cute — if the mood or situation requires it. And she’s pretty, without question. But what makes her so exceptional is a certain intangible but very nearly palpable attitude. This is a powerful, intriguing, and complex woman. And she can infuse even the most simple images with a richly textured sensuality just by tilting her head or arching an eyebrow.

Prolific and gifted MetArt contributing photographer Leonardo is clearly aware of Alina’s attitude and ability. The set he has designed for “Trust” is simplicity itself. The background is white, the lighting is bright and even, no key lights or hot spots are required. A large, peach colored bedspread or throw entirely covers a sofa. This forms a stage on which Alina H. delivers another riveting performance.

Wearing a sheer, black, ruffled camisole and matching panties, even the fully clothed introductory images have a subtle but undeniable drama. In #007, a relatively modest photo, there’s a hint of kittenish flavor, and a suggestion of the heat that will shortly be unleashed. Rid of her panties, Alina H. delivers back-to-back shots, #017 and #018, that express entirely different emotions. I find this kind of emotional variety irresistible, and the set has barely begun!

Let me simply call out a few of my favorite photos in “Trust” with the briefest possible explanations. #009, arms crossed, attitude cranked up to 11. #053 and #055 — hey, how about that smile?! #059 through #061 — getting a grip on the gorgeous goods. #064 and #065 — on her knees, upright, and gloriously nude. #002 — pure pin-up perfection. As for explicit shots, there are many to choose from — the majority of them enhanced by Alina’s erotic attitude.

An exceptional model and an exemplary erotic photo set — that’s my sincere opinion. Agree or disagree, please feel free to share your thoughts in the comments, below.