Tag Archives: big breasts

The primary piece of wardrobe in this new model’s MetArt debut gallery is a ballet tutu fashioned from black tulle. This item, in and of itself, broadly suggests that the wearer is a dancer. However any model can wear a costume, but not every model can convince us she has the skills and grace of an actual dancer. Elsa A, with every pose, every gesture, lets us know that she is a proud, accomplished, and experienced danseuse. As the set progresses I grow more and more impressed with the way Elsa A brings her dance skills to the art of posing for erotic photos.

Dancer or not, Elsa A is an impressive physical specimen. Her breasts are large, stunningly sculpted, and in perfect proportion to the rest of her shapely frame. She has a pretty face and a lively, energetic presence — this may well have been perfected on the stage, but it is particularly well suited to still photos. The beauty, grace, and agility of her body is nicely matched with her personality — this is an engaging, extremely “watchable” young woman.

Goncharov has an excellent grasp of Elsa’s potential and his design and execution of the set is perfectly suited to her gifts and abilities. Two circles of white light — one on the floor, the other on the backdrop, both of which are white — subtly suggest the spotlights of a theater. A white column, a simple rectangular box, proves to be a fine prop, serving as a pedestal for a series of dramatic “flying” poses (see #032, #033, and #040 for examples); as well as a vertical balance point for some no less dramatic backbend stances (#055 and #057). Elsa also performs impressive full side-splits, and Goncharov is thoughtful enough to include two views, back and front (#096 and #097) of this eye-opening feat.

Minor complaints? I wouldn’t have protested if Elsa had shed the tutu, her fishnet stockings, and red necklace for at least some of the images. And, because she has such an inviting body, I could have done with a more generous assortment of explicit shots, although there are certainly enough here to whet the appetite for more. I hope we see Elsa A again soon, in sets that expand on the impressive performance showcased in “Presenting.”

In the ten previous MetArt erotic galleries starring this model — including the one I reviewed — she appeared with her natural, blonde, hair color. In this set Millis A has dyed her hair a rich shade of auburn-brown that harmonizes nicely with her figure-hugging brown mini-dress. After some consideration I have to say that I think I prefer her as a blonde, but I can’t fault her for the choice, and it is, theoretically, only temporary.

Apart from her hair color, all the things I admired about Millis A before are all present and on stylish display in “Cathedra.” This model has a cheerful warmth and not even the slightest hint of modesty or inhibition. Explicit images are plentiful here and what Millis has to offer is particularly photogenic.

Even in less explicit images Alex Sironi manages to create subtle sexual suggestions through poses and compositions. The five shots beginning with #097 and ending with #101 artfully imply the act of masturbation without showing anything of the sort. But who can deny that #101 beautifully captures the look of post-orgasmic afterglow?

While many of my favorites in this collection are explicit (#046 and #047 to cite but two), there’s a wide variety of image types and poses here. Sironi includes several detail shots of Millis A’s breasts (#014 is a nice one of that splendid pair), her hand (#054) and a hand and foot (#075). And Millis stands, sits on a chair, stands on the chair, and gets down on the floor to explore poses aplenty. Those who enjoy busty models and enticing explicit images will find much to enjoy in “Cathedra.”

When MetArt contributor Tony Murano‘s name is mentioned it calls to mind dark, moody, highly stylized — and often extremely explicit — pictorials painstakingly created in the studio. That’s an apt description of this model’s MetArt debut, which showcased her in high Murano style.

But in “Annysia” the photographer abandons the studio and places the almost shockingly shapely Pammie Lee in a quiet garden surrounded by the natural beauty of flowers and lush foliage. It’s a tribute to the artist’s versatility that even in this natural environment, far from the tricks and techniques available in the studio, the pictorial retains many of the signatures of Murano’s work.

The series falls roughly into two segments. In the first, Pammie Lee is wearing an ecru dress and a dramatic metallic necklace. Perhaps “wearing” isn’t the correct word, however, because the neckline is pulled down to reveal Ms. Lee’s bosom throughout this section. And when the hem of the dress creeps up we’re treated to a generous assortment of up-skirt images.

