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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.”

This model’s gifts are plentiful, powerful, as well as particularly pretty. She’s got an easy, natural, girl next door charm, but it’s not at all difficult to imagine her dressed to thrill and knocking ‘em down in the big, sophisticated city.

If I have one complaint about Edwige A it is simply that she sticks to a rather narrow range of facial expressions. She has a pretty face — I only wish she would explore more of its innate expressive potential. Here she’s mainly in studious, serious, model-at-work mode. When she steps away from that safety zone she generates far more interest.

What has no trouble generating interest here are her physical gifts. From the texture and color of her smooth skin, to the shapely curves of her legs and ass, to her generously proportioned and artfully shaped bosom, she offers an enticing array of bodily beauty. As luck would have it, she doesn’t appear at all shy about showing it off.

Koenart doesn’t let the opportunity escape his lens and, while the set begins on a somewhat demure note, by the time it’s finished we’ve been treated to a broad assortment of explicit shots, including many wonderfully detailed close-ups.

The lighting and set design are clean and stylish. Edwige, barefooted from the start, is wearing a figure-hugging little black dress over pleasantly provocative black lace panties. Even when nothing much is exposed, as in a detailed figure study like #017, her ripe curves are irresistible.

“Dinamita” concludes with ten shots of Edwige A, dressed down in faded jeans and a printed T-shirt — and, yes, that message is true in my case, and countless others, I don’t doubt. It’s a nice way to end the set. It gives a greater sense of who Edwige is as a person, and leaves us hungry to see more.

There’s a distinct feeling of fall in this MetArt erotic pictorial. The late afternoon light casts a mellow (some might say dim) glow on the scenery, and the leaves on some of the trees have turned the golden tones of autumn. Which is slightly incongruous due to the fact that it’s now early spring in the Northern Hemisphere where and as this is being written.

“Neraida” is a simple bit of work. The feeling and execution are both casual and the style and presentation is relaxed and natural. Katya AC, wearing a forest green dress (and nothing else) is standing in a field of dry grass in the countryside. The fading light is a mixed blessing in this instance. When the sun strikes the setting and subject at just the right angle there’s a natural warmth to the images. But as the sun dips lower in the sky, or falls, perhaps, behind a ridge of unseen trees, the exposures become more dim and difficult.

Katya AC is slender and willowy and her performance is eager and willing. While I find the setting somewhat less than ideal, she deals with it gracefully, using her dress as ground cover and delivering a range of poses from demure to quite daring, complete with explicit close-ups.

The best images in the series, in the opinion of your not always humble blogger, can be found in the cluster spanning numbers 103 through 111. In these shots the model is standing, her backside to Alex Iskan‘s camera, her body silhouetted against the early evening sky. In contrast to the bulk of the set the emphasis here is on azure sky and invitingly exposed feminine figure. The light, the color, the composition are at their most flattering and the set’s weaknesses are reduced to an inconsequential minimum.

For a model with such striking natural gifts, it is somewhat ironic that her most noticeable feature is her artificially crimson-tinted hair. The far-from-natural hue of Ariel A.’s luxurious mane is undeniably eye-catching, but I suspect it is also somewhat polarizing. I know that there is a large and vocal group of MetArt members who eschew such blatant cosmetic manipulation and who prefer a more natural look. Others don’t object and can embrace the model and whatever personal choices she has made with regard to her appearance and presentation. I consider myself to be at the more tolerant extreme of the natural group — and I do like Ariel A. (see here and here).

However. “Pergula” has given me pause. I’m beginning to think that the dye-job is somewhat limiting. It may be Ariel’s signature, her trademark, but I think it narrows her appeal somewhat. The good news is that she could change the color of her hair at any time — and that’s not a luxury tattooed MetArt models, to cite another polarizing “enhancement,” enjoy.

Here, and in the previous sets I mention above, the shocking shade of the model’s hair seems to infuse the entire set with a subtle reddish tint. In “Pergula” this is amplified by the color of the set and furnishings, and by the overcast sky and natural light Luca Helios employs. I don’t know if it is avoidable, or if some level of color correction would minimize the effect, but it is noticeable.

Color me somewhat disappointed overall, but there are highlights to be found in this MetArt erotic photo gallery. Among my favorites: #068 and #069, the graceful, athletic (and erotic) presentation of her body in a shoulder bridge stance. And the trio of images — 078, 079, and 080 — that showcase Ariel’s refined facial features (and, yes, her hair) in dramatic profile.

