There is certainly no shortage of hot photo sets in the vast MetArt archives. And models worthy of that three-letter description are MetArt‘s stock in trade. Still, choosing to title this pictorial “Hot” was an exercise in accuracy and honesty.

Lily C is a singularly hot model. I realized this moments after viewing the first handful of images in her first ever MetArt series. Putting aside her facial beauty and spirited, engaging on-camera personality, this girl has an exceptionally hot body. There’s a robust vitality to that toned and sculpted physique that suggests passionate, vigorous sexuality. And in “Hot” Lily’s beautiful body is as irresistibly and explicitly inviting as ever.

Frequent MetArt contributor Leonardo has crafted the majority of galleries in Lily C’s portfolio, and in “Hot” he demonstrates once more why theirs is such a successful collaboration. The lighting — and the slightest sheen of oil on the model’s smooth skin — enhances and emphasizes the sculpted perfection of Lily’s body while also adding highlights to her hair and eyes.

While “Hot” contains many eye-opening explicitly erotic poses, I find it interesting that there are no extreme close-ups. Leonardo seems to understand that with a girl who projects so much high-voltage sexuality, detailed close-ups are unnecessary.

Some of my favorite shots in “Hot” are: #023, for Lily C‘s kittenish demeanor in a fully clothed, full length composition; squatting, bottomless and smiling with her mouth and eyes in #061; #098, an revealing rear-view with enticing over-the-shoulder attitude; and #125 for spread-legged, spontaneous, explicit sexuality.

I had a little help from the membership in selecting this MetArt HD erotic movie for review. While browsing the Movies page I sorted the list by “Most Popular.” A title in the top row that I’d neither reviewed or viewed caught my eye. I am certainly familiar with the star. And the fact that this production was added to the MetArt archives over three years ago didn’t deter me — even after that span of time “Erotsis” has remained highly popular with the membership. An easy pick with an extremely meaningful endorsement.

As Anna AJ makes her entrance I was a little surprised. The outfit she’s wearing is cute, yes, and sexy, but it’s got a bit more American porn star flavor than I’m used to seeing anywhere at MetArt. And the style of the bedroom setting is slightly curious. To me it looks like the bedroom of a stodgy older couple. Perhaps that’s the idea: Anna AJ in her naughty cheerleader outfit is going to put on a show in her parents’ bedroom. I put my concerns aside — if Anna AJ is going to put on a sexy show, she can do it wherever she likes!

And so she does. Voronin‘s creation is very much a leisurely and enjoyable record of a strip tease. The pace is slow and deliberate — although we do get a glimpse or two at Anna’s south-of-the-waistband charms early on, her micro-mini skirt doesn’t come off until the just after the six minute mark. There’s a cute bit of action where Anna plays it pleasingly coy. Her top has slid up slightly and threatens to expose her left breast. She tugs the top back into position and smiles ever-so slyly (see for yourself at 5:28).

While Anna stays in a near-constant state of motion, Voronin’s camera is far from stationary. In one memorable sequence, beginning at the 6:28 mark, he follows the models’ hands from between her thighs, up to her bosom, and back down again. The cinematography is fluid, the body it’s capturing is flawless.

Voronin also places the camera high above the bed for a particularly dramatic effect. In fact, he uses the high angle in the final moments of the production. But in those waning moments he also skillfully deploys a somewhat subtle double-exposure. As Anna AJ writhes sensually on the bed a second, far fainter, out of synch image, appears creating a multi-limbed, kaleidoscopic effect. In “Erotsis” we have a beautiful model, creative direction and camerawork, and plenty of inviting tease. No wonder it’s so popular!

I strive to evaluate every MetArt pictorial as a free-standing, individual artistic creation. If it features a model I’m particularly fond of I do my best to view it with fresh eyes. I do the same thing with new works from favored photographers. Beautiful and talented models have “off” days, and gifted creative artists sometimes make technical or aesthetic blunders.

Having said that, it is always a pleasure to view a new set by one of my preferred artists, of a model I have admired in the past, and find that it meets or exceeds my expectations. And “Mansion” absolutely does that.

By the time Yanika A made her MetArt debut (you’ll find my impressions of that set here) I was already a fan of the photographer who shot her premiere pictorial, Alex Sironi. In the second Yanika gallery I critiqued (look here), my impressions of the model were reaffirmed and I also noted a pleasing evolution in the photographer’s style.

