A model’s beauty begins with her genetic gifts. To that baseline we add the enhancements provided by the make-up artist and stylist, and the photographer makes his own technical and aesthetic judgments to create a finished photo series. But before the grammar police point out that I’ve misspelled “jeans” in the title of this post, let me clarify.

Flavia A is, without question, genetically gifted. From head to toe she is a physical treat, with her beguiling, lively blue eyes, creamy complexion, and long, flowing hair being particularly noteworthy. The “jeans” I refer to in the title are a particularly tenacious pair of trousers. Flavia A spends over half the series wearing those denim dungarees, and even when they finally start to come off it is a very slow, teasing process. And it appears that the model and photographer, Leonardo, are aware of this. In #070 Flavia sits on the floor while holding the neatly folded garment in her hands as if to say, “I’m naked, finally, and now I’m going to put these away and let you have a good look at my nude body.”

And, in short order, that’s exactly what happens! As I noted when I reviewed her very first MetArt erotic photo gallery, Flavia A is not at all inhibited. And in “Manners” Leonardo takes full advantage of this personality trait. In the cluster of shots spanning #078 through #084, to cite but a few choice examples, Flavia spreads her thighs wide and delivers eye-opening views of her pink succulence. I will note that this brazen display is accompanied by lively, teasing, playful facial expressions that only enhance the explicit images.

“Manners” offers considerable variety in terms of pose, composition, and attitude. Explicit shots, as mentioned, are plentiful, but high style pin-ups with more than a touch of Hollywood glamour are also presented (see #001, #021, #071, and #104).

Whether she’s in the jeans — and particularly when she’s out of them — Flavia A is exceptionally enjoyable in “Manners,” and the combination of the model’s genetic gifts and the photographer’s stylish execution result in a roundly successful piece of erotic art.

As I write these words, Emily Bloom is sitting in the fifth position on MetArt‘s Top Model rankings. This young woman is particularly popular with the MetArt membership, and for a variety of reasons. I blogged about her very first photo series, and, based on my initial impressions her rise to the top and enduring popularity surprises me not at all.

And in just a couple of days Emily Bloom takes the next, long-awaited step in her MetArt career: On Sunday her very first MetArt HD erotic movie will be added to the site. This is truly cause for celebration. And let me say, enthusiastically and completely without reservation, that the movie is well worth waiting for!

But in “Ablego” there is no waiting required! From the moment Emily Bloom appears on screen her stupendous breasts are fully exposed, and when the camera pulls back we see that she’s very nearly naked, wearing only a skimpy crocheted top and “skirt” that does little to conceal the eye-popping perfection of this Top Model’s exquisitely beautiful body.

Director Fenix takes a simple approach and lets Emily Bloom’s beauty and charm fill the frame. And what a charmer Emily is! My god, when this girl smiles — and she smiles early, often, and throughout the production — it’s enough to give the viewer goose bumps. What an angel!

This breathtaking nubile radiates gentle, delicate, innocent, sweetness. But she’s also completely uninhibited and totally at ease exposing every luscious bit of her extraordinarily enticing anatomy. In “Ablego” we don’t catch mere glimpses or fleeting flashes of Emily Bloom’s intimate attributes — she presents them willingly, generously, and without hesitation, and the lens moves in close and lingers. Perfect!

“Ablego” is a genuine treat, a feast for the eyes, and worthy of the highest praise. Emily Bloom’s future at the top of the MetArt Top Models list seems guaranteed. And I wouldn’t be surprised to see “Ablego” rise to the heights of the Top Movies roster, either!

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.

Whether it’s in the movies, on television, in the magazines, or on the street, glamour and star quality captures the most eyes and earns the bulk of the attention. Supermodels get noticed — that’s one of the things that defines their supermodelness. But movie starlets and high fashion models are relatively rare birds — another one of their defining qualities. Today let’s turn our attention to another distinct and far more common type of female beauty: the girl next door.

Name your favorite supermodel. Now imagine that she lives next door. A beautiful dream, yes, but a far-flung fantasy in reality. Now imagine that the model featured in the MetArt erotic photo gallery titled “Bilitas,” Irina O, has moved into your neighborhood. That seems more natural, something that could actually happen, doesn’t it? And that’s a huge part of this model’s considerable charm. She’s beautiful, fresh, vibrant, energetic, and completely natural — the very picture of a (very pretty) girl next door.

I don’t know if Irina O lives anywhere near MetArt photographer Antonio Clemens, but he shot all but one of the 15 pictorials in her MetArt portfolio. Here he employs a studio setting, a bit of fabric netting and a couple of pillows on the floor, and a backdrop bathed in a vivid blue light. Irina O starts out in a floral print dress and tall, strappy espadrille sandals, but the outfit feels the slightest bit much and she looks far more comfortable (not to forget appealing) when she’s stripped it off.

