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A seldom traveled road in the remote and picturesque countryside provides the setting for this first-time MetArt model’s debut. Wearing nothing more than a necklace, sheer black panties, and a pair of flashy stiletto heeled platforms, Valeri B’s premiere opens with a series of bold and impressive images. If there was any traffic on this desolate road it would certainly come to a screeching halt at the sight of this curvaceous blonde.

Matiss positions Valerie B in soft shadow for the bulk of the images here, but the natural light allows for full revelation of her physical details while the background — verdant hills and craggy white peaks backed by vivid blue sky — is bathed in bright sunlight. The model’s shoes, in particular, add a bit of stripperish glamour that may be slightly out of place in the rustic location, but the result is ultimately satisfying.

Valeri B has an attractive energy and her performance here is confident and relaxed. She does seem to be enjoying the experience, and if these are her first nudes one can’t help but be impressed by her natural ease in front of the camera. She’s impressive physically, as well, with a body that mixes plush curves with an underlying strength and athleticism.

“Presenting” Valeri B offers a wide variety of poses and compositions. Intimate close-ups are balanced by an assortment of headshots, and at the end of the set Valeri B appears in a little black mini-dress — even fully clothed this new MetArt model is unquestionably sexy.

There, I said it. And I’ve said it before, on the two — count ‘em: one and two — previous occasions I’ve been lucky enough to critique Sabrina D galleries, although I did phrase my declarations somewhat differently. This is an exceptionally beautiful young woman in my view, and her beauty is illuminated and enhanced by an intriguing and engaging personality. The physical details are flawless, and the attitude in those impossibly big and spectacularly blue eyes is impossible for me to resist.

Now let’s take this irresistible beauty and place her on a luxurious motor yacht, on the deep blue see, on a picture-perfect day. Further, let’s have a taker of countless perfect pictures craft a voluminous and immensely enjoyable MetArt erotic photo gallery. And that’s what we have in Leonardo’s “Pelagos.” There’s real synergy between model and artist here, and it is very difficult to cull even a couple of substandard images out of the 169 included in the set. Quality, quantity, and Sabrina D — an ideal combination.

There are times, while evaluating a pictorial, when I have to search for the truly outstanding images. Here I have the opposite problem — Sabrina D is so beautiful and charming, and Leonardo‘s artistry (particularly his lighting) is so pleasing, that it’s not easy to narrow down my list of selections. So, if the following list of the finer photos in “Pelagos” seems lengthy, at least you know why. #001, setting the scene, in bikini bottoms and striped top, mainly in shadow, but with a splash of light on her hair and upper chest and her feet slightly diffused in full daylight. #006, hood up, bottoms off, hand on hip, projecting adorable attitude directly into the lens. #025, body fully revealed — angelic, yes, but with a devilish undertone. #098. Wow. That face! Those eyes! Yes, #098 is a jewel.

To repeat, in “Palagos,” Sabrina D definitely floats my boat. It’s also amusing to note the various vessels in the background of several images, perhaps cruising closer for a better look — and who can blame them! How about #103, a glass of Champagne in her hand? If that’s not an advertisement for the good life, I don’t know what is! Yes, we find explicit shots, but we also have #148 in which she sticks out her tongue playfully. I could easily go on, but I think I’m going to have another look through “Pelagos” instead. I suggest you do the same!

Evaluating this MetArt nude gallery was an interesting experience. I’d seen the model once previously, in her second MetArt pictorial, so I had those initial impressions in mind. As I looked through the series I found myself pulled in two directions. There was something about the styling, and to a lesser extent the model’s performance, that I wasn’t quite sure of. But after her outfit came off and I got a better look at the model minus her costume, I found myself liking her, and the set, much more. The “key” that unlocked the set and finally won me over to Tracy A came in the final ten shots in the collection. Here I could finally see the “real” model, and it helped me understand and appreciate the “ideal” model that had been presented in the pictorial.

