Monthly Archives: April 2012

This MetArt erotic photo gallery marks the arrival of two new talents. This is 19-year-old Surime A’s debut appearance here, and while photographer Koido isn’t completely new, this is only his second contribution, and the first I’ve seen. Short story: two impressive “new” talents.

I was somewhat surprised to learn that Surime A is just 19, and only recently graduated high school. As I went through the set I was struck by the model’s natural and spirited expressiveness. While she is lively and energetic, she also has a knowing, worldly quality that implies a certain maturity — certainly more maturity than we expect from a 19-year-old. Her performance is that much more impressive when one considers her youth and (presumed) lack of experience.

An expressive and physically impressive model makes any photographer’s task easier and more enjoyable, and Koido demonstrates his own considerable artistic ability both in his design of the set and the wide variety of compositions and poses he manages to include with only a minimum of set decoration. I’m particularly impressed by how the slate gray floor blends seamlessly into background. It’s a slightly unusual color choice — strong yet still neutral — and it flatters Surime A’s natural coloring.

A simple, light gray stool makes an effective prop, particularly in the sequence of shots spanning #020 through #030 — whether standing next to it, her back to the camera, in #027, or seated on it, in a playful pin-up pose, in #022, model and artist get maximum effect with minimal décor. Even knocked over, as it is in #049, the stool adds a hint of graphic interest to an already interesting figure study.

Two more favorites from this series dispense with props entirely. Totally nude, curling her body up off the floor and eyeing the camera, in #062. And #063, flat on her back, eyes closed, face relaxed, hands above her head, is another beautifully posed and composed image from this talented new twosome.

Sharp-eyed readers — well, even one-eyed readers — will immediately recognize the location of this set. I wrote about a series created in the same space by the same photographer just the other day. It’s a pleasant room, with lovely light, the only question is, will this MetArt gallery be as pleasing as the previous example?

I could make you wait and turn my attention to the more pleasing elements of “Veritat,” but I will spare you the wait. After all, the set’s title is the Latin word for truth, so I have no choice but to be honest. The answer is: no.

In technical and stylistic terms Koenart is consistent from the previous set and this one. He’s rearranged the room slightly, moved out the chair and replaced it with an ottoman. So, why is this set less successful? Who gets the credit, or the blame? Our choices are limited. Would anybody care to venture a guess?

Yes, a gold star for those who picked the model. What is it about her, what she’s done, or what she hasn’t done, that makes this series less than satisfying? It can’t be her body, she’s voluptuous, shapely, and otherwise inviting. It can’t be her tattoos — Koenart studiously avoids including them in his compositions and they are only visible in a few shots. And it’s not her face, not exactly.

It’s her smile, or absence of same. It’s her attitude. Truthfully, I can only say that I get the distinct feeling Bella C isn’t enjoying posing for this set. When she attempts even a shadow of a smile, as in #032, the result is faint and forced. And in #058 her expression is almost one of resentment.

I don’t mean to suggest that all models should always be happy and smiling broadly – far from it! Some of my favorite MetArt galleries feature models in contemplative, thoughtful, understated moods. But in shot after shot, no matter how appealing Bella C is physically, I get the feeling she’d rather be somewhere, anywhere, else.

As it happens, the last few shots feature the fully dressed model outdoors. In these shots Bella C is happy! She is smiling, naturally and genuinely. I only wish she’d brought some of that cheerful spirit to her nude sitting.

This recent addition to the MetArt HD erotic movie collection is an energetic, perfectly paced, and wonderfully performed exercise in temptation and tease. Here filmmaker and star work together in complete harmony, and the film is a high-voltage delight from beginning to end.

The key ingredient in the success of “Grifos” is tease. And the young woman doing the teasing here is a gifted expert in this erotic art form. Diva A can be more suggestive with a look in her dark eyes or a pout of her luscious lips than lesser talents can accomplish with their entire bodies. Consider this: the lingerie-clad Diva A doesn’t reveal so much as a breast until the 3:30 mark — a full third of the way into the movie. This girl, to employ the technical term, is hot — clothed or nude, or anywhere in between.

Director Rylsky employs an interesting set and some clever blocking. As “Grifos” begins, Diva A is descending a staircase. If you’re ever wondered if walking down a flight of stairs could possibly be sexy, you’re find your answer here. Once she’s reached the ground floor Diva is in a rather compact space. A slat-back chair occupies the foreground, and a gold column, which serves as a symbolic stand-in for a brass stripper pole, is off to the left of the frame.