In “Mansion” the team is reunited, and it’s an engaging and satisfying collaboration. Alex Sironi‘s set design is true to form: simple lighting and a single piece of furniture — an ornate (some might say gaudy) black sofa with silver-metallic painted ornamentation. Technically, the photography is impeccable. Detail shots, in particular, really stand out in this collection: a close shot of Yanika’s hand, thumb hooked around the waistband of her bikini, in #011; her lacquered fingers “walking” down her thigh, in #059; removing her bra to expose her right breast, in #025; a single playful hand and two splendid breasts in #078; polka dot panties around up-thrust ankles, in #021. I could easily go on.

From Yanika A‘s newly darkened hair, to her red and white bikini, to her crimson fingernails and honeyed skin, to the white, black, and silver of the set, the color scheme approaches perfection. The range of compositions and poses is also exemplary. You’ll find great pin-ups (#042 and #049). Plenty of bold and sexy attitude (#077). And much inviting sexuality — I love the splayed-legs pose in #125 as well as those “walking” fingers and the intriguing expression. And for sheer erotic impact the look on her face, and that stealthy right hand in #114 can’t be, shall we say, beat.

In her debut MetArt gallery Orvelia O is totally nude from start to finish. To her credit, she seems quite at ease in this completely exposed state. And she isn’t at all reluctant to present her most intimate attributes in a selection of revealing close-ups.

Without a costume to strip out of, variety must necessarily be achieved through a diverse selection of poses, the photographer’s choices in terms of composition, and the model’s position in and around the set. As it happens, this is a key to this particular series.

In the first shot, which I quite like, Orvelia is leaning against a stylized column of wood and metal, a bed and a softly glowing lamp occupy the background. Later, in wider shots, we see that the column marks the junction of two sliding panels that can be shut to enclose the bedroom. This may seem like a needlessly detailed description, but it is important.

The first portion of Arkisi‘s pictorial takes place outside the bedroom. While there are flattering, pleasing images among this group — #032, for example, in which Orvelia spreads out on the dark wood floor — the indirect light here isn’t exceptionally flattering. It’s a subtle defect, some might not consider it a defect at all, but when the model moves into the bedroom — either on the bed itself, or on the floor next to it — the lighting is without question far more flattering to Orvelia’s coloring.

I noticed this dramatic shift when I got to #075, and the set gains strength from there until its conclusion. “Nice light” is a term that recurs repeatedly in my notes. #087 is one lovely example (a dreamy and inviting rear view). #095 is a nicely lit headshot. In #118 Orvelia O moves closer to the table lamp which brings out the color of her hair and the beautiful details of her face. #100 is another charmer, as is #119, an expressive and unique headshot. When the light is right this debut delights.

When this model appeared in her first MetArt erotic photo set I was generally impressed. I felt that she had a pleasing combination of girlish charm and more womanly sensuality. And the art direction and photography, by Jam Abelanet, regrettably an infrequent contributor, made the most of the model’s beauty.

This set, shot by prolific lensman Luca Helios, offers a welcome chance to see how Hannah E has evolved as a model, but it also has me scratching my head. The model is beautifully styled and presented, and Helios includes a wide range of compositions — from headshots, to figure studies, to detailed close-ups. But the setting for the shoot — a weathered tractor sitting in a weedy field — strikes me as an odd and not terribly erotic choice.

I’m inclined to give Helios a pass on his location selection. I generally enjoy his work, and the MetArt membership does, as well — he’s a fixture in the photographer’s Top Ten. And in terms of productivity, the man is a machine — as I write these words he has 590 still galleries and videos in his portfolio, and that number is sure to climb, probably before I’ve finished this post! So, perhaps in an effort to include something unusual, he picked a tractor.

Model and photographer do their best to make the most of a not entirely favorable situation. In a shot like #020, Hannah E strikes a standing pose and Helios captures the contours of her body quite beautifully. Still, the images I prefer here are those in which the presence of that French blue farm implement is minimized. Look at #040 (a torso and headshot), #059 (an intimate close-up of Hannah’s beautiful backside), and #066 (with her wrap covering the hood of the tractor, and with the wind in her hair), to see how the absence of tractor distraction improves the images.

