Monthly Archives: July 2012

Love at first sight. It’s something I imagine everybody has experienced at least once in their romantic lives. It’s an appealing concept, and has been memorialized in literature, films, and popular songs. And, in the case of this MetArt erotic photo series, I will admit to feeling an immediate and strong attraction to this model. I’d only reached image #002 when I felt myself drawn to this very sexy girl.

However, it is not a pop song about instantaneous attraction that I allude to in the title of this post. The meaning of “just one look” is far more literal and descriptive. Because, for all her curvy, sexy, inviting physical beauty, Gyana A limits herself to…just one look. And by that I mean, specifically, her facial expression. Her big, dark eyes are open wide, her plump, luscious lips are sealed in a voluptuous pout, and that’s it.

Now, it’s a good look, don’t get me wrong! It’s an expressive look — and what it expresses is sultry and sexually provocative. But, over the course of over 100 photographs it barely changes. Gyana A serves up plenty of different poses, and photographer Arkisi moves her all around the space, but the look on her face remains stubbornly stuck in place.

The lingerie is flirty and seductive. The lighting in “Minoan” is moody and evocative of an afternoon of sensual delights — and a shot like #060 finds the model at her most relaxed while showcasing the photographer’s un-fussed, natural style. The explicit shots, like #058, are effective and eye-pleasing. I just wish that this sexy, shapely, ripe-lipped beauty would use one of her most striking assets to greater effect. Gyana A has a beautiful face and gorgeous mouth with really exceptional lips, If only she would use these gifts to their full potential.

He could have traveled to a dramatic location — a mysterious forest, a wave-lashed beach, a craggy mountain top. He might also have painstakingly constructed an elaborate set and decorated his studio with a profusion of props, furnishings and fabrics. And Rylsky, an experienced photographic artist if ever there was one, could have crafted this set in a palatial private residence, positioning his subject against a backdrop of plush, ornate, elegance.

No, no, and no! Here the artist strips things down to the very basics and achieves excellence through sheer simplicity leavened with skilled creativity. “Violett” may not have much in the way of fancy, fussy art direction — the lighting is direct, flattering, and effective, but far from dramatic. And he hasn’t resorted to visual tricks or technical gimmickry. Rylsky has worked erotic photographic magic here by including one special ingredient — and it’s known as Chantelle A.

I’ve reviewed three of Chantelle’s galleries (count ‘em: one, two, and three), and she has impressed me mightily in every one of them. This model is physically delightful, that much is plain. But she radiates such a bright, beautiful, beguiling personality that it’s almost overwhelming. And here, on Rylsky’s simple light purple seamless backdrop, there’s nothing to distract from her perfect beauty and powerfully disarming persona.

As you might imagine, trying to pick favorites out of a pictorial like “Violett” isn’t easy. It’s a big set, for one thing. And it contains a lot of variety. In the vast bulk of the collection Chantelle A is completely nude, although she does appear in a rather modest bikini in a handful of shots at the end of the series. And her moods are every bit as varied as her poses — and her poses are extremely varied! She’s giddy, she’s serious, she’s silly, she’s sultry. She’s relaxed, intense, thoughtful, playful, impulsive, and composed. I’m going to limit myself to three images. #011, nothing fancy here, just a perfectly beautiful girl, with a splendid body, in a fine photo. #075, those eyes, that face, that hair. #041, that stellar body, arched into an awesome and impressive full bridge revealing her physique to stunning effect. “Violett” overflows with wonderful images of a remarkably beautiful and appealing model. Who could possibly resist all that?

The MetArt HD erotic movie titled “Carriera” was lensed at the same time as a still photo set called “Volico.” Enough time has passed since I critiqued the pictorial that I’d forgotten my reaction to it. So I was able to watch the movie with “fresh” eyes.

And I must say I found it enjoyable. It is short, just over six minutes, but that seems to be about the perfect length for this very simple production. Mary C is quite beautiful, and her slim, curvy body is displayed from nearly every possible angle as the film progresses.