The panties the Pammie Lee isn’t wearing in the first half of the set make their appearance in the second half. While the “order” of the series may not be completely logical, those lace panties are without question sexy, and the model devotes some time and energy teasing and toying with them, revealing a little or a lot to Murano’s lens.

Those who expect eye-opening explicit images in a Murano-made pictorial will not be disappointed! Tony Murano’s skill at combining artistry with anatomy is matched here by the model’s luscious flesh and her complete willingness to present it for inspection. While she’s completely uninhibited, Pammie Lee does tend to operate in a rather narrow, somewhat restrained emotional range. I certainly wouldn’t mind seeing her break out and let more and different aspects of her personality show, but I’m not complaining — everything she does show in “Annysia” is a pleasure to view.

The first time I set eyes on Ariel A she earned something approaching a rave review. I was no less impressed by the second and third Ariel A galleries I critiqued, but a theme was emerging, and here I may have reached a tipping point in my overall opinion of her.

This is a very attractive, very sexy, extremely appealing model, that much seems obvious. No less obvious is that her hair color is dramatically and deliberately synthetic. It is striking, to be sure, and certainly a matter of taste. In the previous sets mentioned — all of which were outdoors — I enjoyed it more. In “Axio,” Luca Helios is shooting indoors, and that long, lush, thick head of crimson hair just doesn’t work as well as it has in the past.

The room is painted and furnished in light, neutral tones and I think this may throw the hair into bolder relief and draw unneeded attention to it. Additionally — whether it’s the fault of the room color, the lighting, or her makeup — the red hair throws a reddish, ruddy tint across Ariel’s face that doesn’t match the creamy flesh tones of her (impressive) body. You’re find unfortunate examples of this effect in #085, #097 (which is quite nice otherwise), and #119.

The lingerie Ariel is wearing at the beginning of the set is flattering and sexy. She’s captured in a variety of poses. There are several spontaneous moments that add some needed levity to the set. Ariel’s body is as shapely and inviting as ever. And Helios makes sure to include intimate close-ups as well as detail shots of feet, breasts, and butt. Yet, despite its many appealing ingredients, “Axio” is overwhelmed by that crazy crimson coif. Has the time arrived for Ariel A to rethink the red?

Whether it’s in the photo studio or in the field, the right setting can make or break an erotic pictorial. Here Goncharov has secured a particularly beautiful outdoor location and his art director, Mother Nature, has done an absolutely brilliant job of decorating the set. It’s a broad, flat meadow, uniformly carpeted in vivid purple flowers with coral colored blossoms sprinkled here and there. And this field of flowers extends as far as the eye can see.

Onto this floral stage steps bosomy perennial MetArt Top Model Sofi A. With a garland of wildflowers atop her head, her hair in a single thick braid down her back, and nothing but a few pieces of jewelry and a simple blouse she looks perfectly at home in this scenic landscape.

I’ve commented on no fewer than six of Sofi A’s MetArt galleries and HD erotic movies — she’s a prolific and popular model here, for obvious reasons. And, no, by “reasons” I’m not only referring to her most prominent assets, those tremendous breasts she’s been blessed with. Sofi has a lively energy that imbues her photos and films with engaging vitality, and I always get the sense that she’s enjoying the experience of posing for our pleasure.

That’s the case in “Anixi,” to be sure. Whether she’s standing, statuesque and stunning in #028 and #029, or if she’s lolling on her back, legs open, hands resting on her impressive chest, in #079, Sofi manages to strike the ideal balance between stylish posing and spontaneous, relaxed, naturalism.

Goncharov seems to be enjoying himself, as well. He plays some interesting games with depth of field, for example, presenting Sofi in two seated poses (#040 and #044) while blurring both foreground and background to emphasize the rich color of the foliage. A telephoto lens adds interest to many images, and these are balanced by close shots that not only capture a range of moods and attitudes as well as the photogenic details of Sofi’s splendid physique (#105).

It seems like only yesterday — well, it actually was only yesterday — that I discussed a MetArt erotic pictorial that was shot in an absolutely breathtaking location. My assignment for today is to evaluate a set that was photographed in an entirely different outdoor location, with an entirely different result.

