Category Archives: Nude Photos

It has been some time since I critiqued a set by this photographer of this particular model. At that time I was quite familiar with the work of photographer Catherine, but it was my first time seeing Vanda B. Although my comments were somewhat brief — the blog has grown and evolved since the post appeared in early 2011 — my enthusiasm for the pictorial was abundant. Now, two-and-a-half years later, I sit down with another gallery by the same collaborative team.

After viewing only a handful of images in “Anastoli” I can only describe my impressions as somewhat muted. Vanda B is as beautiful as ever, and her body is still as enticing as the first time I saw it. But there’s a certain stiffness in some of her posing and a slightly fixed look to her facial expression — the latter may have something to do with her styling and make-up which is not nearly as warm and vibrant as the first time around.

Vanda B starts out in a colorful sweater and a pair of teal panties. A slightly odd choice, I think. What is odder, still, is that Catherine has placed a mirror — a large, rectangular, frameless mirror — on the bed with her subject. Frankly, this makes little sense. Model and artist do their best to create artistic images with this combination but it never completely gels.

There are certainly appealing images in the first portion of “Anastoli,” but it’s only latter in the set, beginning with #106 and continuing to the end, that the series reaches its full potential. Here the sweater, the panties, the mirror, and even the background walls and furnishings are gone. Vanda B is totally nude, sprawling on the pleasingly rumpled white sheets of the bed, and delivers one splendid pin-up pose after the other. In these images a beautiful model and a talented photographer work together to create stylish, engaging erotic art. A problematic series, in some respects, but when it all finally comes together it’s very nearly perfect.

Even though it happens with dazzling regularity, the first appearance by a new model in her debut MetArt erotic photo gallery is something I never grow tired of. A new set by a favorite established model is always welcome, of course. But there’s a unique thrill that comes with discovering fresh talent – it’s really one of the highlights of MetArt membership.

Arkisi has done quite a fine job showcasing this new model. Here the artist employs a light touch. The costuming is simple and classical, the lighting soft and indirect, and the compositions varied — we’re treated to everything from stylish, painterly figure studies to explicit intimate close-ups that reveal every anatomical detail.

And the subject of these photos, Marga A, is as warm, charming, and at ease as one could possibly imagine. If these are, indeed, her first nude photos, Marga A is to be praised for her engaging and uninhibited performance.

While Marga A certainly has many striking physical attributes, it’s her energy and cheerful confidence that I find most appealing in “Presenting.” And her green eyes — animated by that energy and illuminated by her personality — are exceptional.

Favorites? I’ll start with #006, a figure study, on her tiptoes, against a rustic wall, skirt raised, eyes averted. Arkisi is at his painterly best in #025, a moody shot of a single hand on her beautiful butt. #026, of the model’s back, her face in profile, boasts a similar quiet artistry. Marga A’s eyes and face are the stars of #085. And in #111, spread out on the hardwood floor, artist and model create another stylish figure study helping make “Presenting” Marga A a pleasant premiere performance.

When a MetArt erotic photo series fails to win me over it can be for any number of reasons. I’ve evaluated galleries where the set design or location was unappealing or unflattering to the model, as well as pictorials in which the artist’s technical or design approach was in some way flawed, and there are those times when a model is stiff, or overly dramatic, or perhaps a bit too modest.

In the case of “Putnam” I can’t really fault the models, these are both girls with their own unique personalities and undeniable physical beauty. And the art direction, while somewhat unusual (I’ll explain this in further detail) isn’t the problem. And that leaves me with only the artist, Ingret, to blame.

As I’ve mentioned in the past, girl/girl galleries are uniquely challenging. If the models can’t generate some erotic spark, and the photographer can’t make their pairing visually engaging, the chances of success are narrowed. Ingret puts these two models together, positions them in a variety of poses, and even tries out three different pieces of furniture, but there isn’t the tiniest flicker of sexual attraction or eroticism to be found.

