Category Archives: Photographers

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.

Time marches on…and new beauties never stop marching into the ever-growing MetArt model collection. MetArt members all have their favorites among the thousands (!) of established models the site has to offer, but they can also count on the frequent arrival of fresh talent.

Katherine A., makes her debut in “Presenting,” and if you’re in need of a new nubile, she seems destined to please. With her long hair and willowy build this 18-year-old has a lithe, graceful appearance and seems comfortable fully (and explicitly) posed and exposed in these photos. In many of the shots in this collection she is consciously “modeling,” and she is quite good at it, particularly in view of her youth and (presumed) lack of experience. More spontaneous, candid moments are captured here, however, and in #019 I can’t help but respond to her natural smile.

The set is something of a stylistic departure for Alex Sironi, and it is entirely successful. Here the colors bias more towards warm earth tones than is his custom, and there is less of a “photo studio” feel to the art direction. His compositions are, however, true to his masterful form. And the lighting, always a signature, is particularly skilled. Katherine is blessed with beautiful skin, and Sironi photographs it in a way that makes it positively glow. Detail shots are plentiful here, but #055 — a hand, a breast — illustrates my point well.

Lighting, pose, and composition combine to produce a handful of varied but equally notable headshots in this series. If I had to pick just one it would probably be #109, a romantic abstraction. It’s a simply beautiful image.

Explicit shots in the set provide a comprehensive view of Katherine A.’s intimate delights. And if one prefers something tamer, with a painterly flair, there is much to enjoy. #049 is just one of many high style figure studies here, and it artfully presents a body that is something of a masterpiece in its own right. And, for a bit of humor mixed with the beauty, I direct you to #118, in which this welcome newcomer plays peek-a-boo with her photographer and audience.

There was an improvised quality to the first Suzanna A. set I reviewed. My reaction to the model (making her first MetArt appearance with that series, I should add) was generally positive, but I also welcomed the chance to view her in different settings.

In “Sculpte,” once more working with prolific MetArt contributing photographer Goncharov, I have that chance. Instead of a studio this series was created in a house or apartment. And instead of props fashioned from odd items around the studio, we have the fixtures and furniture of an actual living space.

Even so, there is still an oddly jumbled, impromptu quality to the whole affair. When the set opens Suzanna A. is totally nude, posing on an unusual sofa in front of a wall decorated with particularly busy graphic wallpaper. In some of these images the lighting is soft and diffused. In others however it is harsh, as if a curtain had been pulled back. And that seems to be the case. The setting sun, low in the sky, presents a real challenge when the drapes are open. In some shots the light (and accompanying shadow) helps create beautiful images. #023, a back shot, is one good example. But in other shots the harsh light is less than flattering to the model.

The tricky, on again/off again lighting is just one curiosity here, however. Midway through the set Suzanna appears in a blouse, in an entirely different setting in what is most likely the same location. There is not much logic in this move, and even less when she appears against a third backdrop. Again, there is an improvised, random feeling to this photo essay that gives it a somewhat uneven quality.

Still, there can be no question as to Suzanna’s ability or architecture — she seems eager to please and her voluptuous shape is certain to please fans of busty beauties. Perhaps with a bit more thought and thematic consistency “Sculpte” would have been a masterpiece worthy of this curvaceous talent?

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.

Change is good. Variety, as you may have heard, adds spice to life. And experimentation leads to expanded knowledge.

And all the above has something to do with this MetArt erotic photo series by Alex Sironi? Yes, it does, indeed.

Before viewing this set I would have felt comfortable summarizing Mr. Sironi’s style thusly: Clean, minimalist set design, white surfaces, soft colors. That thumbnail description applies to all the Sironi pictorials I’ve seen, including Yanika A.’s MetArt debut.

Here, working with the same model, Alex Sironi is true to form, with one major exception: Rather than a stark white or warm pastel background, he opts for inky black. That’s a big, big change.

And it’s a big, big success. I’m newly impressed by this artist, who is even more skilled and versatile than I’d imagined. I’m impressed with this model, as well. Unlike her debut, here Yanika A. has a dress to wriggle out of. Some of the tease shots may be a touch contrived, but when that dress slides down that lean, shapely body, her curves really “pop” against the velvety blackness of the background (see #017 through #020).