What was this “key”? The last ten shots in “Poza” present Tracy A in public, wearing jeans and a t-shirt. Her hair is pulled up in a scrunchie, and her makeup, like her hair, is casual and natural. In the main section of the set Tracy is elaborately styled, hair, makeup, outfit — and she’s also “styled” in her presentation. She’s modeling in those pictures. In the final ten, however, her presentation is much more natural, much more genuine, much more real.

Now, the Tracy A in the nude section of Koenart‘s creation is very appealing. She’s slender, elegantly proportioned, and whether she’s captured in a full body shot like #071, or in an explicit close-up like #075 it’s impossible to find a flaw. Although I find glimpses and glimmers of Tracy A’s casual, public personality throughout the nude section of the set, there’s just not enough of that bright and bubbly spirit here, and I think they — artist and model — have put just a bit too much emphasis in an idealized style rather than the model’s abundant natural attributes and attitude. There’s much to enjoy in “Poza,” let me be quite clear about that. But to see more of the real Tracy A in future galleries would truly be ideal!

This is a downbeat, moody MetArt erotic photo series. Some of this is due to the style employed by the photographer, but much of it comes from the model’s restrained performance and her haunted expression. And as I worked my way through the set I became haunted by a sense of déjà vu. A brief stroll down memory lane explained the feeling: I had “been here before,” for the very first post on this blog.

Nastya C starred in a Luca Helios set, “Seasons,” that was the subject of my first critique when the MetArt blog was launched back in November 2010. Today, 652 posts later, I sit down to evaluate “Fond,” with Nastya C, and also photographed by Luca Helios. And not much has changed. I have no way of confirming this, but I suspect the two sets were shot at the same time, in different areas of the same location. And while Nastya wears a different dress in each series, her styling is virtually identical. So, two sets, “separated at birth,” or so it seems.

As similar as the two sets are, my reaction to this one is quite unlike my response to the first. While the model is physically appealing, her restrained performance and limited emotional range creates a sense of distance in this pictorial. Even when she manages something approximating a smile, in #043, there’s a certain lack of warmth. In other shots she seems oddly angry (#012) and distracted (#024). I’m not suggesting that Nastya C should be grinning from ear to ear and radiating cheerful joy, but there’s a certain detachment and lack of energy that diminishes her considerable beauty in “Fond.” Maybe she needs to get out of that hotel room and into a more convivial environment?

The obvious and undisputed star of this MetArt erotic photo gallery is Adelia A, but she’s got a costar here, playing a particularly impressive supporting role, and that’s color. The almost shocking blue of the cloudless sky, and the darker blue of the ocean, the bright pink of oleander flowers, and a frequently offered view of an entirely different shade of that most feminine of colors, give this gallery a vivid and eye-catching energy.

Leonardo has employed this location before, but I’m not complaining. The balustrades meeting at right angles and a column at their junction provide an interesting posing platform, and the bright white color of these architectural elements serves to heighten the intensity of the other colors.

I consider myself a fan of Adelia A. There are models with more emotional or expressive range, I’ll admit, and her hair may have strayed too far into the platinum range for those who prefer a more natural look, but I find her attitude and fit, compact body very pleasing. She’s quite free with that body, as well, and there are an assortment of particularly revealing explicit images to be savored in “Maua.”

One curious aspect of the series is that Adelia A is totally nude from the first shot, but suddenly appears in a summery dress in #108 and remains dressed for the rest of the set. This isn’t a complaint so much as an observation, and it doesn’t diminish my enjoyment of the gallery. Favorites? I like the pose, composition, and colors in #042. Both shades of pink — flower and flesh — are pleasingly present in #085. And Leonardo’s deft lighting really brings out Adelia’s eyes in #107.

Janice A started her MetArt career with a bang. The day her very first set appeared on the site she shot straight to the top of the Top Models list — an exceedingly rare and difficult accomplishment. I was every bit as impressed as the MetArt membership at large, and discussed her beauty and skill at some length. And Janice A wasn’t a “one hit wonder” or a flash in the pan, either — she’s remained in the uppermost echelon, and is sitting in the eighth position as I write.