From yesterday’s soaring mountaintop with the deep blue sea as backdrop, we’ve descended to the weathered wooden planks of a rustic pier at the edge of a large, muddy pond — or is that small, muddy lake? The sky is slightly overcast and the light somewhat muted. Voluptuous Veronika I, in a not entirely flattering green dress, appears eager and ready to make the most of the location in the first shot, and in the second she gleefully sheds the dress — a significant improvement.

Veronika I, plush and busty in the body, and pretty and cheerful in the face, appears at ease and comfortable as she follows the photographer’s instructions. Not all of Egon Schneider‘s instructions result in superior photos, however. In #029, for example, he has her strike what I imagine he considered an artistic, impressionistic pose, but the result is contrived, even if the model’s body is undeniably beautiful. The two shabby boats in the background also prove irresistible, and having Veronika sit in one of them and play at pulling at a length of rusty chain (#085) is another odd choice.

But Veronika I is more than capable of rising above the less that ideal setting. Indeed, the very best shots in this collection are those in which she reveals her natural, spontaneous side. Whether she’s casually gazing off-camera in #003, jumping for joy in #005, or standing on the prow of a dilapidated dinghy (#076) or disembarking from that crusty craft (#118) her charming energy and splendid body are beautifully captured. In “Spriance” Veronika I makes even this lackluster location look lovely.

I’ve commented on a MetArt HD erotic movie starring Candice B relatively recently. Under other circumstances I might have made an effort to select a production showcasing a different model for today’s post, but I find it difficult to resist this girl, so here we go, again.

As I’ve doubtless mentioned in the past, and will certainly repeat in the future, Candice B isn’t simply beautiful, and she isn’t only blessed with a truly exceptional body — she has a personal warmth and lively, engaging spirit that comes across as well in still photos as it does in moving pictures. Candice has a cheerful, almost bubbly, energy and she always appears to be enjoying the experience of modeling. And that’s absolutely the case in “Solstice.”

That’s not difficult to understand. Luck has gifted the model and her director, Leonardo, with a bright, warm, sunny day. As “Solstice” begins Candice is descending an outdoor staircase, wearing only a diaphanous pareo. The subtle jiggle and bounce of her breasts in this brief sequence is a genuine treat.

Gradually ridding herself of her skirt, Candice takes a position on the tiled edge of a swimming pool and delights in the feeling of the sun’s warmth on her glorious, totally nude body. She then employs a garden hose to cool off — the viewer’s temperature will certainly climb while witnessing this, however.

After relaxing poolside, and revealing her most intimate charms in the process, Candice B decides to take the plunge. Fortunately, Leonardo has prepared for this, and as Candice dives beneath the surface, so does his camera. The underwater footage that follows provides an extremely cool conclusion to an enjoyable interlude with an extremely hot model.

I have a friend who doesn’t care for big breasts. This discerning and thoughtful gentleman prefers small breasted women and can explain in well reasoned detail the theory behind his preference. While I completely understand this fellow’s thinking, and I find petite-chested models every bit as attractive as he does, I also find myself inexorably drawn to beautiful women with large and lovely bosoms. Big, little, or in between, if they’ve got an appealing shape, attractive nipples, a base level of symmetry, and are free of distracting blemishes, I love boobs. Period. Yes, my name is Adam and I am a breast-lover.

And that is the single most prominent reason — well, double reason — why I love Lana I. This sultry, bedroomy, voluptuous, temptingly top-heavy heartbreaker is blessed with a truly brain-boggling pair of mouthwateringly magnificent mammaries. She’s beautiful. And she’s built. That’s a one-two punch, and it’s powerful.

Lana I is so stunningly shaped and amply endowed that I can even forgive the somewhat jumbled and off-the-cuff nature of the styling and execution of “Thelxi.” I think of MetArt contributor Leonardo as a particularly meticulous artist, with a genuine mastery of lighting and design. But here he’s made some curious choices. The room is somewhat cluttered, a rather cheesy landscape painting dominates the background, and the furnishings in the room are a bit awkward. Throw in some odd shadows and a sporadically listing, tilting camera and I can only scratch my head and suggest the artist was having an off day. But then he clicks off a set of breathtaking close-ups of those bodacious bazooms — see #014 through #018, for starters — and all is forgiven!

