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.”