First Diva works her way to a wall. Legs spread wide, she gracefully lowers her lithe body to the floor — I can’t adequately describe this move, but you’ll find it at 1:58, and it’s worth finding. She spends some time in the chair, something of a lap dance without a lap, then briefly and effectively “works the pole,” and winds up on the floor. There’s a moment, at 4:46, where she rises to stand and the lighting captures the elegance and physicality of her body absolutely beautifully.

The teasing continues. Diva works her magic with sultry confidence. And Rylsky, through clever pans, cut-aways, and lap dissolves, heightens the effect masterfully. Of course, a tease without a pay-off can be annoying, to say the least, and when Diva A ditches her panties the pay-off is well worth the wait — explicit images and erotically-charged action fills the final third of the production.

While much of the sexual energy here is generated by Diva’s body — have a look at the section right around 9:00 as she “works the floor” — much attention is paid to her face, and it’s no less sexy. “Grifos” is a real star turn for Diva A, and a wonderful piece of erotically-charged cinematic art from director Rylsky.

My initial reaction to this model and this MetArt erotic gallery, based on a handful of images, was positive. The set design was bright and colorful, Leonardo‘s photography was direct and free of gimmickry, Mary C’s beauty was obvious, and her energy and spirit was quite engaging. In short, I fully expected to enjoy the pictorial and consequently write a glowing evaluation.

But, as I worked my way through “Volico,” several flaws made themselves apparent, two I’ve mentioned in previous reviews, and one that I may have never had occasion to mention.

Mary C has a type of accessible beauty that is easy to appreciate. She has the ability to project a wide range of moods — she does give us a hint of that here. But only a hint. Mary has a habit of holding her face in the same cheerful semi-smile from shot to shot, pose to pose. Additionally, she has some difficulty relaxing her hands that compromises many of her poses (see #031, for one example) and gives them a stiff, unnatural quality.

Both those problems I’ve experienced with other models. But, as I thought about it, I realized that they might be part of a larger problem. And I think it comes down to motivation and purpose. Actors address the issue regularly — “What’s my motivation?” — to give their performances realism. And what is the purpose of this performance?

“Volico,” like all MetArt pictorials, is an erotic photo set. “Erotic: of, relating to, or tending to arouse sexual desire or excitement.” Her purpose here, her motivation, is, on a fundamental level, to arouse sexual desire. And in many of these images, even the most explicit ones, I feel that Mary isn’t quite clear on this point. She poses earnestly, she’s fully engaged, and she isn’t uninhibited physically. I’ll cite just one example. In #088 she couldn’t be more completely exposed. But what is that beautiful face expressing? I couldn’t even venture a guess.

I have never seen any of her other sets, so I will give her the benefit of a doubt. And there are some absolutely beautiful images here — in #132 I love the innocent (and different!) expression; #136 captures the slender perfection of her body (again with a slightly different facial look); and #137, a torso and headshot, has a spontaneity that’s (sadly) missing from much of the series. A girl this beautiful is certainly capable of arousing considerable amounts of sexual desire or excitement. If she gives her motivation and purpose some careful thought, future sets will realize her full potential.

Of course, as always, I could be completely wrong! Please feel free to share your opinions, below.

This model’s gifts are plentiful, powerful, as well as particularly pretty. She’s got an easy, natural, girl next door charm, but it’s not at all difficult to imagine her dressed to thrill and knocking ‘em down in the big, sophisticated city.

If I have one complaint about Edwige A it is simply that she sticks to a rather narrow range of facial expressions. She has a pretty face — I only wish she would explore more of its innate expressive potential. Here she’s mainly in studious, serious, model-at-work mode. When she steps away from that safety zone she generates far more interest.

What has no trouble generating interest here are her physical gifts. From the texture and color of her smooth skin, to the shapely curves of her legs and ass, to her generously proportioned and artfully shaped bosom, she offers an enticing array of bodily beauty. As luck would have it, she doesn’t appear at all shy about showing it off.

Koenart doesn’t let the opportunity escape his lens and, while the set begins on a somewhat demure note, by the time it’s finished we’ve been treated to a broad assortment of explicit shots, including many wonderfully detailed close-ups.

The lighting and set design are clean and stylish. Edwige, barefooted from the start, is wearing a figure-hugging little black dress over pleasantly provocative black lace panties. Even when nothing much is exposed, as in a detailed figure study like #017, her ripe curves are irresistible.