The antique loveseat (the only furniture in the set) with its white frame and gray satin upholstery was a clever choice. It’s a platform well suited to a wide range of poses – from stylish figure studies (like #034 and #037); it flatters Yanika’s warm flesh tones whether the pose is demure or boldly explicit; and when she’s seated centrally the twin arches of the backrest strongly suggest the wings of an angel (see #029).

Yanika A. continues to impress in “Formular,” and Alex Sironi, by diverging from his usual formula, demonstrates impressive artistic skill, range, and vision.

With its nighttime lighting and predominantly dark décor, there’s a distinct mood to this new model introduction from photo artist Tony Murano.

And that mood seems in keeping with the personality projected by first time MetArt model Tacia A. While there’s definitely a lively spark in her dark blue eyes, and a playful pout on her plump lips, in this series the prevailing tone is understated and restrained.

That’s not at all a bad thing, either. In a shot like #020, with her eyes downcast, rich auburn tones of her lush hair subtly warmed by a key light, pale skin glowing against frilly white lace lingerie, one can sense the silence of the night and no small amount of romance.

Of course, this being a Tony Murano erotic photo series — first time model or not — there are numerous explicit close-ups that glisten and sparkle extremely invitingly.

The power of color to create mood is illustrated, via contrast, in a couple of interesting images. While most of the set finds Tacia against a dark backdrop of rich red, brown, and gold tones, in #087 she’s backed by a white and blue wall, and in #104 she’s seated on the white carpet. Both of these shots have a distinctly different flavor, while still obviously being integrated parts of the entire collection.

As to favorites, I like #034, with Tacia topless, eyes closed, on her back, in some romantic reverie. Another topless shot, #043, this time standing, is particularly sweet.

“New” is one of the most important words in the MetArt lexicon. Our members crave — demand, expect, and insist upon — new models, new pictorials, and new approaches to erotic art on a steady basis. Yesterday I wrote about a new model, in a new MetArt HD movie, from a new director (well, it’s only his second effort for us, so his status as new seems warranted). And today I get to review a nude photo series from a new photographer. Although the model has appeared in several earlier photo essays, she is not new in the strictest sense, but I’ve never seen her before, so she’s new to me!

Based on this debut set I can confidently say that Banoo isn’t simply new, he’s talented, skillful, and in possession of a pleasingly light touch. And I mean that in more ways than one.

While Velvet A. is the undeniable star of “Detain,” natural light — bright, streaming, warm sunlight — is her costar here. Banoo’s use of light creates a real sense of mood, of being in a special place, at a very special time. That place is in a bed, somewhere in a big city. It might be before, during, or perhaps after a passionate and intimate interlude. As I look at these beautiful pictures of this beautiful young woman I can feel the warmth of the sun, the smoothness of her skin, the softness of her hair, the crisp, though somewhat rumpled, sheets. This series really does establish a palpable mood.

There are moments when I feel that Velvet A. tries just a little too hard. It’s not at all necessary! Her beauty is quite enough without resorting to the tricks employed by lesser models. And when she relaxes into the mood of the pictorial the result is harmonious, evocative, and very pleasing. In #012 and 015 we know we’ve got a real treat in store. In #017 Velvet is relaxed but my pulse is accelerating.  A fine figure study like #030 packs a wonderfully bedroomy punch. In #042 the light is just right (along with everything else on display). #103 is difficult to resist. And in #142 we find an engaging and involving headshot. With the help of a stunning model, “Detain” marks the arrival of a very talented new photographer at MetArt — let’s hope Banoo contributes additional work without “Delay.”

Alex Sironi has a clean, simple style that I’ve admired since I first evaluated one of his MetArt galleries. And his style is not only distinct, it is also consistent. This is an artist with a clear vision of what he wants to achieve, and more than enough skill turn that vision into photographic art.