Even though no two Top Models look alike, we can certainly agree that they are all beautiful in their unique, individual ways — and Janice A is absolutely beautiful. And she’s the perfect illustration of a critically important fact: the best, most popular MetArt models aren’t simply beautiful, they’re also highly skilled and talented. Any pretty girl can sit and have her picture taken. But the best MetArt models are working when they pose, they take an active role in the creation of the art, they bring skills and experience to the act of modeling that elevates them above the rest. And Janice A is a an exceptionally skilled and versatile model.

Let me offer two examples of this skill and versatility. In #005, tugging at the hem of her jumper with her right hand and raising it with her left, she’s smiling brightly and naturally — a beautiful young girl enjoying the moment. In #056, totally nude, she is fully engaged in a highly stylized, formal pose. Her body is set, every body part is positioned with precision, from a toe barely touching the floor, a forearm resting on a thigh, torso reclining, neck and head erect, her face a carefully composed mask — this image could only be the result of rigorous, highly technical experience and experimentation. Oh, you may find yourself focusing on the pretty face, or any one of her many fine physical features. But when you pull back and look at so many of the images in “Madevo” you’ll realize that Janice A is using her entire body to create these inventive and eye-pleasing photos.

I don’t think it’s an accident that Alex Sironi has placed Janice in a room with a classical Greek sculpture behind her and an oil painting on the wall. Both items have meaning here: Janice’s posing can have formal, sculptural elegance (see #099), and she covers the gamut between realism and impressionism. “Madevo” proves that Janice A isn’t simply a beautiful girl, she’s an expert in the art of modeling. Brava!

I critiqued this model’s first MetArt erotic photo series, and one of her MetArt HD erotic movies, as well. When considered together, those two offerings bear certain similarities to the subject of this post, “Patientia.” And certain differences, as well.

All three were shot during winter. In fact “Patientia” begins and ends with Flavia A strolling through a frigid cityscape in a heavy coat and boots to shield her from the cold. I enjoyed these brief “bookends” because they give me a chance to see this pretty girl in what may well be her “natural habitat.”

The first two times I viewed Flavia A I made mention of her lack of inhibition, and in that photo series and erotic movie she offered numerous explicit poses and enticing views. The same cannot be said for “Patientia,” however. While Flavia A takes her top off just after the two minute mark, and is totally nude less than a minute later, the model is presented in a tame, demure fashion.

After the brief fully clothed introduction Flavia appears in an ornately decorated room. As the music swells with theatricality she peels a tangerine. When she eats a single segment the music reaches a dramatic crescendo — that’s one epic piece of citrus fruit! And it’s one of the more curious moments in this short film.

Once she’s nude the scene — and music — change. Now she’s on the floor in a dark room. A piece of sheer fabric drifts across her body, she shifts her poses, and we’re treated to some cute and appealing facial close-ups. Then, as previously mentioned, we see Flavia walking along that icy boulevard. Flavia A is cute and attractive, but “Patientia” fails to explore or exploit her more overtly sexual side. If the film had included a bit more heat I can’t imagine any viewer would have complained.

Have you ever been out driving with a “special” friend when the mood unexpectedly turned amorous? If you and your companion were adventurous types you might have found yourselves looking for an appropriate place to share some alfresco intimacy, a place that offered enough privacy to alleviate inhibitions while still providing the potential thrill of unsuspecting strangers catching a glimpse of your impromptu tryst.

There’s a bit of that flavor in this erotic gallery, Candy A’s premiere appearance at MetArt. While her outfit is cute and sexy, her strappy high heel sandals tell you that this leggy blonde wasn’t planning on a wilderness trek this sunny afternoon. And yet, there she is, posing against a stone wall hidden from the cars that may well be passing on the roadway above. Candy A has a glamorous, film star look that is amplified by the large, dramatic sunglasses she wears in the first few dozen images. Normally I’d object, but she wears them well and it is bright and sunshiny in this rustic hideaway.

There’s a posey/fashiony feel to much of this series, but the style Matiss employs here works well with Candy’s presentation. When I learn from her bio that she’s a budding actress I’m not in the least bit surprised. She has a bright, lively energy and a ready smile, and in a shot like #106 where she smiling broadly and perhaps even laughing out loud it gives a down-to-earth feel to an otherwise elegant and stylishly posed photograph.

