Tag Archives: barefoot

In my last post I discussed a pretty girl who was a touch reluctant about revealing her intimate anatomy. The pretty girl I discuss in this post has no such problem. Indeed, she’s quite the opposite. I consider this an extremely refreshing, not to mention invigorating, change of pace.

My single prior experience with Zlatka A was a good one. And I quickly realize this time may be even better. In the previous set the sky was overcast and the sunlight flat and wan. In “Oraison” the light is bright and the colors vivid. It’s a beautiful day in an interesting location — the sloping concrete bank of a canal.

Photographer Cloud has provided Zlatka A with just one piece of “clothing,” a long piece of red fabric. The fabric ads a burst of vibrant color, and it’s also versatile, serving as a shawl, robe, hood, a flag riding the breeze when held aloft, and a comfortable blanket when spread on the ground.

#004 provides an overview of the location and of Zlatka A’s beauty as she stands on one foot holding opposite ends of the fabric in each hand. After Cloud zooms in and Zlatka A switches to a rear three-quarters view, the result is a fine showcase of her face and backside. Tightly framed in #029, with the sky filling the background, artist and model create another striking image. I will let explicit images like #047, #073, #089, #090, #094, explain themselves, but I will say there’s quite a lot of stylistic variety in these steamy shots. And #107, a headshot, artfully combines style with spontaneity. The shots I’ve mentioned, and numerous others, provide many reasons to enjoy Zlatka A in “Oraison.”

The location chosen for this MetArt erotic photo gallery is exceptional. The model stands next to and then poses on top of a stone wall next to a sparsely traveled road high in the hills. Behind her lush green forest, and in the distance, rugged cliffs, below her the coastline and the deep blue sea. The sun shines bright and puffy clouds decorate the sky. One can easily imagine taking a leisurely afternoon drive along this beautiful road stopping along the way to take in the beauty of the landscape and the expansive vistas.

But even the most beautiful setting can be improved with the addition of a beautiful girl, and Olivia F is a perfect choice to enhance this particular landscape. Barefoot and wearing only a pale pink shirt and a pair of white short-shorts, and with her long, lustrous black hair being teased by the breeze, she’s extremely appealing. And she’s not simply physically beautiful — although she is absolutely that, in both face and body — Olivia F has a natural ease in front of the camera and a charming and engaging personality. In a shot like #003, which has a spontaneous, casual feel, her smile and expression are entirely natural, and completely unselfconscious.

The artist, Matiss, takes full advantage of the setting and his subject, and he’s included a generous 138 images in the series. And that generous quantity contains abundant quality and variety. So much quality and variety, in fact, that it makes narrowing my list of favorites down to a manageable number quite difficult. But here’s an abbreviated list: #007, standing, in profile, one pert breast visible, her face raised to the sky, her hair reaching her waist. #019, a quiet moment, eyes averted. #030 and #031 two topless shots, similar yet different, and both strikingly beautiful. #067, framed against the sky, the wind in her hair. #121, #122, and #124 — moving closer and closer to that enchanting visage. And #102, nude, standing, totally exposed and utterly adorable. Detail shots are also included, explicit close-ups as well — from beginning to end “Agnand” is simply grand.

The influx of fresh talent into the MetArt model talent pool continues unabated. Among the more recent arrivals we find Yarina A, a leggy, auburn-haired, 19-year-old newcomer from Ukraine.

This is a casual, off-the-cuff effort from contributing photographer Goncharov. There’s little, if any, attention to art direction, props, costuming, thematic content, or any technical complexity. This stripped-down, no-frills presentation doesn’t distract attention from the model and he captures her in enough different poses and compositions to allow the viewer to get a complete look at Yarina’s physical attributes as well as developing some sense of her modeling abilities.

The most distracting element of the set is the background. Yarina A poses in an arched doorway. The arch has been painted, in trompe l’oeil fashion, to resemble a brick masonry column complete with clinging vines. Another wall, this one with an actual (as opposed to virtual) mirror, is also painted in a stonework pattern. The main wall in the background is pale blue sky dotted with wispy clouds and soaring birds. It’s an unusual setting, to be sure, but I’m not certain it adds much to the collection. Still, at its most effective, in shots like #024 and #025, the mixture of actual, reflected, and fake elements is intriguing.