“Dinamita” concludes with ten shots of Edwige A, dressed down in faded jeans and a printed T-shirt — and, yes, that message is true in my case, and countless others, I don’t doubt. It’s a nice way to end the set. It gives a greater sense of who Edwige is as a person, and leaves us hungry to see more.

Now is probably as good a time as any to remind my readers that the opinions expressed in my posts are entirely my own. I evaluate each MetArt erotic photo series based on my visceral reactions to it, my personal aesthetic preferences, and my taste, mood, and temperament at the time of writing. All of this is to say I strive to give an honest evaluation of a set based on my personal observations and opinion. You may disagree — that’s sort of the whole point. I welcome any and all opinions, whether they correspond with mine or not.

So, knowing full well that countless MetArt members may consider Nella A to be a sweet angel, I find her predominant trait to be quite devilish. While she can undeniably project sweetness, this is not her natural state. In this pictorial she radiates raw sexuality. She may be wearing lingerie in a virginal shade of white, but there is nothing at all virginal about her presentation or attitude in these photos.

I’m tempted to use words like “hard” or “severe” to describe Nella A. She definitely has a frank, animal appeal. And I also think her overtly sexual, provocative attitude here is underscored by her hairstyle, which brings to mind (to my mind, anyway) Bettie Page. Her piercings — tongue and navel — do nothing to soften her image. And the way she’s styled her eyebrows also contributes something sultry and suggestive. While some models put one in a romantic mood, Nella brings to mind nothing short of raw lust.

As a result, my favorite shots in “Opus” are the unashamedly explicit, blatantly sexual, and completely uninhibited images, and there are many to be found among the 164 photos Tim Fox has provided. In #087, although her face is in soft focus in the background, the flesh in the foreground ensures that Nella’s message comes across lusty, loudly, and clearly.

There are times in “Opus” when things go a bit too far. Things get a touch too dramatic in #072 as she faux-struggles with her panties, for example. And the panty-chewing in #077 seems similarly over the top. She’s certainly cute in #151, but I much prefer what she’s offering in #107: raw sex and a lewd attitude.

Frequent MetArt contributing artist Luca Helios‘ design and execution of this new model debut gallery is interesting and effective. A white, high-gloss floor blends seamlessly into a bright white background. There is just one prop — a wooden cube, minus two of its sides — and it is used sparingly as a seating surface.

The first time model also receives a minimal treatment. Apart from a string of black beads, Gracy Taylor is totally nude in every image in the gallery. The only additional item she has in the way of costuming is a generous coating of shiny, shimmering, oil that slicks her body from neck to toe. Quite a dramatic and eye-catching presentation.

Gracy Taylor seems confident and self assured here — particularly in view of her complete nudity and greased condition. I wouldn’t say she is the most dramatic or expressive model, but she more than compensates for this with her complete inhibition and posing skill.

One thing that struck me about the set, early on, was the model’s seeming reluctance to smile. In image #040 I found my answer. It’s a headshot, one of the more spontaneous images here. Gracy’s eyes are averted, her head tilted forward and down, and her lips are parted just enough to reveal a row of braces. The model does an excellent job of concealing her orthodontic appliances throughout the set, but in so doing she mutes her natural expressiveness.

The lighting here, coupled with the stark, glossy white set, does a wonderful job of highlighting the contours of Gracy Taylor’s body. And the coating of oil on her skin amplifies the effect markedly. The oil also adds considerable impact to the generous assortment of explicit anatomical close-ups. Gracy Taylor is a slick piece, so to say — and “Presenting” is a slick piece of work.

This is my first exposure to the work of MetArt contributing photographer Elxian. Indeed, before I received this assignment I’d never even seen his (or, I suppose, her) name before. So a new artist to experience, always an enticing prospect.

While I’ve never seen any of Elxian’s work, I have critiqued two photo sets featuring Ralina A. previously (those posts are located here and here, for the curious among you).

So. New artist (to me, at least). And cute, sexy model. That’s a promising combination — will “Odeur” deliver on that promise?

In some ways, yes. But, disappointingly, in other ways the answer can only be no.

Ralina is as cute as ever. And here she’s taken the unexpected step of bleaching her dark hair an almost Monroeian shade of blonde. The color and hairstyle have a playful, and I think pleasant, retro/costume feel. I’d probably say I prefer her with her natural shade, but in this setting it’s somehow appropriate.

The setting is a lavishly furnished bedroom. As the movie begins Ralina enters wearing a fluffy white terrycloth robe. She quickly sheds the garment and spends the balance of the production lolling on the bed in her beguiling birthday suit. The only prop she’s been provided is a single, long-stemmed, white rose.