But Sironi isn’t the type of stylist who is locked into a single mode of operation, he’s not chained to a rigid set of rules. And while his style is consistent, it is also adaptable. When I think of a Sironi series I immediately think of natural light. In “Temor” the lighting is exemplary, but it is anything but natural. In fact, a key element of the visual design here is the background — a whitewashed brick wall —  which is bathed in a soft, uniform, and vividly pink light. A striking and evocative effect, but hardly “natural.”

All of this talk of backgrounds, color, light and style isn’t meant to detract from the subject. Indeed, that’s the point I’m striving to make about Sironi’s style — it’s simple and effective because it allows the model to expose and express herself without visual or technical distractions. Now, let me be clear: It would take some very strong distractions to pull the viewer’s eyes away from Millis A. I am well aware that not everybody enjoys busty models, but for those that do, this abundantly endowed blonde delivers a double dose of voluptuous delight.

For those so inclined, it would be all too easy to be mesmerized by this model’s magnificent bosom, but the rest of her is no less impressive. And Millis A. is an extremely generous and forthcoming model, she doesn’t hold back a thing, and is clearly enjoying the experience. An eye-popping model in an eye-pleasing setting makes “Temor” truly tempting.

Ever since his first photo series was added to MetArt on June 18, 2010, Sergey Akion has been a frequent contributor to the site. I’ve had the pleasure of reviewing no fewer than six of his MetArt galleries, and I’ve never failed to be impressed by his work, whether it’s a naturalistic set in an outdoor location, or a polished studio production (you can find my comments on one from each category here and here).

But Mr. Akion wasn’t content simply contributing photo sets to MetArt on a steady basis. He was looking for another way of expressing his enthusiasm for the site. During a conversation with a stylist inspiration struck, and the concept was skillfully executed with scissors and razor. Now when discussing his artwork, Sergey Akion can not only point people to MetArt.com, he can point to his head!

In the past we’ve showcased artistic, creative work by MetArt members who were inspired by the site on the blog (see here and here). But Sergey Akion’s clever MetArt haircut got us wondering — in what other ways do MetArt members spread the word and share the site with the world?

If you’ve created your own artwork inspired by MetArt we’d love to see it! It doesn’t matter if it’s a poem, a poster, a video, a song, a PowerPoint presentation, a mural, diorama, or sculpture — if MetArt inspired it, and you made it, we want to see it!

Send us your MetArt art! And if we feature your work on the blog you’ll receive a full year’s membership to the entire family of MetArt sites: MetArt.com, MetModels.com, Errotica-Archives.com, TheLifeErotic.com, MetCams.com, Live.tv, MyErotica.com (coming soon), and SexArt.com (coming soon).

Send us your MetArt masterpieces and win a full year of the MetArt family of erotic sites!

I was extremely impressed by this model’s first MetArt gallery. Will her second offering, with the same photographer, elicit similarly enthusiastic praise?

Unfortunately, I must answer that question in the negative. The styling of the series is fine, clever even, and I don’t have a single complaint about Rylsky‘s execution here. In technical and artistic terms, “Lustroso” is virtually without flaw.

Through an elaborate and complex process of elimination you may have reached the conclusion that I’m less than pleased with the model here. If so, you are quite correct.

It took me some time to realize what was troubling me about Kristel A. in “Lustroso.” I know some will complain about the unshorn axillary and public regions. (And at the same time others will rave about her hirsute state.) But that is not the problem.

The difficulty I have with the model is her mouth and lips. From beginning to end her mouth is locked in a single expression. She neither smiles nor frowns. She doesn’t pout or purse her lips. And she never reveals her teeth. She maintains the same neutral expression for the entire set. As a feat of endurance, this may be notable. But in terms of emotional expression and nuance, it is a distinct liability.

Conceptually, the series is interesting. At first the blue speckled background appears to be simply that — a background. But when Kristel A. leans back, and gets splashed with falling “raindrops,” we realize that the background is a dynamic, liquid, animated optical illusion. And the water is put to good effect as the model gets wetter and wetter.

Shot #095 is my pick of this particular litter. Here we can experience the “raindrops” illusion, as well as its very real results. And the composition, a torso shot framed from navel to clavicles, further illuminates my reasoning.

Is my assessment unduly harsh? I’d be interested to hear conflicting opinions. Feel free to educate me in the comments, below.