Hannah E has, without question, grown more skilled with experience. She’s a confident and creative poser, and several bursts of candid spontaneity (like #044) add a nice bit of engaging energy to “Sponda.”

I’ve critiqued four — count ‘em: 1, 2, 3, and 4 — MetArt pictorials featuring Dominika A during my blogging tenure and she’s never failed to impress me. But natural beauty and considerable modeling ability do not necessarily guarantee a successful motion picture performance. As I’ve mentioned previously, while there is some overlap, the skills of each discipline are different. In posing for a still photo the model must only maintain her pose and expression for the duration of the exposure. On video she must project and express over time, any hesitation or false step is recorded.

In “Parusa” any hesitations or false steps are absent, and Dominika A proves that she’s equally adept in front of a still or movie camera. I can’t honestly say I’m surprised, but I will say I’m quite pleased to have made this discovery.

The pace and progress of Luca Helios‘ production is deliberate, measured, and leisurely. The model walks past some shops, enters a room, and slowly removes her clothing, piece by piece. Seeing Dominika in motion is a treat — and the camera takes great care to capture every graceful movement, and every luscious inch of her svelte physique.

Total nudity is reached at the 3:37 mark and Dominika A spends the remainder of the film lolling languidly on a circular bed. There is a subtle undercurrent of sexual energy here and even though she is alone, and despite the fact that there is only the mere suggestion of self-pleasuring, the mood is unmistakably erotic.

As Dominika shifts positions and assumes a variety of poses on the mattress we’re given a comprehensive tour of her tempting body, including her arresting intimate assets. If you’ve enjoyed Dominika’s still sessions “Parusa” will only add to your appreciation of this talented beauty. For those who’ve yet to view her, this movie provides a lovely and leisurely opportunity to get acquainted.

Most of this Rylsky-lensed pictorial takes place rustic meadow on a beautiful, sunny day. The natural beauty of the setting is in perfect, flattering harmony with the ripe, natural beauty of the model.

In addition to her voluptuous physical blessings, Mirelle A displays a warm, sunny attitude throughout the entire MetArt gallery. Although some might ask for a bit more range in terms of emotion and expression, the mood she projects is so inviting that one wouldn’t dream of complaining.

One cluster of my favorite images from the series occurs early on. The first 15 shots are all variations on a headshot. Each variation has its own charms, but #009, with the sun and wind in her hair, and her arms covering her breasts, is among the best of this particular bunch. But so is #010. Or #013. And so on.

I was so pleased by the natural setting that those shots which reveal that Mirelle is standing or sitting on a pair of truck tires buried in the ground come as something of a surprise. And a handful of images in which Mirelle A is photographed posing on a circular reflector feel a bit awkward. To my mind this implies either resourcefulness on the photographer’s part, or his failure to bring along a more suitable and appropriate piece of groundcover.

Towards the end of “Elato” there is a change of venue — a lush garden replaces the wild meadow. Although several shots from this segment are quite appealing, my stand-out favorite has to be #107. Shot from above, Mirelle A is on her back on a vivid emerald green swath of lawn, a single vibrant rose rests just beneath her ample bosom. The colors, the composition, the model’s curves, and her wide-eyed and intriguing expression result in a uniquely beautiful photo.

Can you imagine how much fun it would be to spend time with these three girls? If their personalities are even half as engaging as they appear to be, even mundane activities in their company would certainly become fun-filled, memorable events. Or spend some time considering the erotic possibilities. Yes, it’s almost overwhelming, but just think how much pleasure would be possible with these three vixens offering themselves for your personal enjoyment. Finally, picture what would ensue if this trio were to engage in explicit Sapphic sex acts for their own gratification — and for your viewing pleasure.

Keep those steamy erotic images handy, because you will find nothing approaching them for heat or intensity in “Coresmos.” The strengths of this MetArt gallery are its three stars. In their own right, each of these models are delicious, delightful individuals. Irina J has received the most extensive blog coverage, here, here, and here. But Paloma B and Liv A, have also earned favorable notices, there, and over there.

