Monthly Archives: June 2012

They don’t happen terribly often, but when a new MetArt erotic photo series marks the debut of two first-time contributors, it’s an event worth noting. “Presenting” Mango A not only presents a new model, it’s also photographer Vlad Kleverov’s premiere creation for the site, so I approach it with a two-scoop serving of anticipation.

And that anticipation is more than satisfied by what I find in the series. Mango A is a natural beauty and — particularly considering her age and lack of modeling experience — acquits herself quite well in her debut sitting. From her bio I learn that she’s “a true nudist,” and that certainly results in a relaxed and uninhibited on-camera demeanor.

Vlad Kleverov‘s concept and execution of the set, barring a couple of minor missteps, is inventive, unusual, and enjoyable. The model is nude throughout. She’s positioned on the hardwood floor of a naturally lit room with a package of mounted photographs — half a dozen urban landscapes. Much of the set features Mango scrutinizing and arranging the photos. It’s an interesting device, but it isn’t completely successful. Is she the proprietor of a nudist art gallery? Is she decorating her own living space? Some of these posing-with-pictures shots, #038 or #120 for example, verge on the silly.

Even if the idea isn’t entirely successful, I give the photographer credit for coming up with an interesting new approach to a set — it really was quite clever of him.

There are a couple of underexposed images, these could (and should) have been omitted (see #022) but I have no trouble choosing favorites from the remaining shots. In #029 the model assumes what I’m told is known in yoga circles as the “happy baby” pose with a pleasing result. I like the casual, thoughtful, naturalistic feel of #049. I like the explicit abstraction of #060. #061 is an interesting head-and-shoulders shot. #070 offers an explicit and creative pose. And additional explicit highlights include #089 and #091. “Presenting” Mango A is a promising debut, times two.

With hair that hangs nearly to her waist, a trim and long-limbed physique, and a flawless complexion, Kristel A is certainly a pretty girl. I said as much when I commented on her MetArt debut. But the second time I critiqued one of her pictorials I was disappointed. She was (and is) still quite pretty, but the flaw that marred her performance remains firmly in place in her most recent erotic gallery.

Those first two pictorials were both lensed by Rylsky, and even though they were quite different in style and approach, they were both beautifully executed. “Corasida,” however, places Kristel A in the able hands of Alex Sironi. I am on the record as an admirer of his work, and I’m hopeful he can bring out the best in this model.

Well, he certainly makes a valiant effort! He shoots her clothed, he shoots her nude, he shoots her standing, climbing on the single piece of furniture, and spread out on the floor. Sironi moves in close for delicious explicit close-ups, he throws in shots of fingers, feet, and toes, a headshot here, a portrait there. He puts his camera right down on the floor, he cajoles and coaxes his subject into intricate and abstract poses. But no matter what he does, Kristel A can’t seem to change her facial expression.

It really is vexing. The pretty lips of that pretty mouth seem to be cemented together and locked into a benign semi-smile. After a while it takes on a mask-like quality. So tightly and relentlessly clenched are those lips that I’d bet cash money that she’s struggling to hide a mouthful of orthodontic appliances. Whatever the reason, I only wish Kristel A would grin, frown, stick out her tongue, blow a raspberry — offer something, anything, in the way of an alternative facial expression.

As mentioned, Sironi works considerable stylistic and technical magic with this model. And, despite the mouth thing, Kristel A delivers some particularly interesting poses. Numbers 076, 078, and 079 are variations on one unusual, almost abstract composition. #009 is a classical, painterly topless still life. #126, eyes closed, is a fine, floor-level figure study. There’s some truly skilled modeling on display in “Corasida,” but much of it is marred by the locked look of the model’s lips.

The arrival of new models at MetArt is a frequent and most welcome occurrence, and when Katherine A made her debut on the site several months ago she made an extremely positive impression on me (which you can read here).

The pleasure of discovering a fresh talent is easily matched by watching that talent grow and gain experience, and all the charms that Katherine A displayed in her debut are present in “The Offer.”

Alex Sironi photographed Katherine’s MetArt debut, and he’s behind the camera for this effort, as well. And that is a good thing. This photographer has a light touch and a less-is-more aesthetic that is consistently effective, as it very much is here.