“Presenting” Candy A may be slightly lacking in explicit, detailed imagery, but the artist has done a fine job of capturing her beauty, personality, and energetic spirit. I can certainly picture Candy A in a highly stylized studio session, and I do hope we’ll have an opportunity to see this new model in more sophisticated surroundings in the near future.

I critiqued Grace C’s MetArt debut and while I did notice some minor technical issues in the set I was quite impressed with the model and her performance and looked forward to seeing more of her.

“Varmo” is Grace C’s sixth MetArt erotic pictorial, her first in an outdoor setting, and her first time working with the prolific and talented Luca Helios. Here the technical aspects are exemplary and the set makes a fine showcase for this adorable blonde vixen.

The bulk of the set finds Grace C posing on or next to a sizeable, sun-bleached log on a desolate beach. In the opening images she’s wearing a skimpy bikini in a vivid shade of pink. This “costume” is ideal for both the setting and the subject. With her long, bright blonde hair, trim build, and sun-bronzed complexion Grace C is every inch the beautiful beach girl. Helios handles the afternoon sunlight masterfully and these images glow with harmonious natural color and vitality. In a shot like #007, a rear three-quarter view, her hair and her bikini bottoms radiate while her face, indirectly lit, projects its own beautiful energy. There is a “swimsuit edition” quality to some of these pictures, but I don’t consider that a liability — it fits the location and it fits the model perfectly. The “clothed” section also includes two lovely headshots that really capture the model’s beauty and spirit (see #010 and #011).

The bikini is flattering, but what it’s concealing is exceedingly eye-pleasing, and when that vivid sunlight strikes the curves, planes, and private places of the model’s nubile body it creates visual magic. In #036, silhouetted against the sea, Grace C’s ripe rump costars with her pert profile and engaging smile. In #052 it’s a vertical smile, in close-up, that fairly glows with feminine and solar energy. While the set is biased towards the model’s sweet, smiling side (#076 is one example out of many), she does display some range and I like the relaxed, spontaneous feeling in #078 very much.

Towards the end of the series Helios changes his point of view. Rather than facing out to sea he turns inland and reveals entirely different aspects of the location. Rocks, sand and sunlight are indeed flattering in #114. And in the three final images we get yet another entirely different view of the landscape — Grace C, however, remains utterly adorable throughout “Varmo.”

Even when fully dressed Dame Wright is an arresting sight. With her blonde hair styled with a bit of 70s flair and her big, dark blue eyes, she definitely captures one’s attention. Dame has a dramatic, stylized, big-screen type of beauty that calls to mind Wonder Woman or a character from Charlie’s Angels. And that quality makes the setting — a small kitchen — seem just a bit curious.

Arkisi has chosen to have Dame reveal her body from bottom to top. In #018 there’s a playful “peek-a-boo” expression on her face as she lifts the hem of her filmy shift to expose her shapely hips and other, clean-shaven areas of interest. We’re also treated to up-close investigations of Dame’s pink and succulent sections early on (see #032 and #046).

Dame Wright isn’t prone to the broad, dramatic gestures or expressions her flashy outward appearance might suggest. There’s a quiet, subtle quality to much of the emotion on display here along with a kittenish cuteness (#043).

As I’ve mentioned, a kitchen seems a somewhat unlikely backdrop for such a glamorous girl, but it’s perhaps a tribute to her looks and talent that Dame Wright pulls it off so well. Even when she gets down on the tile floor — hardly a glamorous or flattering spot — she manages to radiate real film star energy. You can absolutely see it in a floor-bound pin-up like #111, and her facial and bodily beauty are both splendidly captured when she happily performs a shoulder bridge off the tiles in #115 and #116.

This is only Dame Wright’s second MetArt erotic photo gallery, and both of them were shot by Arkisi. My suggestion, humbly offered, is for model and photographer to find a setting that more closely matches Dame’s style and spirit for future sessions — this type of beauty deserves a better backdrop than the simple kitchen of “Calendula.”