Mary C is nearly or totally nude for the entire production, and she is not in the least inhibited. She does, however, seem ever so slightly nervous or ill at ease. I have two thoughts about that. One, it can’t be easy staying in constant motion while playing to the camera for even this brief span of time, so I’m inclined to give her a pass on this point. Also, if she is unsure or uncertain, she attempts to mask it by smiling. And the smile can appear stiff or forced after a while. However, it is such a beautiful smile, I will give her a pass for that, as well! This type of beauty is a delight to view, and it makes it easy to excuse what faults I might find with the performance.

Now, after rereading my review of “Volico,” I’m reminded that I found similar faults in the pictorial. For some reason those faults appeared more glaring in the photo series when compared to the movie. Working with the same photographer/director, Leonardo, on the same set and almost certainly on the same day, the two creations are still different.

I tend to think that, even if Mary C is a somewhat tentative performer, and even if she does have a somewhat limited expressive range, the video format is more forgiving. She’s beautiful in pictures and she’s beautiful in motion pictures, but more of her personality comes across in the latter format.

I wonder how those among Mary C’s admirers who have viewed both “Volico” and “Carriera” feel? With luck, some of them will offer their thoughts in the comments, below.

It’s an assignment with a built-in handicap that puts the artist at a disadvantage before he’s even begun. The built-in restrictions that apply to MetArt girl/girl pictorials — indeed all MetArt pictorials and HD erotic movies, as well — limit what can be done by the models and shown in the photographs. MetArt is soft-core by definition and design, genital contact is forbidden here. The absence of insertion obviously hasn’t hurt the site! Indeed, MetArt‘s tasteful style is fundamental to its unprecedented success and longevity in a fickle marketplace.

But still, a girl/girl pictorial presents a problem. Are they simply two girls posing together nude? Or does the photographer choose to imply that they’re romantically or sexually interested in each other? And if he chooses the second route, how does he get his models to convey that to his camera? That is the challenge long time MetArt contributor Goncharov has chosen to undertake. How successful he has been is up to the individual viewer.

And since I’m the individual viewer charged with blogging about “Galore,” I will share my thought process. When they are good, girl/girl sets can be as good as any single girl erotic photo series. When they are bad, however, they have the potential to be very bad. Both these models are appealing as individuals. Of the two, I think Suzanna A looks a bit better here than Orvelia O. The lighting, the lack of styling, and the aquatic setting — the girls share a large bathtub — isn’t kind to Orvelia’s complexion, lending her an unwholesome pallor in some shots.

But the biggest single problem is that these girls obviously couldn’t give a fig about one another! They’ll pose together, they’ll pretend to kiss if that’s what Goncharov wants, but there isn’t the merest whiff of sexual attraction or connection anywhere in the set. In fact, the few genuine moments can be found in shots where the girls burst into laughter — see #098, #104, and #110. Notice the glass of amber liquid in that last image. If that is the social lubricant I suspect it to be, they either used too little or too much.

Both models deserve better, and Goncharov is certainly capable of creating it. That’s my opinion, nothing more. If you disagree and would like to help me understand the error(s) of my thinking, I invite you to share your thoughts in the comments, below.

There is something amazing and almost inexplicable going on in this MetArt erotic photo gallery. And it is present and obvious throughout the entire set. This model, Izabelle A, can look innocently youthful in one image, and in the very next shot she can suddenly appear knowing, worldly, and mature. The difference is striking — night and day. How she accomplishes this I can’t even guess, but it is truly something to see!

Part of this can surely be attributed to her slim build. Izabelle has a compact, trim little body, with pert breasts and deliciously delicate details. She has, I think, rather narrow hips, but there is nothing boyish about her build in the least. Her ass, while petite, is also round and wonderfully ripe. In some poses — standing in #088 and #090 — she displays the athletic build that I associate with female gymnasts. She’s undeniably fit, but also undeniably, exquisitely feminine. What a remarkable specimen!

It has been over a year and a half since I had the pleasure of viewing this model, and after revisiting my first post about her those happy memories came back in a flood. That set was also shot by Oleg Morenko. I like both pictorials very much, but here he’s taken a somewhat more naturalistic approach to the style and lighting of the set. Izabelle is completely and gloriously nude throughout, and spends most of her time posing on white sheets.