As appealing, sexy, and engaging as Ralina A. is, she is faced with a challenge: maintaining motion and viewer interest over nearly ten minutes of running time. And she has to do that while retaining some spontaneity and logic for her behavior and actions. I’m not sure if she has entirely succeeded, although I hesitate to blame her.

I think if Mr. (or, I suppose, Ms.) Elxian had been a bit more dynamic with the camera, and perhaps a bit more adventurous with the direction, “Odeur” might have been a bit more engaging. The lighting, while appropriate to an actual bedroom, is somewhat dim and the details of the model’s body are not always revealed with the clarity that body invites. Additionally, with so little in the way of “story arc,” and with such an uninhibited subject, I think “Odeur” would have certainly benefited with more emphasis on explicit anatomical close-ups of the intimate variety. For example, simply look at the cover shot — more images like that, of the moving type, would have made “Odeur” a far more moving movie. That’s what I think. Please feel free to share your impressions in the comments, below.

I was lucky enough to have the opportunity to critique this model’s debut MetArt erotic photo gallery. “Candidat” is her sixth series, and it provides a welcome chance to revisit a promising talent, and to evaluate both her development as a model, and the accuracy of my initial observations.

Catherine A. impressed me with her eager expressiveness in her debut. That quality is still very much in evidence in “Candidat.” This model has a natural ability to project a truly impressive range of emotions and moods, and she’s a gifted and inventive poser, as well. Her ability to transform her appearance from shot to shot is almost uncanny. And I’m talking about something far more complex and subtle than simply putting her hair up, or letting it hang free to achieve different looks (she does both here, by the way). Compare #005, for example, with #021 — two almost eerily different looks.

Catherine A. can be composed, formal, and deliver highly stylized poses. And she can be unpredictable, spontaneous, and entirely natural. Photographer Dolce — the creator of all of Catherine’s MetArt pictorials — manages to capture her many moods and attitudes quite adeptly. The photographer does have a weakness for tilted compositions, however, and the off-kilter images here seem an unnecessary distraction. Images #097 and #098 provide instructive examples. Catherine’s pose is unusual and extremely interesting (as is her facial expression) in both shots. The first is tilted, creating a queasy feeling that the model is at risk of sliding out of the frame. In the second image, now on the level, the pose and composition achieve something approaching perfection.

I like the simple set design here. The rich color and texture of the walls, the dark planks of the hardwood floor, and a single potted plant provide interest without distracting detail. And the upholstered armchair makes a versatile platform for Catherine A.’s creative posing. Two favorites illustrate my point: #036 seems destined to decorate many desktops with its particularly effective composition. And in #041 Catherine gracefully forms a bridge between the arms of the chair with her beautiful body. This “Candidat” easily earns my most enthusiastic vote.

Is it an omen? Coincidence? Conspiracy? This much I know: I was assigned two MetArt erotic photo series for review. They were both added to the site on the same day, in sequence — there is no third set separating them. The first I reviewed yesterday, the second is the subject of today’s post. The models couldn’t be much different. One set is a product of the studio, the other was shot on a breezy beach. And here’s the curious part: the central prop in both these completely dissimilar sets is a piano! What are the chances?

A piano into a photo studio, as we had in yesterday’s set, is pleasant and not at all unusual. But in “Arkada” an upright piano, with a hippie paint job, has somehow been deposited on a beach. How did it get there? And why? I might devote some time to answering these questions if it were not for the presence of Caesaria A. This breathtaking nubile is such a treat that she renders any incongruities or curiosities completely irrelevant.

I’ve experienced Caesaria A. once before, in a studio session also created by Rylsky. I was impressed, to say the very least. And I like this gallery even more. The first sitting was somewhat formal and the model’s presentation polished. In “Arkata” all she has in the way of a costume is a camisole, no shoes, no panties, no skirt or pants, no jewelry — just the sand beneath her feet, the wind in her long hair, and the sun on her skin. And that is enough! Less is more! And the more I look, the more I love. In pose after pose Caesaria delivers an impressively broad and endlessly intriguing range of moods, expressions, and moments to be savored.

That little body is flawless, and the natural light and Rylsky‘s varied compositions capture all the vitality and physical beauty of this exquisite nymph. And the face that so intrigued me the first go ’round is even more mesmerizing here. I was going to call out a handful of noteworthy images but I’m faced with far too many diverse and exemplary choices.

Splendid model. Entertaining and enjoyable photography. What piano?