I was somewhat surprised to learn that Irina O was 26 at the time “Bilitas” was photographed — to my eye she looks far younger than that. Part of that may be due to her slim proportions and petite breasts, but I think much of it comes from her bright smile and the spirit projected by her twinkling blue eyes. Antonio Clemens does a fine job capturing his subject in a wide variety of compositions. We find details like a hand placed delicately on her chest (#014); exceptionally pretty profile shots (#025 and #043); a sampling of foot-centric images (#066, for example); and simple yet effective portraits (like #058). There are also some interesting and explicit poses — I particularly like the group spanning #125 through #130, in which this eager girl next door assumes a shoulder stand, spreads her legs wide revealing all, and smiles naturally, warmly, and unaffectedly at the camera.

The primary piece of wardrobe in this new model’s MetArt debut gallery is a ballet tutu fashioned from black tulle. This item, in and of itself, broadly suggests that the wearer is a dancer. However any model can wear a costume, but not every model can convince us she has the skills and grace of an actual dancer. Elsa A, with every pose, every gesture, lets us know that she is a proud, accomplished, and experienced danseuse. As the set progresses I grow more and more impressed with the way Elsa A brings her dance skills to the art of posing for erotic photos.

Dancer or not, Elsa A is an impressive physical specimen. Her breasts are large, stunningly sculpted, and in perfect proportion to the rest of her shapely frame. She has a pretty face and a lively, energetic presence — this may well have been perfected on the stage, but it is particularly well suited to still photos. The beauty, grace, and agility of her body is nicely matched with her personality — this is an engaging, extremely “watchable” young woman.

Goncharov has an excellent grasp of Elsa’s potential and his design and execution of the set is perfectly suited to her gifts and abilities. Two circles of white light — one on the floor, the other on the backdrop, both of which are white — subtly suggest the spotlights of a theater. A white column, a simple rectangular box, proves to be a fine prop, serving as a pedestal for a series of dramatic “flying” poses (see #032, #033, and #040 for examples); as well as a vertical balance point for some no less dramatic backbend stances (#055 and #057). Elsa also performs impressive full side-splits, and Goncharov is thoughtful enough to include two views, back and front (#096 and #097) of this eye-opening feat.

Minor complaints? I wouldn’t have protested if Elsa had shed the tutu, her fishnet stockings, and red necklace for at least some of the images. And, because she has such an inviting body, I could have done with a more generous assortment of explicit shots, although there are certainly enough here to whet the appetite for more. I hope we see Elsa A again soon, in sets that expand on the impressive performance showcased in “Presenting.”

The time constraints imposed by the MetArt HD erotic movie format present both a challenge and an opportunity. Directors sometimes struggle to fill the short span of time, occasionally recycling footage shot over their shoulders during a still photo session. Others rely excessively on the prop closet in an effort to create visual interest. But the masters of this very specific type of film making know how to transfer the beauty of MetArt erotic still photography into the moving picture format in ways that are both surprising and satisfying.

In “Athena” the artist Koenart employs a stylish, painterly still photographer’s eye, and deftly combines it with a cinematographer’s sense of pace, atmosphere, and movement. The result is moody, evocative, engaging, and accomplished. There are moments here, still images — headshots, figure studies, explicit close-ups — that would shine in a MetArt gallery. And yet they are perfectly integrated in a smoothly flowing, seamless, lyrical visual continuum. The soundtrack was also particularly well chosen, contributing much to the flavor and pace of the production.

But Koenart, as gifted as he is, didn’t create “Athena” by himself! The artist is nothing without his muse, and here his subject, his star, is the film’s center, its subject, its reason for being. I was privileged to evaluate Diana G’s MetArt debut (also shot by Koenart) and she impressed me with her confidence, her beauty, and her lithe, limber physicality. Everything that moved me about Diana G back then is present and on display in “Athena.”

“Athena” is not flashy or theatrical. It’s quiet, moody, intriguing, and subtly involving. It is more than a collection of beautiful erotic images and it is far greater than a simple video tape of a lovely nude model. In so many ways “Athena” shows us just how beautiful a MetArt HD erotic movie can be. See it for yourself and please feel free to share your own reactions in the comments, below.

It is in this spirit of ongoing technical advancement that the MetArt Network has become the first adult entertainment company to accept the revolutionary digital currency bitcoin.

Bitcoin, the first widely circulated and accepted digital currency, has the potential to completely revolutionize ecommerce on a global level. The MetArt Network made the decision to accept bitcoin for a variety of reasons, but chief among these are the benefits the new payment method offers our members. Bitcoin offers unparalleled levels of anonymity, confidentiality, and protection to the consumer. Customers who would prefer not to use personal bank accounts, checks, or credit or debit cards can now purchase site memberships with the safety and security of digital currency.

While payments in bitcoin provide MetArt Network customers with a secure and convenient alternative payment method, bitcoins also pack a lot of bang for the buck (bang for the bitcoin?) because monthly memberships in all the MetArt Network sites are currently offered at a half-off discount for those who pay with the cryptocurrency. For a newfangled payment method that’s old fashioned value.