In #025 blonde Cristina A appears to be smelling Guerlain A‘s long hair. Why? In #062, a carefully posed composition, Guerlain looks to be sniffing Cristina’s ankle. Again, why? And how is “Putnam” improved when the bathtub in the first section of the series is replaced by a sofa, and later by dark geometric objects? It’s baffling. If you are a fan of either of these models I can understand how it would be at least somewhat interesting, but the lack of connection between the two girls, and the photographer’s conception and execution of the pictorial are a mystery. Perhaps someone who derived more enjoyment from “Putnam” than I did will offer some insight? Please feel free to enlighten me in the comments, below.

MetArt contributing photographer Arkisi has made some rather interesting choices in this erotic photo series. I might also describe those choices as challenging, curious, as well as mysterious. Perhaps the most obvious of these choices is the costume he’s dressed his model in. Rachel Blau wears a dramatic black body stocking ventilated with circular holes. Owing to the stretchy nature of the fabric the holes at her ankles, for example, are the size of small coins, the holes around her hips are much larger. While every aspect of the model’s anatomy is clearly visible through this barely there garment, the stocking stays in place for the entirety of “Malengo.” As I mentioned, curious.

Perhaps the greatest challenge the artist has brought upon himself is the room he’s shooting in. It’s a small, somewhat cramped sitting room in a garret or converted attic space. The walls are dark as is the heavy leather and wood furniture. There is a bit of natural light from a curtained window, but the primary light source is a pair of lamps. Strangely, although they are similar in design, one glows white, the other a dingy orange color. So Rachel Blau, wearing her dramatic bodystocking, is forced to pose in this dim, dark, not particularly pleasant or appealing little room. Curious.

The various curious aspects of the set are well presented in #021 — the lamps throwing their strange shadows on the ceiling, the colored walls, the furnishings, and Rachel Blau in her dramatic and unusual outfit attempting to make sense of it all. Another bizarre moment is captured in #052, her backside to the camera, thighs out of focus, hair hanging down, face in shadow, as she looks back at the camera. It’s certainly an unusual composition, I’ll grant Arkisi that much.

There are highlights to be found in “Malengo,” however. #037 is a cute, sideways headshot, for example. And there’s ample cuteness on display in #084, a modest but creatively posed shot with plenty of visual appeal as well as personality. And the explicit shots, including #030, #075, #094, and #120, provide enticing relief from less successful images in the collection.

Two of my favorite shots in “Volere” are from the very end of the series. In #117 Caprice A and Indiana A, both totally nude, stand on a sun-dappled lawn, holding hands. The beauty of their nude and unadorned bodies (no jewelry, no nothing) is on full display and their faces are relaxed and natural. In #120, the very last shot in the set, they’re now walking away from the camera. Caprice shoots the lens a winning smile and Indiana raises her hand and waves. Two simple, pleasing photographs of two very beautiful models.

There’s no questioning the quality of these two delightful subjects. As I write, Caprice A is at the very top of Top Models, reigning supreme at #1. Indiana A’s rank isn’t quite as impressive, but her petite stature and perfect proportions are an excellent fit in this exceedingly pretty pairing.

So, two gorgeous girls, together, in a MetArt erotic pictorial — “Volere” certainly boasts fine ingredients. And yet something is missing. That something is connection. No matter how they position themselves, no matter how hard they try to feign meaningful glances, there’s nothing linking these two girls to each other. They could have been shot individually on the same “set” and created more compelling erotic art. Of course, these are beautiful girls, and I welcome the chance to savor the sight of them, but the lack of connection blunts the effect of the series in my estimation.

Despite the pastoral setting, Luca Helios has chosen a somewhat challenging location. The grass and greenery are appealing, but the light streaming through the trees creates hot spots and there’s no way to work around them. He’s also given each model a large necklace, perhaps for the color they provide, but they seem out of place and the girls look better without them. As for favorites, I love it when Indiana A drops the Sapphic façade and grins broadly in #026. And #048, a double headshot, provides a fine opportunity to compare two different, but extremely beautiful faces. A smattering of explicit shots spice things up, but the heat generated by even a pretend connection is missing from “Volere,” so enjoy it for what it is: pretty pictures of two pretty girls together.