Morenko manages to include a broad range of images and Izabelle strikes interesting and unusual poses. We go from pure, nothing-showing, cuteness in #004, with the model on her belly, to #016 a steamy, but still rather demure pose rolled over onto her back. We find in #029 a lovely headshot (beautiful breasts included); and elsewhere the artist includes detailed shots of feet and other inviting attributes.

If I must find one thing to complain about it is simply that “Aphinome” is relatively brief! A scant 106 images feels like a bit of an appetizer when the main course is so amazingly appetizing.

Photographer Ingret‘s set design for this MetArt new model debut series is sweetly feminine. The walls are papered in shades of pink, and two French doors, the floor, and other furnishings are white which ties in nicely with the model’s white necklace, stockings, and garter belt.

This sweet, girlish, youthful setting provides a fine backdrop for a sweet, girlish, young model. Despite the fact that Maria N is topless and bottomless from the first shot, there’s a hint of innocence here, and the wreath of delicate flowers in her hair in the introductory shots ads a pleasantly angelic touch. The stylized presentation has an almost greeting card flavor, and I mean that as a compliment — see #012 for a perfect illustration of my point.

This is a generally confident performance for this lean and well shaped 21-year-old. Certain telltales — stiff hands, for example — give away her presumed lack of modeling experience, and I think she works a touch too hard at projecting a calm, serious mood when something more spontaneous and energetically girlish would be more in keeping with the design of the pictorial. But she is a charming and pretty girl and I offer these minor complaints in the spirit of constructive, encouraging criticism.

Ingret does suffer from the tilting frame from time to time, but he also delivers some extremely pretty images in this collection. The lighting is soft and effective in #047, a subtly moody shot. The absence of pink design elements in #056 adds a feeling of mature sophistication than the more girlish compositions in the set contain. I like the backlight and the bold, seated pose (but could do without the tilt) in #098. And with #114, her beautiful body partially hidden by an open door, model and artist arrive at absolute perfection. “Presenting” Maria N is a very pretty premiere, indeed.

I refer, in this post’s title, not only to the model’s stature, but to the qualities of this MetArt HD erotic movie. It’s a tasty visual confection, not much over six minutes in length, that is as easy to enjoy as a piece of sugar candy.

Eva E, the beautiful bonbon at the center of “Polaines” does happen to be short and sweet — standing a relatively petite 5-foot-3, and tipping the scales at a distinctly dainty 99 pounds. And that petite frame is both beautifully firm and toned as well as exceptionally shapely. Her proportions are such that I would have guessed she was much taller had I not peeked at her model bio.

Another fact I find interesting about this model is that she’s appeared in ten MetArt erotic videos in addition to twelve still pictorials — she’s had a lot of experience in moving pictures, and that’s amply evident in “Polaines.”

There is nothing elaborate or overdone in this production from director Fenix. The mood is casual and carefree, and it’s really nothing much more than a pretty girl interacting with the camera. Eva starts out wearing a blouse and what I can only describe as ankle warmers. She moves with playful grace, often walking on tiptoe, and both performer and director take advantage of large mirror-finished windows that allow for some interesting visual effects.

But, again, not much happens, there’s nothing to speak of in terms of narrative, art direction, or cinematic trickery. It’s just a few enjoyable moments spent in the company of a beautiful naked girl with a particularly pleasing personality to match her inviting body. Much like its star, “Polaines” is a short and sweet little visual treat.

I happen to have written a critique of this model’s first MetArt pictorial. While I found no fault with the model’s performance, I did note several peculiarities in the design and execution of the photo series.

Now I have the opportunity to revisit Semmi A, this time working with a different photographer, and I quickly discover we’ve moved from the simply peculiar to the downright perplexing. This is a truly odd artistic effort.

The strangeness in Alex Iskan‘s photo essay isn’t fully apparent in the first handful of images, but it is there, make no mistake. Here we find Semmi A on a long staircase leading up to what is either a Soviet era housing project, or perhaps a minimum security prison. The weathered  concrete surrounding the model is cracked, weedy, and litter is scattered about. Semmi is cute and appealing, however, wearing sunglasses on this sunshiny day and a figure-hugging dress in an eye-catching shade of turquoise. But compare #006 with #007. In the first, framed in a way that suggests she’s nude in this public place, there’s a beautiful, natural spontaneity. In the second, her face nearly obscured by her hair, what are we to think? My guess: a curious error perhaps caused by a sudden, unexpected gust of wind. Odd that it’s included.

