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Most of this Rylsky-lensed pictorial takes place rustic meadow on a beautiful, sunny day. The natural beauty of the setting is in perfect, flattering harmony with the ripe, natural beauty of the model.

In addition to her voluptuous physical blessings, Mirelle A displays a warm, sunny attitude throughout the entire MetArt gallery. Although some might ask for a bit more range in terms of emotion and expression, the mood she projects is so inviting that one wouldn’t dream of complaining.

One cluster of my favorite images from the series occurs early on. The first 15 shots are all variations on a headshot. Each variation has its own charms, but #009, with the sun and wind in her hair, and her arms covering her breasts, is among the best of this particular bunch. But so is #010. Or #013. And so on.

I was so pleased by the natural setting that those shots which reveal that Mirelle is standing or sitting on a pair of truck tires buried in the ground come as something of a surprise. And a handful of images in which Mirelle A is photographed posing on a circular reflector feel a bit awkward. To my mind this implies either resourcefulness on the photographer’s part, or his failure to bring along a more suitable and appropriate piece of groundcover.

Towards the end of “Elato” there is a change of venue — a lush garden replaces the wild meadow. Although several shots from this segment are quite appealing, my stand-out favorite has to be #107. Shot from above, Mirelle A is on her back on a vivid emerald green swath of lawn, a single vibrant rose rests just beneath her ample bosom. The colors, the composition, the model’s curves, and her wide-eyed and intriguing expression result in a uniquely beautiful photo.

This MetArt erotic photo gallery marks the arrival of two new talents. This is 19-year-old Surime A’s debut appearance here, and while photographer Koido isn’t completely new, this is only his second contribution, and the first I’ve seen. Short story: two impressive “new” talents.

I was somewhat surprised to learn that Surime A is just 19, and only recently graduated high school. As I went through the set I was struck by the model’s natural and spirited expressiveness. While she is lively and energetic, she also has a knowing, worldly quality that implies a certain maturity — certainly more maturity than we expect from a 19-year-old. Her performance is that much more impressive when one considers her youth and (presumed) lack of experience.

An expressive and physically impressive model makes any photographer’s task easier and more enjoyable, and Koido demonstrates his own considerable artistic ability both in his design of the set and the wide variety of compositions and poses he manages to include with only a minimum of set decoration. I’m particularly impressed by how the slate gray floor blends seamlessly into background. It’s a slightly unusual color choice — strong yet still neutral — and it flatters Surime A’s natural coloring.

A simple, light gray stool makes an effective prop, particularly in the sequence of shots spanning #020 through #030 — whether standing next to it, her back to the camera, in #027, or seated on it, in a playful pin-up pose, in #022, model and artist get maximum effect with minimal décor. Even knocked over, as it is in #049, the stool adds a hint of graphic interest to an already interesting figure study.

Two more favorites from this series dispense with props entirely. Totally nude, curling her body up off the floor and eyeing the camera, in #062. And #063, flat on her back, eyes closed, face relaxed, hands above her head, is another beautifully posed and composed image from this talented new twosome.

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.

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.

This set falls somewhere outside the conventional bounds of what I’ve come to expect from MetArt. But just because I find it atypical doesn’t mean I disapprove — in fact, quite the opposite is true. “Chamber” is a tour de force performance by a truly impressive model and a gifted and versatile photographic stylist.

“Chamber” is a lush, dramatic, highly stylized, and extremely stylish creation. Leonardo’s use of light and shadow is simply masterful, and the series contains many images fairly dripping with genuine film noir flavor. But as impressive as the photography, art direction, lighting, and costuming are, they would be wasted on a less talented model. Ulya I., a voluptuous, cream-skinned, scarlet-haired seductress, throws herself into the theatrical spirit of the pictorial and delivers an award-worthy performance. This is a true collaboration, one of those wonderful combinations in which the artistic whole is greater than the sum of its parts.

The opening image sets the stage but only hints at what is yet to come. Ulya is seated on an ornately carved and upholstered chair in the center of a richly appointed room — “Chamber” really is the better word to describe this space with its patterned parquet floor, tiled fireplace, and lux finishes. Hands on the arms of the chair, feet and knees together, Ulya regards the camera with a composed but subtly mysterious look on her face. This model has a lot of attitude — and she knows how to use it!

And Leonardo knows just how to emphasized and capture Ulya’s moody beauty. In #082, for example, he hides the lower half of her face in shadow and lets her eyes work their considerable magic. But an expressive face is just one of Ulya’s gifts — her voluptuous body is no less dramatic. #103, with its stark, almost flood-lit treatment, captures that glorious shape most effectively.

There are far too many striking images to list in detail, but here are some favorites. Totally nude, but for shoes and jewelry, straddling an arm of her chair in #110. #067, seated, legs spread wide, topless. #131, a style-soaked silhouette. #137, a beautifully abstract headshot. And #106, looking down at us, and #116, looking up — both shots with bundles of attitude.

