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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.

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.

The setting for the MetArt erotic photo series “Artio” couldn’t be more appropriate for the sultry subject. Photographer Karl Sirmi has positioned his model on a circular bed, its sheets in pleasing disarray. A sexy girl, an unmade bed — it doesn’t take much more than that to inspire one’s erotic imagination.

As it happens, this model is particularly inspiring in her own right. This is only Katie A’s second MetArt nude photo gallery (a third has been added to her portfolio only recently), and she is just 19 years of age. But lack of age or experience is no impediment! Katie A is beautiful, talented, and extremely sexy. And there’s a knowing quality, an air of maturity, to Katie’s allure. This is no inexperienced “legal teen,” Katie A projects a seasoned and worldly sexuality.

Physically and facially, Katie A is an exceptional specimen. She’s also a gifted poser with a limber and flexible body and a creative imagination — she assumes some poses here that verge on contortionism, and the effect is absolutely eye-catching. The cluster of shots spanning #018 through #023 showcase her bendable body quite wonderfully, and #090, #092, and #095, while less dramatic, have a physical grace that’s a delight to behold.

The series is presented in somewhat jumbled form, or rather, it’s presented here out of its logical order. In the first ten images Katie A is totally, gloriously, nude. But in #011 she’s fully dressed in a sheer, frilly black and white nightie over matching panties. If one proceeds through the set in numerical order, as I do, the logical progression of the series — dressed, then topless, then totally nude — is lost. But who cares! In fully clothed shots (like #043 or #034) Katie A delights. In a topless shot (#072 is a beauty) she beguiles. In headshots (#030 or #054) her beauty borders on hypnotic. And totally nude (offering a prone invitation in #004, or spread wide and brazenly presented to the lens (in #112 among others), Katie A is both lovely and lusty. “Artio” gives the viewer a vivid and detailed picture of how enjoyable it would be to help her “unmake” a big, inviting bed!

Seven minutes and fifty-one seconds is not a lot of time. That’s just one of the fundamental challenges posed by the MetArt HD erotic movie format. To be frank, I’ve seen several of these short subjects that seemed far longer due to their lack of compelling action or failure to make any sort of engaging erotic or creative statement.

With “Empiria,” photographer/artist/director Ivan Harrin demonstrates mastery of the format. Yes, it’s just under eight minutes in length, but every second is entertaining and enjoyable. Harrin’s concept, style, and execution are brilliantly suited to the format, and aspiring MetArt filmmakers would be well advised to study this offering.

And the talent in front of the lens is every bit as impressive. As “Empiria” begins we see Milana G, in profile, standing behind a curtain of crystal beads — it’s a beautiful image of a beautiful girl. Within seconds — she smiles at the 10-second mark — she has my undivided and enthusiastic attention. And it just gets better from there on out.

Milana G has a slender, shapely body and the soft lighting brings out its contours wonderfully. She also has a nuanced personality, laughing, then thoughtful, then sexy. There are moments, many of them, when I’m struck by her beauty in individual frames — Harrin really knows how to apply the still photographer’s sensibility to motion pictures.

Totally nude throughout, when Milana G steps away from the beaded curtain she moves to a picture window facing a busy street. Pedestrians are clearly visible in many shots adding a bit of exhibitionist/voyeur sizzle to the proceedings — one fellow nearly sprains his neck turning to gawk at the gorgeous nude girl looking out at him. Priceless.

Some bold, explicit views spice up what is already a spicy concoction, and as an unexpected bonus we’re treated to a brief bit of “blooper” footage (in stylish black and white, no less) as “Empiria” nears its conclusion; as well as a short, fully clothed moment as Milana browses the offerings at a street-side stall. A gorgeous girl in a stylish, eye-pleasing and completely enjoyable film. Highly recommended.

Calling a model in her early twenties a “veteran” seems a bit odd, but “Provalo” is Mila I‘s forty-ninth appearance at MetArt so the description is fitting. And it’s quite easy to understand this beautiful blonde’s enduring appeal. She’s physically enticing, of course, but Mila I also has a spirited, lively personality that is easily captured in still photos or on video.

In looking at Mila I’s impressive catalog I notice something interesting. Although she’s worked with a diverse assortment of MetArt contributing photographers, eight of her ten most highly rated pictorials were created by one artist, Tony Murano. With “Provalo” I have a chance to see for myself why this particular team has proven to be so popular and successful.

Although the very first image is tilted for no obvious reason (a pet peeve of mine), the lighting and set design is pleasing, and Mila’s styling is a bit more polished than usual, which is also pleasing — Mila is nothing if not versatile, and here’s yet more proof. Then model and artist begin to experiment. In #005 we Mila is in a thoughtful mood, but by #009, still fully dressed, she expresses sexual ecstasy.