But the oddness has only just begun! The bulk of the set takes place in a backyard. There is an air of disrepair to the setting, and the lawn is unkempt, coarse, and dieing in patches. Semmi is positioned on a chaise lounge, wearing a black and white cocktail dress. To add to the building incongruity, these images are strangely underexposed, perhaps deliberately. A large ceramic frog is present in some shots, and a flower and other foliage is often present, out of focus, in the immediate foreground. It’s not easy to describe, nor is it easy to comprehend. Examine #035 and see what conclusions you can come up with.

Semmi A and Alex Iskan are definitely up to something in “Kladie.” I’m not sure what it is, exactly, but there’s an intriguing quality in the overall strangeness of the set. #033 and #051 make a curious pair, for example. #063 has an almost David Lynch feel. And the poses and day-for-night lighting in #100 and #118 add mystery to the prevailing inscrutability. For those seeking the unusual, this set provides a ray of surreal sunshine on a “Kladie” day.

The first impression. The thrill of discovery. That very first glimpse of a fresh face. If you have an eye for and an interest in feminine beauty, there are few experiences to compare with setting eyes on a beautiful girl for the very first time. I believe this is central to the success of MetArt, because no other site can match seemingly endless parade of new erotic models, year in and year out! We all have our cherished favorites, to be sure, but what MetArt member doesn’t look forward to the arrival of new models in the galleries?

Which brings us, conveniently, to Iwia A. Under the guidance of Luca Helios this dark-eyed beauty performs admirably in her first appearance at MetArt. Her styling and presentation are natural and understated, and the bright white lingerie set she’s wearing flatters both her figure and her coloring and complexion. Likewise, the style of the room and the lighting is natural and comfortable. And, apart from the slightest hint of stiffness in her hands, Iwia appears to be comfortable whether clothed or completely, explicitly exposed.

While Helios does suffer from a bit of Lost Horizon Syndrome — the dreaded tilting camera disease — off-kilter shots don’t out-number the plumb and level compositions, and he includes everything from full-length portraits, to some beautiful headshots (#045 and #049 in particular) as well as close-up details of feet and other enticing anatomical attractions.

There’s not a great deal of drama here, but Iwia A has a pleasing energy to go with her appealing appearance. It’s hardly a blockbuster, dramatic debut, but “Presenting” Iwia A certainly provides an enjoyable introduction.

This is the first time I’ve seen this particular model, but I’m quite familiar with the work of her photographer, Leonardo, so I assume she is in capable hands. This photographer has a particular knack for lighting design, and he has impressed me with his skill and artistry time and again. But after viewing only a handful of images in this series I realize the man is not infallible!

The set design is a chaotic collection of patterns and colors. Black and white striped curtains are flanked by gaudy, outsized floral tapestries. A couch is upholstered in a patchwork parti-colored fabrics. A cut glass table lamp adds a bit more visual clutter, and then odd and unexplained light throws diagonal shadows across the body of the hapless model who must somehow take center stage surrounded by this visual chaos.

Gillian B does her best, but she’s working at a distinct disadvantage. She is a pretty girl, with a curvy body and a winning smile (see #019), but despite her concerted efforts I can never “tune out” the distracting background and devote my full, relaxed attention to her attributes and performance. The sheer blue blouse is sexy, yes, but it’s not nearly dramatic enough to compete with the kaleidoscopic visual assault she must contend with here.

Perhaps “Rander” is a stylized variation on the word “random,” because there’s an arbitrary, haphazard quality to the art direction and execution here. The work of an inexperienced artist? That I’d understand. But from a seasoned and accomplished professional like Leonardo? Well, even the master has an “off day,” or so it seems.

Take Gillian B, in the very same blue blouse, and put her on white sheets on a white bed in a white room — that kind of simplicity would both flatter and showcase this model in simple and effective fashion. Make no mistake, I had a strong reaction to this set. But I do welcome other points of view. Is there something I’ve missed in coming to my conclusions? Please feel free to share your points of view, below.