When I discussed this model’s first MetArt erotic series I was genuinely impressed and generous in my praise. Now that I’ve seen “Scene,” her fourth gallery as this is written, my reaction is decidedly more mixed

In viewing her debut I was struck by Oliwia’s ample breasts and puffy nipples. In this set, however, I can’t help but notice a certain lack of symmetry from side to side. I am well aware that true symmetry is rare, but here it suggests that those abundant assets may not be entirely natural. And I notice that members have used the tags “implants” as well as the opposite, “natural breasts,” to describe Oliwia A., so there is some ambiguity and lack of consensus here.

Beyond the physical, there is a somewhat stilted quality to the posing in “Scene,” and a reliance on a half-smile that feels somewhat put on. I have no doubt that Oliwia is a charming girl — she did, after all, charm me with her MetArt debut. But I do wish she would relax and present a more natural range of expressions.

Further, some of the poses here are simply odd. Next to images numbered 067, 068, 092, and 094 I have written “why?” in my notes. Were these odd postures suggested by the photographer? Were they Oliwia’s ideas? I can’t help but wonder.

As to the photographer, I can’t find fault with the design of his set (the blue light on the brick background adds a bit of appealing mystery) or Antonio Clemens‘ execution. I think that I was simply troubled by the issues I’ve outlined above and that compromised my enjoyment of this set. Perhaps Oliwia’s next gallery will win me over, once again? We’ll have to wait and see. Please feel free to share your reactions to this set, this model, or even my (admittedly fallible) reactions, in the comments, below.

There was an improvised quality to the first Suzanna A. set I reviewed. My reaction to the model (making her first MetArt appearance with that series, I should add) was generally positive, but I also welcomed the chance to view her in different settings.

In “Sculpte,” once more working with prolific MetArt contributing photographer Goncharov, I have that chance. Instead of a studio this series was created in a house or apartment. And instead of props fashioned from odd items around the studio, we have the fixtures and furniture of an actual living space.

Even so, there is still an oddly jumbled, impromptu quality to the whole affair. When the set opens Suzanna A. is totally nude, posing on an unusual sofa in front of a wall decorated with particularly busy graphic wallpaper. In some of these images the lighting is soft and diffused. In others however it is harsh, as if a curtain had been pulled back. And that seems to be the case. The setting sun, low in the sky, presents a real challenge when the drapes are open. In some shots the light (and accompanying shadow) helps create beautiful images. #023, a back shot, is one good example. But in other shots the harsh light is less than flattering to the model.

The tricky, on again/off again lighting is just one curiosity here, however. Midway through the set Suzanna appears in a blouse, in an entirely different setting in what is most likely the same location. There is not much logic in this move, and even less when she appears against a third backdrop. Again, there is an improvised, random feeling to this photo essay that gives it a somewhat uneven quality.

Still, there can be no question as to Suzanna’s ability or architecture — she seems eager to please and her voluptuous shape is certain to please fans of busty beauties. Perhaps with a bit more thought and thematic consistency “Sculpte” would have been a masterpiece worthy of this curvaceous talent?

…In the road? That question might have been posed by photographer Ratmir Aliev when proposing the location for this MetArt erotic photo series to a prospective model.

In this case the road is not much more than a dirt track through the forest. The daylight is muted, one senses that people don’t travel this route very frequently, and one can almost hear the soft crunch of two beautiful bare feet on the carpet of fallen pine needles that litter the ground. It’s a fine, atmospheric location, and one that seems to suit Bogdana B. very well.

Subtle, minimal, and natural are the keys to “Rusalka.” The model is wearing a single piece of clothing — a simple, black and blue plaid shift — and two strands of fanciful beads. Bogdana radiates an easy, relaxed, and pleasant personality — it’s very much on display in a clothed shot like #019. And when her expression is a bit more mysterious, and the wind is toying with her dark hair in a nude shot like #041, there’s no doubting this model’s natural allure.

When Bogdana B. executes more stylized, formal, “artistic” poses I think something is lost. Compare the natural, easy grace of #042, for example, with the studied, stiff, and contrived pose in #044.

This wanderer in the woods is not a shy type, and she offers an ample selection of explicit poses to the photographer. In some of these her jewelry is draped along side her intimate anatomy. I hardly think this is a necessary embellishment when the model’s natural gifts are so splendidly photogenic.