But when frequent and talented contributing visual artist Rylsky takes on the triumvirate he may have bitten off more than he can successfully masticate. And when intimate sexual contact is not permissible his hands are tied. So he tries a variety of approaches, some are more successful than others. But the overall effect is a bit of a jumble and doesn’t come close to matching the potential these models present.

There are odd bits. Several images of Paloma B, fully dressed, are included in the series, for no discernable reason. There are a few outdoor, fully dressed shots of Irina J and Liv A, but there is no logic to their inclusion here.

The bulk of “Coresmos” finds the trio posing and preening in geometric and faux-erotic tableaux. Not a lot of this makes much sense. Individual bodies and faces are appealing, and there are pleasing images sprinkled here and there, but nothing truly compelling. My favorite shots are probably those that present the threesome seated at a coffee table, topless, like three giddy girlfriends staging a sexy tea party (see #021 through #025). Cute? Oh, yes! Erotic? Not so much. Have I missed something? Please enlighten me, in the comments, below.

This MetArt erotic photo gallery marks the arrival of two new talents. This is 19-year-old Surime A’s debut appearance here, and while photographer Koido isn’t completely new, this is only his second contribution, and the first I’ve seen. Short story: two impressive “new” talents.

I was somewhat surprised to learn that Surime A is just 19, and only recently graduated high school. As I went through the set I was struck by the model’s natural and spirited expressiveness. While she is lively and energetic, she also has a knowing, worldly quality that implies a certain maturity — certainly more maturity than we expect from a 19-year-old. Her performance is that much more impressive when one considers her youth and (presumed) lack of experience.

An expressive and physically impressive model makes any photographer’s task easier and more enjoyable, and Koido demonstrates his own considerable artistic ability both in his design of the set and the wide variety of compositions and poses he manages to include with only a minimum of set decoration. I’m particularly impressed by how the slate gray floor blends seamlessly into background. It’s a slightly unusual color choice — strong yet still neutral — and it flatters Surime A’s natural coloring.

A simple, light gray stool makes an effective prop, particularly in the sequence of shots spanning #020 through #030 — whether standing next to it, her back to the camera, in #027, or seated on it, in a playful pin-up pose, in #022, model and artist get maximum effect with minimal décor. Even knocked over, as it is in #049, the stool adds a hint of graphic interest to an already interesting figure study.

Two more favorites from this series dispense with props entirely. Totally nude, curling her body up off the floor and eyeing the camera, in #062. And #063, flat on her back, eyes closed, face relaxed, hands above her head, is another beautifully posed and composed image from this talented new twosome.

Sharp-eyed readers — well, even one-eyed readers — will immediately recognize the location of this set. I wrote about a series created in the same space by the same photographer just the other day. It’s a pleasant room, with lovely light, the only question is, will this MetArt gallery be as pleasing as the previous example?

I could make you wait and turn my attention to the more pleasing elements of “Veritat,” but I will spare you the wait. After all, the set’s title is the Latin word for truth, so I have no choice but to be honest. The answer is: no.

In technical and stylistic terms Koenart is consistent from the previous set and this one. He’s rearranged the room slightly, moved out the chair and replaced it with an ottoman. So, why is this set less successful? Who gets the credit, or the blame? Our choices are limited. Would anybody care to venture a guess?

Yes, a gold star for those who picked the model. What is it about her, what she’s done, or what she hasn’t done, that makes this series less than satisfying? It can’t be her body, she’s voluptuous, shapely, and otherwise inviting. It can’t be her tattoos — Koenart studiously avoids including them in his compositions and they are only visible in a few shots. And it’s not her face, not exactly.

It’s her smile, or absence of same. It’s her attitude. Truthfully, I can only say that I get the distinct feeling Bella C isn’t enjoying posing for this set. When she attempts even a shadow of a smile, as in #032, the result is faint and forced. And in #058 her expression is almost one of resentment.

I don’t mean to suggest that all models should always be happy and smiling broadly – far from it! Some of my favorite MetArt galleries feature models in contemplative, thoughtful, understated moods. But in shot after shot, no matter how appealing Bella C is physically, I get the feeling she’d rather be somewhere, anywhere, else.

As it happens, the last few shots feature the fully dressed model outdoors. In these shots Bella C is happy! She is smiling, naturally and genuinely. I only wish she’d brought some of that cheerful spirit to her nude sitting.