Wearing an extremely elegant haute couture dress with a sheer bodice, Katherine A reclines on an antique sofa. True to form, Sironi has dressed his model and his set in subtle, muted, flattering tones. As beautiful as she is dressed in #001, we can’t wait for that stylish costume to make a stylish exit. But the sheer fabric — see 008, 009, and 010 — makes the wait for nudity entirely tolerable!

When Katherine A raises the hem of her skirts she reveals pristine perfection, and when she stands and lets the dress pool around her knees, that lithe, exceptionally graceful shape is wonderfully presented (see #037).

“The Offer” offers a complete range of poses and compositions. Detailed close-ups are plentiful, devoting attention to breasts, hands, feet, and delicate intimacies. The long, elegant lines of the model’s body are the subject of several wonderful figure studies — 076, 089, 095, and 116 are some of my favorites. And for radiant, youthful, blue-eyed beauty it’s impossible to resist a headshot like #107. I expect that lovers of nubile beauty and deft photographic artistry will eagerly accept “The Offer.”

The location Leonardo has employed for this erotic photo gallery is particularly pretty: a glossy marble floor edged by a curved, white stone balustrade, looking out on the deep blue sea and a blue sky decorated with puffy clouds. The colors and shapes of the setting provide a fine backdrop for one of MetArt‘s most popular Top Models.

Divina A, wearing only a filmy, frilly white blouse and a pair of towering high heels is the star on this flattering stage and, as the series progresses, she utilizes much of it to present a pleasing variety of poses. One thing that doesn’t vary much, however, is Divina’s expression — she has a sunny smile on her face throughout the set and one longs for a bit of variation after a while. In #033, for example, crouching down on her heels, wrists crossed between her thighs, her relaxed and candid expression offers a pleasant change of pace.

I wouldn’t dare argue or dispute Divina’s success. She’s a lovely girl and I’ve loved the two photo sets (here and here) I’ve critiqued, as well as a fine MetArt HD erotic movie performance. But here, despite the beauty of the setting, the variety of poses, and the high quality of the photography, there’s something slightly amiss. It’s difficult to define or pin down, but I think it may have something to do with the way Divina A has been styled here, particularly her hair. It seems to me that it’s longer and flatter than in previous sets and that her earlier hairstyle was a bit more flattering. Feel free to file this under “Nits Picked,” however, and if any readers disagree with me I welcome their comments and insight.

While this may not be Divina A’s finest set, it is a Divina A set, and that means there’s still much to be enjoyed in “Protypo.” I particularly like #015, a butt-shot that captures the long-legged and round-rumped perfection of the model’s body as well as the splendor of the setting. I love the smile and the raised left foot pose in #024. And for explicit shots I like the two legs-spread-wide options offered in #049 and #103.

One image in and I can say, with mathematical certainty, that this set will be polarizing. Some will love it, others will hate it — there won’t be much of a middle ground between those extremes of opinion.

Why? The color, or should I say the color, specifically, of the model’s hair. MetArt has built its reputation and empire on a natural, unembellished type of feminine beauty. And while Violla A is a natural beauty, there is nothing at all natural about her hair color. The closest and most descriptive analog might be “Lamborghini Orange,” that vivid, radiant shade that is so arresting on an exotic automobile, and so glaring on a young woman’s head.

And there’s the divide. I can praise the model, the styling, the location, the technical and artistic aspects of the photography, to the skies. But if you can’t get over that hair color, you’re not going to get into this set.

Oh, I had a moment of doubt at the start. But I got over it. And by the time I was through I loved the set, loved the model, loved the choices made by the photographer. And I even came to love that outrageous hair.

Of the many clever choices Matiss has made here the location is the most important. It’s a rolling meadow, surrounded by a line of trees in the distance, a verdant carpet of tall grass dotted with flowers in a vivid shade of (entirely natural) purple. It’s so pretty that one wouldn’t mind looking at landscape photos of the location, even minus a model.

He’s placed Violla A in this beautiful setting, totally nude, and hung a necklace of large, glossy, purple and blue beads around her neck. The colors here — both natural and synthetic — work extremely well together.

And, having noted all that, perhaps the most striking aspect of the set is Violla’s expressive face. This girl has a lot of looks, and her emotional and expressive range is truly impressive. Between the smile in #027 through the “crouching tigress,” nearly hidden in the tall grass of #058 I found a dazzling array of exceptional headshots — too many to list, in fact.