I’ve critiqued MetArt erotic galleries featuring Dominika A. on three previous occasions, one just a month ago (the other two are here and here). After revisiting those posts I’m struck by this model’s versatility. Viewed as a group, all four sets are distinctive and unique, and Dominika brings something different to each one.

“Gallie” was shot by Luca Helios, who also happens to have lensed the three pictorials I mention above, and the photographer also demonstrates considerable versatility. None of the series under discussion are alike, but, of this quartet, “Gallie” is the most dramatic.

The design of this studio shoot is simple yet clever. A black fabric backdrop extends to and covers the floor. To the model’s right, a blue light, to her left, a red one. A white light illuminates the middle. In the introductory image the model stands en pointe, directly facing the camera. Dominika A. is posing, but she finds the perfect balance between natural and stylized. Totally nude, her body glows with a sheen of oil, and the colored lights create an intriguing blend of highlight and shadow.

But what is perhaps most striking about this overtly artistic scheme is how it emphasizes Dominika’s physique. The artificial amplifies the natural, physical beauty of her firm, fit, and shapely body. In #011, this time with her back towards the camera, the details of her body — subtle sacral dimples, toned calves, etc. — are made plain in a lovely figure study.

The female body as a work of art receives a boost — literally and figuratively — when a white cube is added  to the set. In a handful of shots — 033, 045, 051, and 069, are fine examples — Dominika’s poses atop the cube evoke a stunning human sculpture on display in a gallery or museum. In “Gallie,” model and artist have created a striking work of erotic art.

The gnarled branches of dead trees on a rocky and desolate beach provide the props and décor in this new MetArt model debut. While it might not sound like an appealing combination, when it works, it works quite well.

The tone is established in the first image. Amelia C. strikes a somewhat formal pose, her left hand is raised and resting on a rough limb, her arm mimicking it’s form. Topless, she stands on tiptoe, subtly arching her back, her right arm at her side. A sheer “skirt” of golden metallic fabric encircles her hips, and an elaborate bracelet graces her wrist. There is something intriguing about the contrasts here. The few items of “wardrobe” suggest an exotic element that is in direct opposition to the natural, weathered setting. This contrast is emphasized in the photos that follow.

In many of these artful nude erotic images Tony Murano has Amelia C. assume formal, stylized poses. In others she’s more relaxed and natural. And when these natural images happen to capture a sudden gust of wind ruffling the model’s hair, there’s a candid, documentary quality to the photos that I particularly enjoy. Compare #015 and #020, for an example of the two styles, natural versus formal. Or consider #101 and #106. Both are carefully composed, artfully posed photos, but I prefer the latter for its more relaxed feeling.

Even when the setting presents a physical challenge, however, Amelia and her photographer conspire to create artful images. I’m referring to a shot like #070, where the model is reclining on an uneven carpet of large stones while resting her feet on a desiccated tree limb. Despite the seeming discomfort of the pose, there’s genuine beauty and skill both in Amelia’s stylish and graceful presentation, and in Murano’s framing and composition.

When it began I wasn’t sure I was going to enjoy it, but by the time it ended I most certainly did. “Presenting Amelia C” is plenty pleasing.

The title of this MetArt nude photo gallery may derive from the model’s smile. It’s bright, it’s warm, and it is almost ever-present. I would generally choose a smile over a frown, there is such thing as too much of a good thing, and after a while it takes on a somewhat forced feeling.

I much prefer Adriana F. in those moments when she’s more relaxed and natural. Two of my favorite shots here illustrate my point: in #051 and #054, two medium headshots, the model’s facial beauty is captured effectively without excessive effort on Adriana’s part.

The location Koenart has chosen is pleasant enough, but slightly odd to my eyes. It appears to be the lobby of some type of office building, or perhaps a luxury apartment. Walls of glass admit plenty of natural light, but also reveal a parking lot crowded with cars and the occasional pedestrian — a bit distracting. Tall palm trees sprout from the floor and Adriana poses with the fronds in many shots, but many of these poses feel artificial. And when she picks up a prop coconut and experiments with poses the effect is less than successful.

Some of the other poses have a curious quality, and when Koenart begins tilting the camera to add some variety to his compositions the result can verge on the comical. #056, for example, suffers from a neck-twisting lean, and in #086 I worry that Adriana may fall out of her chair.

“Rays” ends with a group of clothed, outdoor shots. And here I find the solution to my dissatisfaction with this set. Adriana F. is a very pretty girl with a great body. Next time can we have her in a natural setting to bring out her natural beauty?