If you don’t love big breasts (or the lusciousness that resides between Lana’s creamy thighs, for that matter) I believe that Lana’s sexy, expressive, seductive face is still enough to elevate “Thelxi” by itself. She’s got a ripe, teasing, pouting mouth with plump, succulent lips. And even when those lips are firmly sealed she communicates volumes with her dark eyes. Between chin and forehead this girl has more sheer sex appeal than some lesser models have in their entire bodies. And when you put that alluring face together with that knock-out, bombshell body? Pure, powerful, sex appeal. My flat-top-fancying friend and I will agree to disagree about this girl and this set, but if you feel the way I do about busty beauties, Lana I in “Thelxi” offers hefty helpings of out-sized orbicular entertainment.

I happen to have written a critique of this model’s first MetArt pictorial. While I found no fault with the model’s performance, I did note several peculiarities in the design and execution of the photo series.

Now I have the opportunity to revisit Semmi A, this time working with a different photographer, and I quickly discover we’ve moved from the simply peculiar to the downright perplexing. This is a truly odd artistic effort.

The strangeness in Alex Iskan‘s photo essay isn’t fully apparent in the first handful of images, but it is there, make no mistake. Here we find Semmi A on a long staircase leading up to what is either a Soviet era housing project, or perhaps a minimum security prison. The weathered  concrete surrounding the model is cracked, weedy, and litter is scattered about. Semmi is cute and appealing, however, wearing sunglasses on this sunshiny day and a figure-hugging dress in an eye-catching shade of turquoise. But compare #006 with #007. In the first, framed in a way that suggests she’s nude in this public place, there’s a beautiful, natural spontaneity. In the second, her face nearly obscured by her hair, what are we to think? My guess: a curious error perhaps caused by a sudden, unexpected gust of wind. Odd that it’s included.

But the oddness has only just begun! The bulk of the set takes place in a backyard. There is an air of disrepair to the setting, and the lawn is unkempt, coarse, and dieing in patches. Semmi is positioned on a chaise lounge, wearing a black and white cocktail dress. To add to the building incongruity, these images are strangely underexposed, perhaps deliberately. A large ceramic frog is present in some shots, and a flower and other foliage is often present, out of focus, in the immediate foreground. It’s not easy to describe, nor is it easy to comprehend. Examine #035 and see what conclusions you can come up with.

Semmi A and Alex Iskan are definitely up to something in “Kladie.” I’m not sure what it is, exactly, but there’s an intriguing quality in the overall strangeness of the set. #033 and #051 make a curious pair, for example. #063 has an almost David Lynch feel. And the poses and day-for-night lighting in #100 and #118 add mystery to the prevailing inscrutability. For those seeking the unusual, this set provides a ray of surreal sunshine on a “Kladie” day.

This is one of those MetArt erotic photo galleries that hooked me after a single, casual glance at the cover. Say what you will about big, splendidly shaped, stunningly symmetrical breasts, but there’s no denying that Pammie Lee has them. And the perfection of her bosom is complemented by the intriguing expression of her undeniably beautiful face. And when I notice that this set was shot by Tony Murano I anticipate a rewarding and enjoyable experience.

“Presenting” Pammie Lee more than lives up to the promise of its cover, and it also brings up some interesting points about erotic art photography and the entire MetArt experience.

In yesterday’s post I evaluated a set that I quite liked. What I find interesting is that yesterday’s set and this one could not be more dramatically different. Yesterday it’s a girl-next-door type, shot by day in natural light, in a casual, natural style. Today it’s an exotic bombshell, styled to the nines, photographed in the controlled environment of the studio. These two sets have very little in common, but this diversity, this range, this type of variety is makes them both fit perfectly at MetArt.

There’s a steamy, dreamy, late night feel here, with perhaps a hint of New Orleans (or is it Amsterdam?) in the mood, style, décor, and costuming. Dressed, but only barely, in black lingerie, Pammie Lee presents a truly striking figure. #035, framed from the neck down and the thighs up, captures the superb curves of that hourglass shape masterfully. I also like the mood conveyed in #008, the formality of the pose in #027, the implied action in #028, the relaxed stance and smile in #049, and several of Tony Murano‘s signature explicit images, including #097 and #122. The moody, stylish presentation makes a fine showcase for this impressive new model.