“Chamber” is splendid, and both model and artist are to be commended!

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 may be, somewhere, somebody who doesn’t find Jenya D. at all attractive. I don’t think it’s highly likely, but I recognize the possibility. Should such a person exist, while I understand that differences in taste and aesthetic preferences are entirely individual and personal, I extend my deepest sympathies.

To her legions of admirers, Jenya D. is nothing less than a legendary beauty. Highly prolific — as I write, she has 110 pictorials and films in her MetArt portfolio — and exceptionally talented, Jenya’s bombshell beauty and multidimensional on-camera personality place her in the erotic modeling elite.

In “Cover” Jenya has a fine showcase. The set has, shall we say, certain “issues,” but one of these are due to any weakness or failing of the model. On the whole, this is a very beautifully designed and executed set. Lens-master Leonardo gets nearly everything right with his lighting and set decoration, a study in bright white. He does, however, get a bit carried away with diffusion added at the image editing stage and some absolutely beautiful images are compromised by the heavy-handed application of digital Vaseline — see shots #004, #050, and #069.

Delete the over-manipulated photos and you’re left with a more than ample collection of superior erotic artistry. “Cover” also provides Jenya with the opportunity to express a wide range of moods and emotions. The prevailing sentiment here is steamy, sultry sexuality. When this model turns up the heat one can’t help but feel it — Jenya projects smoldering desire with an ease that (I hope!) implies that it’s her default state, on the photo set and off.

But, adding to the richness and rewards of “Cover,” Jenya D. also has a spontaneous, carefree, even zany side that is on prominent display in the group of images beginning with #077 through #085. The smiling and clowning around in those pictures is as engaging as her sexiest super-vixen poses. I hope you will forgive me when I say that Jenya D. is a impressively well-rounded model.

This is the second MetArt HD erotic movie starring Candice B. that I’ve had the pleasure of critiquing. Ordinarily, I would make an effort to review a production starring a model I’ve not yet seen in a motion picture. But I’ve been so impressed by this model’s still galleries (here and here), and by an earlier movie, that I can’t resist risking the repetition.

After viewing “Aclamat” my enthusiasm for Candice B. is undiminished. Between her exceptional physique and sweet, lively, flirtatious personality, she’s quite irresistible. But, in all honesty, this outing pales a bit when compared to earlier efforts.

The problem is one that I’ve discussed several times — and that readers frequently comment on — but with an interesting, somewhat redeeming twist. The first half of “Aclamat” is a video recording made while a still shoot is taking place — the pictorial “Sevikis” I reference above. This means several things. One, Leonardo isn’t operating the video camera. Two, the video is punctuated by flashes of the still camera’s strobe. Three, the model is playing to the still camera which distances her from the video viewer. There is one wonderful moment, at the 3:03 mark, when Candice turns her attention briefly to the camcorder, smiles warmly, and raises her eyebrows playfully.

Shortly thereafter, there’s a noticeable change in the production. At approximately 4:54 Candice transitions to posing for the videographer — who may indeed be maestro Leonardo. From this point to the conclusion, Candice B. is front and center — as befits a MetArt Top 10 model — and directing her full attention to the camcorder. Much, much better!

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?

While I clearly can’t claim to have discovered her, I can say that I knew a good thing when I first saw it — my review of Candice B.’s debut MetArt gallery was profuse in its praise, glowing in its admiration, and energetically optimistic about her future as a MetArt model.

While I recognized the debut of a major talent, I had no way of predicting with any certainty how successful Candice B. would become. As it happens, she’s been very successful — Candice has become a MetArt Top Model — a Top Ten Model, in fact — and her popularity is easily understood (I understood it, again, in my second review of a Candice B. gallery).

Now I have the “Opportunite” to view this stellar specimen in a motion picture. I am expecting a rewarding experience, and I am not disappointed by Leonardo‘s creation.

As “Opportunite” opens, Candice B. is wearing nothing but a subtle smile and an abbreviated denim vest. Color me tantalized. While every inch of this model’s body is delectable, her magnificent breasts are two of her most outstanding (ah-hem!) assets, and making us wait to see them exposed adds some pleasant tension to the proceedings. And when they are unveiled it is absolutely worth the wait. Mother Nature does some truly wonderful work, but this girl’s body really is a masterpiece.

Candice maintains a cheerful, warm, and engaging spirit for the entire film. And she is completely comfortable, and generous, in front of the camera. Those who seek the intimate details will certainly find them. And those who simply want to revel in the sight of a sweet, flirtatious, and exquisitely constructed young woman will celebrate every shapely second. If you are an admirer of Candice B., “Opportunite” is an opportunity you must not miss.