My favorite images from the series tend to be those that minimize the background and fill the frame with Yarina A. This young model — she’s only 19 — has a great shape and I suspect she may have some training in dance, or at least her posing suggests this. There’s virtually no background at all in #051, a headshot captured while Yarina is supine on the floor, and it’s a standout in “Presenting.” The model has a relaxed, natural countenance in #058, a shot that also conveys the sculptural elegance of her belly and hips. And while the background is somewhat cluttered in #073, it’s still lovely figure study of a truly lovely figure.

The term “nude beach” calls to mind sun-kissed bodies, the warmth of the sea and sand, and a sense of freedom both personal and sexual. In the MetArt erotic photo gallery titled “Bregdet” we have a nude girl, and we have a beach, the sun is shining and the sky is blue, but there is a chill in the air and the wind gusts and buffets the model and reddens the tip of her nose. A beautiful fall or early winter day, yes, but perhaps not exactly ideal for nude, erotic photography.

To her credit, Irina K performs like a complete professional throughout the gallery. To my eyes she absolutely looks like she’s cold, but she never once indicates or signals that she’s chilly. And considering the fact that a chunky bracelet is her sole piece of “clothing” for the entire set, that’s quite a performance.

Ivan Harrin places his subject in three distinct zones on this desolate and windswept stretch of pebble-strewn shoreline. Initially Irina strolls and lolls down at the water’s edge. Perhaps my favorite shot from this group is #002 as Irina walks along, both hands in her hair, eyes averted. Next Irina moves to a white towel on soft sand backed by a grassy thicket. These are the “warmest” shots in the collection, both in terms of ambient temperature and in explicitness. For the conclusion of “Bregdet” Irina moves to the top of the bluffs overlooking her two previous locations. The natural beauty and drama of the setting makes a fine backdrop in a shot like #108, but the sense of chill is very nearly palpable. I can easily imagine Irina K, bundled up and in the car after the shoot turning to the photographer and suggesting, politely, that their next session together be in the cozy confines of a well-heated studio.

Irina B spends much of this set sitting in a chair positioned in front of a large, open window. In many of the shots one gets a real indoor/outdoor feeling — the naturally lit interior in the foreground, the vivid mid-day sunlight on the trees in the background (#013 captures this division quite effectively).

While it’s certainly a beautiful day outdoors in “Sciroppo,” the beauty we (and, of course, photographer Rylsky) are focused on belongs to the model, and it is considerable. Irina B starts out the set wearing a clinging coral-colored tank top, doubling here as a dress. The tight garment is flattering both to her svelte body and to her coloring, as well. #029 illustrates this point, and the indoor/outdoor influence is also pleasantly noticeable, particularly in the sunny highlights in the model’s dark hair.

Some of the posing in this set feels a little bit stiff and unnatural, but Irina B’s beauty and personality are so appealing that it doesn’t diminish my enjoyment of the series. Look at the hands (or hand) in #002 or #008 and I think you’ll agree there’s something awkward in the poses, but it’s difficult to complain or protest too enthusiastically. And then she delivers a pose like the one in #081 and there isn’t a single critical comment to be made.

Some of the most interesting and effective images result when Rylsky moves the model onto a glass tabletop. Here we find a group of exceptionally beautiful headshots (#119 and #122 are personal favorites), and enticing explicit images (#104 is just one of several such shots in the pictorial) in which the model seems to be saying: “Well, what are you waiting for?” Whether she’s clothed and looking sweet in her window seat or on the table displaying her sultry side, Irina B makes “Sciroppo” both interesting and enjoyable.

[MetArt member — and frequent blog commenter — hipshot13 recently submitted the following detailed evaluation of a MetArt erotic photo gallery. Whether or not you share his opinions, you can't help but appreciate the thought and effort that went into crafting this critique. And, whether you agree or disagree with hipshot's observations, please feel free to share your own opinions in the comments section following this, and every other post, on this blog. The more MetArt members we have participating in the dialog, the more valuable the conversation will be to one and all. — Adam]

In my time on MetArt I have seen many girls come and go. Some fade as they get older, a lot just disappear, while others seem ageless and don’t lose that glow at all. Some are very popular and then fade away, some linger for a good time. And there are a very, very small number that actually mature and become even better the longer they stay.