Explicit and unashamedly sexual imagery is a Tony Murano trademark, and as “Provalo” progresses it offers ever-increasing eroticism. While Mila I is undeniably cute with a bright and charming spirit, she’s also powerfully sexy, and this series captures that aspect of her personality quite impressively.

Yes, there are “tame” yet stylish photos here – #047, a study of Mila’s breasts with several flowers slightly out of focus in the background is one example. And the architecture of her body is rendered to striking effect in #072. Here Mila’s shoulders are on the floor and her body arches upward, supported by her legs up on the bed.

But the main course here is flowers — of two distinct varieties. Toward the end of “Provalo” Mila’s is in glistening full bloom as it is showered with yellow petals. And in the final shot, an extreme close-up, a single golden petal is held near a pink blossom of incomparable beauty. That’s what I call flower power!

While there are certainly simpler MetArt erotic photo galleries, this offering from prolific contributor Goncharov achieves its strengths by getting back to basics with a minimum of additions and extras.

The artist experiments with two different set-ups in “Exceptie.” In the first, he’s dressed his model, Orvelia O, in one garment — a blue “sweater” knit in a fishnet pattern that leaves absolutely nothing to the imagination. The lighting is soft and indirect, the white floor flows seamlessly into the backdrop, and a tall, white rectangular box serves as a chair or posing aid in some shots. Two of my favorites from this section include the first image, #001, in which Orvelia’s body as well as cheerful demeanor are on full display; and #014, a standing back shot that is a stylish study in simplicity.

In the second section of “Exceptie” the white box is replaced by a heavy, dark, high-backed chair made of stout lengths of what appears to be bamboo. At first Orvelia is wearing the net sweater, but she soon discards it and a long string of pearls becomes her “costume.” This section is, to my eyes, somewhat less coherent than the first, but it does yield many pleasing images. In #102 and #103, for example, using the necklace as the most brief of bikini bottoms, Orvelia O is erotically exposed even though she’s technically covered up.

Orvelia O has a pleasant energy and personality here and I suspect the simplicity of the set design gave her the freedom to experiment with her own style and presentation. I don’t expect that “Exceptie” will bowl many viewers over, but it achieves a pleasing effect with its model’s charm and the basic simplicity of its design.

Attraction isn’t always instantaneous. And some of the most memorable — and satisfying — seductions take a bit of time to unfold. That was my experience with “Eskura.” My initial impressions of the model and of the photography were positive, but achieving a full and enthusiastic appreciation of the set was a gradual process.

Beatrice C first appears wearing a little black dress. She is pretty and nicely presented. When I read her bio after viewing the set I learn that this 19-year-old is a stylist, and I suspect she may have performed those tasks here — her hair and makeup are quite nicely done.

After a costume change Beatrice appears in a sexy bodysuit. She’s pretty, and the garment is flattering, but there’s a hint of stiffness in some of the poses, and the artful styling of hair and makeup begins to feel the slightest bit overdone. Still, the most minor of complaints.

It’s only when Beatrice C is totally nude that “Eskura” hits its stride and the model wins me over completely. And it’s not simply because she has a splendid body, either. Once she’s nude she reveals not only all her scrumptious intimate attributes, but also her vixenish nature. A skilled artist, photographer Catherine takes great care in capturing the delights of Beatrice C’s body as well as the sizzle and sparkle of her personality.

Catherine’s lighting, soft and natural, brings out not only physical detail, but also the texture and tone of the model’s supple skin. And she’s included ample compositional variety. #087 is a lovely detail figure study of breast and torso, for example, and in #048 the artist’s deft manipulation of light is on display as well as are the model’s inviting attributes. In #053 we have a lovely headshot, and Beatrice bites her lip seductively, while offering herself to the lens, in #126. There are playful moments (#078) and steamy ones (#060), and “Eskura” ends with an erotic, explicit, bang (#130). Beatrice C is young, bold, bewitching, and, to put it simply, extremely hot.

I loved Nichole A from the very first image in her very first MetArt erotic photo series. Of course love at first sight can be fleeting and temporary, but my initial impression and affection was only reinforced in the second and third Nichole A galleries I’ve evaluated.

The dark-eyed beauty with the warm, natural smile returns in “Fanari,” once again partnered with photographer Arkisi, and my expectations are justifiably high.