This girl/girl MetArt erotic photo series is a bit of a mixed bag. I’ve written about each of the models individually — Elle E in an HD erotic movie, Helen H in a pictorial, both of which were created by prolific contributor Leonardo. Each model brings her strengths (at least some of them) and her weaknesses (at least some of them) to “Mirinda.”

Based on just one experience, I’d have to say that Elle E is the more skillful of these two models. However she appears to have lost a considerable amount of weight and she may be getting uncomfortably close to “too” skinny, at least to my eye. On the plus side, however, while I found Helen H to be a bit limited in her expressive range previously, here, with another model to interact with, she gives a more varied performance. So, up and down.

As I’ve written in the past, and commenters have often noted, the girl/girl pictorial is a tricky, somewhat compromised proposition. The models can’t have direct intimate contact, and they don’t in “Mirinda,” but Leonardo has done his best to compensate, with mixed results. There are a group of shots, spanning #050 through #058, in which Helen stands behind Elle, and presses her hips against her partner’s backside. If this were a man and a woman the pose none-too-subtly implies rear entry. But these are girls. No amount of erotic face-making can compensate for the absence of the necessary “hardware” to make this pose make sense.

On the upside, however, Leonardo does take advantage of another opportunity. Both girls are extremely uninhibited, and he includes numerous explicit shots. Another highlight are several aggressively erotic poses. #030, for example, very strongly suggest digital/vaginal contact. In #039, #044, and #045, Elle sucks quite enthusiastically on Helen’s right breast. And in #133 and #134 the twosome share a particularly frank French kiss.

Highlights? #015 with Helen’s face and Elle’s explicitly exposed backside. #064, a slightly abstract composition with kinky undertones. And #082, an explicit image with tempting flesh in the foreground and background. A mixed bag, yes, but “Mirinda” has its memorable moments.

When I saw that this MetArt erotic photo series was on my schedule I made a vow not to mention the model’s hair color. I’ve addressed it in my critiques of several of her earlier sets, and I pledged to myself to find something else in this particular gallery to focus on. After viewing no more than two or three images in “Lautus,” however, I was forced to break my vow and rescind my pledge.

You may love Ariel A‘s head of flaming orange hair, or you may hate it. But one thing you can not do, however, is ignore it. When the sun hits those flowing locks it lights up like a torch — frankly, I find it distracting. And if something can distract my attention away from Ariel A’s splendid body and gorgeous face, that’s one powerfully distracting something!

But here that distracting hair has some colorful co-conspirators, and I’m afraid they’re bent on compromising this pictorial. Those colors are purple and red. Purple is the vivid color of the filmy, asymmetrical mini-dress that Ariel A is wearing as the set begins. And red is the color of the chaise lounge she does a fair bit of posing on. The interplay of the hair color, the clothing, and the furniture creates some truly disturbing effects. In #010 and #024 the combination of red hair and purple fabric gives Ariel a 5 o’clock shadow. And in #039 the dress and chair hopelessly skew the color spectrum.

Ariel A is a beautiful woman. And Luca Helios is a talented photographer, but some of the choices made here do the finished product no favors. But looking for the best shots in “Lautus” does yield some notable examples. Without the frock the colors calm down somewhat in the totally nude #050 — the red upholstery may even enhance the image somewhat. I love (yes love) Ariel’s hair in #075. #095 is a thoughtful and interesting headshot. And the bright highlight on that hair adds some spark to the full-body composition of #119. If Ariel A is married to the hair color, so be it. But, please, consider the effect of costuming and props in the future, because, as we see here, the wrong colors can be killers.

This is a downbeat, moody MetArt erotic photo series. Some of this is due to the style employed by the photographer, but much of it comes from the model’s restrained performance and her haunted expression. And as I worked my way through the set I became haunted by a sense of déjà vu. A brief stroll down memory lane explained the feeling: I had “been here before,” for the very first post on this blog.