Whether you choose to purchase your MetArt Network access with bitcoin or any of the other methods offered, MetArt’s embrace of the cyber cash proves, once again, the company’s dedication to constant and ongoing improvement of our products and commitment to providing the highest level of service to our customers.

And Lily C hasn’t gone unnoticed by the MetArt membership at large. As I write she’s sitting in the forth position at Top Models, and her newest pictorial, “Sentido,” can only help expand her popularity.

Luca Helios takes a simple approach to this series. For the bulk of the collection Lily C poses on a concrete slab overlooking the ocean. I imagine that working with a model as beautiful, charming, and photogenic makes the artist’s job not only easier but also more pleasurable. My primary quibble with the photographer’s work here is his tendency to tilt the camera. With two strong, parallel horizontal lines in nearly every shot (the edge of the slab and the far horizon) the tilting frames create an unnatural and unneeded woozy effect. Another minor problem, which Lily C takes in her unflappable stride, is that the slab is splattered with seagull guano. But, throughout, despite these gripes, Lily C delivers another stunning performance.

What a body this young woman is blessed with! And it’s not simply the perfect lines and flawless proportions — Lily C radiates a vigorous, physical vitality that Helios captures beautifully in this series. Two shots among many — #013 and #025 — both standing, capture that stunning physique to stirring effect.

Explicit images are also offered in reasonable numbers. With the model on all fours, backside to the camera, we’re treated to detail shots (#073), sculptural figure studies (#072), along with engaging, spirited, seductive invitations (#071). In “Sentido” Lily C is an erotic eyeful as well as being her usual, loveable, justifiably popular self. In #099, totally nude but concealing the naughty bits with crossed arms and legs, the wind plays in her long hair and Lily C shoots a beguiling smile directly at the camera. The beauty and personality captured in this single image perfectly explains why I never get tired of Lily C.

I wrote a post about this model’s first MetArt pictorial, and I liked it very, very much. Now she returns for her second gallery, with a whole new look. And her appearance isn’t the only thing new in “Spirales,” as it is the first contribution by the photographer Vladimiroff.

I will take a guess and assume that the set’s title refers to the printed pattern of the wallpaper in the room in which the set was shot. It’s got vertically arranged curling lines in black and silver against a white field — a bold and modern design. It is somewhat busy, however, and when one considers the paisley pattern of Varya A‘s sexy dress, the stylized zebra print of some throw pillows, and another geometric motif on her shoes, it’s a lot of graphic detail for a photographer to deal with. To his credit, Vladimiroff somehow creates a pleasing harmony.

Varya A is in a long bedroom. Deep in the dark end of the room sits a bed. Between bed and window is a long, low, leather sofa, where the model spends all of her time. The lighting here is somewhat tricky. The room is quite bright where the sun shines in. And quite dim in the shadows. This results in shots that are moody and evocative, and a few that, in my opinion, are simply underexposed. These compromised images are easy to ignore, however, because when Vladimiroff captures both lighting extremes — as he does in #042 and #052 — the results are particularly pretty.

Varya A has changed her appearance considerably since her debut. Her long, not-exactly-natural red hair is now shorter, curlier, and colored a more natural dark auburn shade. And she may have put on a couple of pounds, not at all a bad thing as it has simply made her body a pleasing touch more voluptuous. Vladimiroff has included a commendable variety of compositions in “Spirales,” some of my favorites include: #014, a moody fully clothed shot with lots of leg; #034 pretty torso and headshot; and #068 for the way it captures the curves and contours of Varya A’s shapely physique. The first time for this photographer, and the second time for this model, results in a good time for the viewer.

And I think it goes beyond Angelique A‘s glamorous appearance — her dark hair, dark eyes, and luscious lips in particular — or the ornate décor of the bedroom Arkisi shot her in. This young woman has a quality — a sultry, sexy quality — that comes from within. And is it ever a pleasure to experience!

This is only Angelique’s second MetArt erotic photo set (she’s also appeared in a MetArt HD erotic movie), and while her performance here leaves nothing to be desired, there is also certainly room for her to grow and blossom as a model. And she certainly gives Arkisi plenty to work with. The artist, as is his practice, captures his subject in a broad range of poses and delivers carefully composed detail shots along the way. Intimate, explicit close-ups are provided in generous numbers, but then so are beautiful headshots (#013, #036, and #067 are three fine examples). There’s a simplicity bordering on the poetic in #007, a detail shot of Angelique’s round ass flanked by her delicate hands as she removes her scant g-string. And there’s a confident and clever artist at work in shots like #050, with the model seated centrally on the bed and facing the camera, and #109, an explicit variation on that image, in which Angelique’s rear aspect (as well as her steamy personality) is featured. In “Levha,” beautiful, sexy Angelique A is so very young, and so very sultry — and those are two factors that make this pictorial so enjoyable!