Indiana A is one of those rare women that improve over time. She’s been here for 4 years, done 42 galleries, and she’s always stayed near the Top 10. When she started, way back in December of 2008 at 19 years of age, she was a cute, feisty, somewhat devilish young thing. Red hair, fresh face, and a talent for making you think that she could really turn your world upside down. At 5’7″ and just over a hundred pounds she was the classic sugar and spice type. She was, and is, pretty, and she looked like someone who would be fun to be with. I found her to be as cute as a button, but I am a stickler for small firm breasts and hers never were. I was quite enamored with her for awhile but that one thing finally won out and I moved on to girls that fit my ideal more closely. Of course this is easy on MetArt because there are always new and even prettier models coming on board.  Then yesterday Indiana A had yet another series debut and I realized that I had missed a bunch by simply passing over her sets.

“Panakia,” featuring Indiana A, and photographed by Luca Helios, opened my eyes and made me realize that this little teen sprite has flowered into a sophisticated “new” model that I hardly recognized. All the impish, youth-driven cuteness has morphed into a stylish, elegant, wistful young woman with tons of wow factor. That cute little redhead is still there when she smiles, but she has so much more depth now and this makes her so much more mysterious and alluring. Luca Helios really did everything right in this set. The simple white backdrop with only a large vase of dried flowers highlights her beautifully oiled body in a very sophisticated way that really accents this new Indiana and brings out an innocent sexuality that is very moving, indeed. Even her breasts are better and I didn’t think that could happen. Time does indeed change things, and sometimes it is definitely for the better.

I like this “new” girl. A lot!

It’s been nearly two years since I’ve had the distinct pleasure of viewing this model as well as the work of this photographer. And in the case of Nelly A and the artist with the descriptive name of Nudero, two years is too long!

Both model and photographer earned my admiration and respect when I commented on one of their collaborations, and they’ve returned to do exactly that once more in “Persy.” Shot in a grassy meadow in the fading light of the setting sun (with some artful assistance from a well utilized strobe light), this MetArt erotic gallery provides a fine natural setting for a truly fine blonde beauty.

There’s not a single prop to be found here, and Nelly A wears but a single piece of clothing — a man’s undershirt — and only briefly as the set opens. After that it’s the beautiful nude blonde interacting with Nudero‘s lens for the duration of the series. Facially, bodily, and in the strong but warm personality she projects, Nelly A is a treat. Her oval face is exceptionally pretty (#005), and her body is perfectly curvy without being overstated. She can deliver formal, stylized poses, but when she relaxes and follows her natural instincts (#049) her beauty and personality are magnetic (#060).

Whether she’s sitting ever-so-pretty and calmly regarding the lens (#033), jumping for joy (#102 and #103), or boldly displaying her succulent charms in detailed close-up (#108), I find it impossible to look away. And why would I? As I revealed when I first discovered Nelly A, I am quite fond of blonde. And in “Persy” Nelly proves, once more, that she’s a fine example of the breed.

The first time I commented on a MetArt erotic photo gallery featuring Violla A she had dyed her hair a particularly vivid shade of orange. Although I quite enjoyed her performance and the set in general, I felt that her hair color might put some viewers off the series. In this pictorial I’m happy to say that Violla now sports a somewhat more natural color, one that flatters the model rather than drawing attention away from her other attributes.

Generally speaking, there are very few distractions in the photographer’s design and execution of “Pecado.” The model is totally nude and barefoot throughout. She does use a piece of fabric or clothing as a ground cover in several images, but other than that, a colorful manicure and earrings made of a single feather complete her costume.

The location is a forest. Much of the gallery has Violla situated among the gnarled branches and roots of a toppled tree. There is much visual interest and texture to work with here, and, to her credit, Violla seems completely comfortable in what isn’t necessarily a comfortable area. Violla A has a warm, lively, and fun-loving personality that really comes across in these photos. She laughs, she smiles, and she speaks volumes with her exceptionally beautiful eyes.

She is also completely free and at ease with her body and she seems to delight in striking the most explicitly revealing poses possible. Even at some distance these poses are bold and enticing, and when Matiss moves in for intimate close-ups the detail is truly exceptional. Better keep the fire crew on high alert — in “Pecado” Violla A is more than capable of igniting an erotic inferno.