You’ll also find figure studies, explicit and enticing (and moist) detailed close-ups, and additional compositions among the generous selection of images “Topaz” contains. If you love the hair you’ll love the set. If not? You won’t.

There’s something about the furnishings of the room and the style of the model’s costume in “Dexiosi” that brings to mind a saloon in the Old West. Perhaps she’s a waitress in a sporting house on a lawless frontier that’s been subtly updated. Whether others get the same impression isn’t precisely my point, let’s just say that, between the girl and the setting, there’s plenty of visual interest in this MetArt erotic gallery.

Toned, trim in the torso, long limbed, and with her dark hair and darker eyes, Gracy Taylor is every bit the “cool drink of water.” Her pink and black lace lingerie ensemble, complete with garters and black stockings, definitely has a theatrical flair, but I think taking it all off makes a distinct improvement. After she’s fully disrobed a shot like #033, totally nude, standing, with her arms up and hands behind her head, the lines, shapes and contours of her sleek physique can be fully appreciated.

The rough and rustic shape of an exposed brick wall adds graphic as well as sculptural interest to the set Luca Helios has styled here. And several antique chairs, lacquered to a high, modern gloss provide options in terms of placement and pose (and also help create the atmosphere of a dark and stylish tavern). Lighting strikes a pleasing balance between mood, clarity, and artistry — see #016 for one sassy sample.

My ordering advice in this imaginary roadhouse? #030, topless, with hair temptingly tousled. #060 and #061 for a pair of shots of intimate spots. #075 hands down, literally, and for the facial expression. And #116, where that shapely body and the various design and lighting elements all come together.

The location employed in “Deos” would be striking under any circumstances. A rugged stretch of shoreline studded with massive concrete tetrapods melds the natural and manmade worlds. And it gives a photographer and his subject a splendid backdrop as well as dramatic and interesting options in terms of pose and placement.

The model here is striking, dramatic, and interesting in her own right. I’ve critiqued three of her previous contributions to MetArt — a single still set and two (one and two) HD erotic movies – and enjoyed them all. A natural redhead, Natalia A’s coloring and complexion are exceptionally appealing, her facial features are elegant and refined, and she has a sultry, seductive presence that is both complex and undeniable. When she smiles, which isn’t very often, she can be sweet. But her default demeanor is far more subtle and textured. This model has an intriguing attitude and she can speak volumes with an arched eyebrow or a sidelong glance.

The weather makes its own contribution to “Deos.” Although Natalia A maintains a professional’s poise throughout the set, I suspect it was chilly that afternoon. And the wind whips and teases her hair with some interesting results — see 008, 057 and 060 for three examples.

The wind also propels clouds across the sky and the changing light adds an unpredictability and variety to the set. Sometimes the sudden dimming results in a less than idea exposure, but overall the vivid lighting is one of the set’s real assets. Numbers 077 and 078 capture the blue of the sea and Natalia’s coloring with truly painterly skill. And Leonardo also crafts several wonderful portraits — the light in her hair in 004, and the topless 019 (note the slightly muted lighting) are lovely shots of a lovely subject.

I’ve had the pleasure of commenting on two previous MetArt pictorials starring Feeona A and she never fails to impress me (first impression, impression the second). And it’s not simply because of her physical beauty — this girl has an utterly charming and disarming personality that really comes across in photographs. Do you have ice water in your veins? You’ll need it if you choose to resist this model or this set!

The series is composed of three basic segments. This isn’t always an effective approach, I must say. Sometimes one section stands out and the additional material seems weak in comparison. But in “Qualite” the three separate sections combine to create a unified whole that is even greater than the sum of its parts.

Rylsky‘s photo essay begins in the make-up room as Feeona A prepares herself for the work ahead. Topless but wearing a tight pair of jeans, the model works with powder and a brush as well as a curling iron. These casual images are a delight, and there are some truly beautiful photos here. #034, for example, is as beguiling a headshot as one might want. Feeona also displays her playful side here, and whether she’s sticking out her tongue (036) or having impure thoughts about her curling iron (029) she delivers a natural and spontaneous performance.