While Nichole’s beauty and charm are abundant and consistent in this set and the other three I’ve commented on, all four galleries are distinctly different, and Arkisi deserves credit for experimenting and exploring varied approaches to the same model. The last Nichole A series I blogged about was an outdoor set on a picturesque mountaintop. In “Fanari” she’s far, far away from nature, on a vivid purple seamless background in a controlled studio setting. The furnishings and extras are few. There’s a white chair and a table topped with a couple of tchotchkes, and the model’s costume consists of a pair of stiletto pumps and a frilly, coral-colored bra and panties set. The colors really “pop” and the simplicity of the design lets Nichole A‘s beauty shine.

This long-legged brunette exudes a rare, irresistible warmth. She’s almost always smiling, but it feels entirely natural and genuine. Whether she’s standing tall, hands on her hips, in the introductory shots (#001 and #004 are two favorites), or when she’s totally exposed in any of the numerous explicit poses, Nichole is cheerful and completely at ease. Nichole A’s personality really comes across in these photos, and it’s every bit as attractive as her physical attributes. If you’ve yet to experience this beguiling beauty, “Fanari” may well make you a fan of Nichole A.

Looking at erotic art photographs — that’s where my job here begins. And during my tenure as MetArt‘s blogger I’ve looked at many hundreds of pictorials, and studied nearly 100,000 individual images. Yes, it’s a dirty job, and I’m lucky enough to get to do it.

Sometimes it’s the model who makes a set successful. Sometimes it’s a scenic or picturesque location. There are series in which the artist and photographer have a rapport that results in exceptional photographs. And sometimes, although relatively rarely, a photographer comes up with a unique aesthetic concept for a set and executes it to perfection. And this last option is what I have the pleasure of discussing today.

The artist with the cryptic and mysterious name DeltaGamma has created something wonderful here. It is a splendid showcase for the model, Mia Sollis, and it seems tailored to her in many ways. But I can also easily imagine this treatment being applied with equal success to other models.

“Voile” takes simple elements, adds a twist, and the result is far greater than the basic components. We have a floor of large white tiles, the grout lines cross on the diagonal forming a grid. A large piece of sheer white fabric gives the pictorial its title, gives Mia Sollis something to wrap her beautiful body in, and adds a suggestion of clouds or smoke to some shots. The twist DeltaGamma employs to such excellent effect is his angle or POV — he’s placed the camera above the model and shoots down on her for the bulk of the set. The combination of the high (and highly unusual) angle, the pattern of the tiles, and the effect of the fabric is truly striking.

When the floor becomes the “backdrop” it forces the model to pose in new and different ways. Here Mia Sollis does most of her posing while lying on the floor, and this creates the illusion that she’s floating in space. In several images she bridges her body off the floor, supporting herself with her feet and shoulders. And in others she aligns herself against the grid to mix crisp geometry with the soft curves of her body.

I might end this post with a list of favorite images, but I’ll restrain myself. Instead I’ll simply suggest you take a look at “Voile” for yourself. I’d be interested in hearing your impressions, whether you agree with my opinions, or not.

The star of this MetArt HD erotic film is a newcomer to the site — this is only Aria Amor’s second appearance here. The filmmaker, Holly Randall, is also a relatively recent arrival at MetArt, but she’s a seasoned professional with an expansive portfolio. This particular pairing, artist and model, results in something approaching perfection.

I will quickly and briefly mention the only flaw I can find: there isn’t much in the way of explicit imagery here. While that is a statement of fact, it doesn’t diminish my enjoyment of “Bourgeon” in the slightest. This is an exceptionally enjoyable film, and credit for that is shared by the star and her director.

Aria Amor is a visual treat. She’s tall, standing 5-11 (taller still in a dramatic pair of platform high heels), and that slender, graceful physique is enhanced by a pale, creamy complexion. Aria’s long, auburn hair frames a beautiful face, and her dark hazel eyes glitter with playful energy. She’s also got a warm, engaging smile which she isn’t afraid to show off, and when the camera lingers on Aria’s face it’s impossible to look away.

Holly Randall‘s camerawork and editing is polished, fluid, and effective, and her knack for art direction and set design is truly impressive. She’s dressed her star and the set in red and black. A single chair and the glossy studio floor are black, as are Aria Amour’s lace high-waisted panties and gloves. She briefly wears a mask of black lace over red satin (which matches her previously mentioned shoes), and the backdrop is a wall upholstered in red satin. A beautifully conceived stage for a beautiful young model.

“Bourgeon” is a visual and aural delight — the music is perfectly suited to the style and pace of the film — and all of the various elements work together in perfect, seamless harmony. A beguiling star turn by Aria Amor, and a masterful creative achievement from Holly Randall. I suggest you savor the sweetness of this production at your earliest convenience.