As is my habit, I start at the beginning. I open the first image in “Pivoter,” a fully clothed shot, and I smile. Not because the photo makes me happy, but because it’s a funny picture. The model is seated on a plank of wood (we later see that it’s a swing hanging from lengths of stout chain). She’s wearing a pleasant, summery, blue dress, a rustic necklace hangs from her neck, and her hands are loosely clasped in her lap. Her hair is casually messy, as if it was carefully styled and then she took a nap. And her face has a subtle sheen as if the studio air conditioner is broken. Her head is tilted and her expression is relaxed and neutral. And the shot is tilted a few degrees to the right. The feeling here is casual…and curious.

This is my first direct experience of Tamara F, but she has been mentioned on the blog in the past. In that post we published a letter by an enthusiastic member regarding her MetArt debut. The post received a single comment, and I think it’s illuminating. The commenter wrote: “I like her raw beauty, not pretty but very sexy…” I will say that I don’t completely agree with the comment, but I find it interesting. In Tamara’s debut she’s quite nicely styled. In “Pivoter” she doesn’t appear to have been styled at all. Her natural charms are presented in unvarnished form. I think a few minutes in the make-up chair would not have been wasted, others may find the candid presentation pleasing. Tamara F does have the raw beauty the commenter mentions, but I think a touch of make-up helps bring out the pretty I believe she also possesses.

Apart from the styling, or lack of same, “Pivoter” is typical of photographer Alex Sironi‘s style. Simplicity is the rule, there are few distractions, and the emphasis is on the model, as it should be. There are a couple of missteps — that first shot I already mentioned, and #075 in which Tamara pretends to chew one of the chains supporting her swing, for example. Her physical attributes do receive appropriate and artful attention. Her pert breasts and stiff, prominent nipples are suitably showcased — #041 is a fine portrait of her powerful perkiness. The sexy fitness and physicality of Tamara’s body is nicely rendered in #052 and #064. The naughty bits are brazenly and beautifully revealed in #058. And despite the annoying tilt, #100, a back shot, is nicely posed and takes advantage of the simple set.

He could have traveled to a dramatic location — a mysterious forest, a wave-lashed beach, a craggy mountain top. He might also have painstakingly constructed an elaborate set and decorated his studio with a profusion of props, furnishings and fabrics. And Rylsky, an experienced photographic artist if ever there was one, could have crafted this set in a palatial private residence, positioning his subject against a backdrop of plush, ornate, elegance.

No, no, and no! Here the artist strips things down to the very basics and achieves excellence through sheer simplicity leavened with skilled creativity. “Violett” may not have much in the way of fancy, fussy art direction — the lighting is direct, flattering, and effective, but far from dramatic. And he hasn’t resorted to visual tricks or technical gimmickry. Rylsky has worked erotic photographic magic here by including one special ingredient — and it’s known as Chantelle A.

I’ve reviewed three of Chantelle’s galleries (count ‘em: one, two, and three), and she has impressed me mightily in every one of them. This model is physically delightful, that much is plain. But she radiates such a bright, beautiful, beguiling personality that it’s almost overwhelming. And here, on Rylsky’s simple light purple seamless backdrop, there’s nothing to distract from her perfect beauty and powerfully disarming persona.

As you might imagine, trying to pick favorites out of a pictorial like “Violett” isn’t easy. It’s a big set, for one thing. And it contains a lot of variety. In the vast bulk of the collection Chantelle A is completely nude, although she does appear in a rather modest bikini in a handful of shots at the end of the series. And her moods are every bit as varied as her poses — and her poses are extremely varied! She’s giddy, she’s serious, she’s silly, she’s sultry. She’s relaxed, intense, thoughtful, playful, impulsive, and composed. I’m going to limit myself to three images. #011, nothing fancy here, just a perfectly beautiful girl, with a splendid body, in a fine photo. #075, those eyes, that face, that hair. #041, that stellar body, arched into an awesome and impressive full bridge revealing her physique to stunning effect. “Violett” overflows with wonderful images of a remarkably beautiful and appealing model. Who could possibly resist all that?