The second section reveals the results of the pre-show preparation. Here her appearance is polished and more formal, but her spirit is still sweet and lively. Seated, quite gracefully, on a banister in #039 she gives the photographer all he needs to create a beautiful image. There are a few explicit shots in the mix, as well as two beautiful butt-shots (101 and 102) as well as an absolutely angelic headshot (095).

“Qualite” concludes with a group of shots taken during a mid-day meal. These are the least erotic images in the collection, but they’re enjoyable nonetheless because they allow us to see Feeona A in an entirely different setting and style, which gives us a finer sense of her enchanting personality.

The MetArt HD erotic movie format presents several unique challenges to the director. The first is simply the issue of time. “Dawn,” to cite the example at hand, has a total running time of 8 minutes and 12 seconds. That’s not a lot of time to tell much of a story. Further, most of these films don’t feature any dialog, so the filmmaker must rely on a purely visual mode of communication.

Of course, when the subject is as visually appealing as Mia Sollis, the director’s task of constructing a narrative, however scant, is made that much easier. And Koenart, a gifted visual artist, has the skills, sensitivity, and intelligence to tell his story in the limited time available.

Mia Sollis emerges from a house carrying a bottle of lotion and a cell phone. It’s easy to overlook during the first, casual viewing, but the phone is the central plot device here. While she waits for an eagerly anticipated text message the beautiful redhead relaxes on the patio.

Koenart has an eye for beauty and a particularly light touch. Just before the minute mark, for example, Mia stands at the railing looking out at the landscape beyond. Koenart moves in close and captures the hem of her frock as it flutters in the wind. There’s really nothing to it, but it’s a beautiful image and adds to the sense of time and place.

The director has made another interesting choice. Rather than pretend she’s unaware of the camera, Koenart has Mia Sollis play directly to the lens throughout. After she’s removed her shift and is dressed only in a pair of white panties, Mia lies back on a chaise and spreads her legs. As she does so, at the 2:26 mark, she shoots a tiny, sly smile right at us. It’s just one of many wonderful moments here.

Headshots are featured, and to excellent effect. To pose for a successful still headshot is one thing, but the unblinking eye of the camera puts additional demands on the model. Sollis shines in these beautiful, intimate moments. And Koenart also devotes generous screen time to the rest of Mia’s body, much of it in tightly framed, deliciously detailed close-ups.

Whether your day is just beginning, winding down, or if you’re simply in the mood to savor a brief, beautiful, erotic interlude, “Dawn” is a delight.

I suspect this set was named for the animal print wrap that Liza B wears, poses on, and plays with here, but the model has a vibrant spirit and stunning physique that adds an engaging and undeniable feline undertone to the pictorial. Liza B is an exceptionally beautiful woman, refined, glamorous, and elegant. But it’s her vigorous physicality that adds an earthy element that suggests a fiery sexuality — I know she’s stunning on the street, and I can easily imagine she’s an absolute beast in bed.

Yes, I’m fond of Liza B. She’s got film star and supermodel level good looks (am I the only one who sees echoes of Sharon Stone and Jerry Hall in that face?). She’s got legs for days, her proportions are very nearly perfect, and she’s lithe, fit, and exquisitely feminine. She’s also an experienced and polished model, and I very much get the sense that she’s enjoying the experience of working with photographer Leonardo.

Having such a splendid subject makes the photographer’s job that much easier, and in this familiar setting, once the lighting is right, I get the feeling he pretty much turns her loose and snaps away. Whether that’s precisely true or if there’s more effort involved, I can’t know, but I can certainly make that case with the ample and excellent collection of images in “Tigris.”

Lest I be accused of fawning or frothing, there are a couple of missteps here. In #006 the pose just seems overdone and corny. In #020, a pretty shot, feels somewhat contrived. Even ignoring the iffy exposure in #057, I have to wonder, is Liza demonstrating her pole-scaling ability? But the flaws are few here while the delights are many.

There’s a bold, casual majesty to Liza’s body and bearing in #045, for example. Numbers 040, 041, and 042 provide three variations on a heavenly headshot. I like the floating fabric effect in #046. The background landscape, the beautifully lit leaves at the edges of the frame, that torso, that hair, and those eyes in #108. And the very last shot, #139, that so-subtle expression, the arching back, up-thrust ass, and casually crossed ankles — irresistible.