Nastya C starred in a Luca Helios set, “Seasons,” that was the subject of my first critique when the MetArt blog was launched back in November 2010. Today, 652 posts later, I sit down to evaluate “Fond,” with Nastya C, and also photographed by Luca Helios. And not much has changed. I have no way of confirming this, but I suspect the two sets were shot at the same time, in different areas of the same location. And while Nastya wears a different dress in each series, her styling is virtually identical. So, two sets, “separated at birth,” or so it seems.

As similar as the two sets are, my reaction to this one is quite unlike my response to the first. While the model is physically appealing, her restrained performance and limited emotional range creates a sense of distance in this pictorial. Even when she manages something approximating a smile, in #043, there’s a certain lack of warmth. In other shots she seems oddly angry (#012) and distracted (#024). I’m not suggesting that Nastya C should be grinning from ear to ear and radiating cheerful joy, but there’s a certain detachment and lack of energy that diminishes her considerable beauty in “Fond.” Maybe she needs to get out of that hotel room and into a more convivial environment?

MetArt erotic photographer Luca Helios is something of a seaside specialist — I wouldn’t be surprised if his ratio of beach to non-beach galleries was substantially higher than the majority of his fellow contributors. The location he employs here, a sandy stone staircase, a patch of strand, and a rock just off shore, is undeniably scenic and intriguing — one of the “highs” I allude to in the title of this post.

Chiara A is another one of these highs. This is a beautiful, stylish model, and she’s confident and at ease despite the fact that her “costume” here consists only of jewelry and a pair of sandals. When she smiles — as she does in #005, a standing, full-body shot, or in #043, a beautiful and energetic headshot — she exerts an almost magnetic attraction on the viewer.

I’ve critiqued another Chiara A set, also shot by Helios, and it employs a similar style as well as a similar location. Some of the weaknesses I found in that set can also be found in “Chrisos.” One of these “lows” is the complete absence of explicit shots. While Chiara A is nude for the entire set she never offers us a meaningful glimpse of her intimate attributes. When a model is this pretty I feel cheated if she holds back like this, and I very much doubt I’m the only one who feels this way.

Another low is simply the quantity of images here — a rather scant 59 photos. Perhaps a memory card with the remainder of the set was accidentally dropped in the sea? Perhaps the explicit shots from this session were on the ruined card? Idle speculation, at best.

But despite its liabilities, and because of its assets, “Chrisos” leaves me wanting to see more of Chiara A — and not simply more images, but more images of everything this beautiful woman has to offer.

I’ve viewed the star of this MetArt gallery in several other pictorials on this site as well as a set I reviewed on the SexArt blog. As anyone who knows of Milena D will most certainly agree, she is a beguiling beauty, and her position in the upper reaches of MetArt‘s Top Model rankings — she’s currently #18 — comes as no surprise.

Any fan of Milena D can’t help but be familiar with the work of Erik Latika — the artist shot all but 3 of the 32 galleries in the model’s MetArt portfolio. Although Latika does work with other models, at this point it appears that Milena D works exclusively with him. This is something of a mixed blessing. The long-term association allows model and artist to refine and perfect their collaboration. But there are times when I get the feeling the pair are sharing an inside joke and the photos can suffer as a result. In one of their sets props were a significant problem, and that may be possible in “Ignite,” as well.

There is only one prop in “Ignite,” a Yamaha motorcycle, and this seems an odd choice. While Milena D’s costume — black boots, leather mini, and a corset — has the appropriate “biker babe” flavor, that flavor seems just slightly out of place on this particular site. To atone for this, or perhaps simply to confuse the viewer, the final 19 shots in the set feature an entirely different seaside location, different costume, and different style. I find this odd, but perhaps this oddness is simply one facet of Latika’s aesthetic.

There are some obvious underexposures, owing, perhaps, to the numerous puffy clouds scudding by overhead. And those clouds have a beauty all their own in a shot like #019 where the background has an almost painted look. Milena D is as cute as ever in a shot like #041, and she’s a bit silly in an image like #074, but when artist and model get it right, as they do in #115, the bottomless beauty and her bad motor scooter make (almost) perfect sense.