Tag Archives: brunette

Standing 5-foot-7, Candice Luka may not be basketball-tall, but she’s absolutely long, lean, and unquestionably lovely. And her slender build and long legs enhance the appealing impression of height. And this tall doll quickly proves, after only the briefest of delays, that she’s not at all shy. The pretty matching panties and bra she models so effectively in #001 are teased off and discarded in short order — she’s topless by #006, proudly revealing her beautiful breasts. And by #021 she’s totally nude, thighs spread, revealing all.

So, Candice Luka is neither short nor shy, but she is beautiful, seductive, and has a lively, engaging on-camera personality. This is the first MetArt erotic photo series I’ve seen her in, and it inspired me to do a little research. Candice has appeared in five total sets so far, and she hasn’t even celebrated her first anniversary on the site, so I hope we can look forward to seeing much more of her in the future. And there’s a bit of mystery here, as well — for her MetArt debut she used the name “Lennox A,” but in all her subsequent sets she’s billed as Candice Luka. A fun fact, even if the reason remains a mystery.

There are a lot of explicit shots, many of them close-ups, in this Luca Helios creation. But there’s also variety and balance to the compositions and poses. As a bonus, I think that viewers with a specific interest in female feet will find a few special standouts in “Deusa,” as well.

With so much coverage devoted to Candice Luka’s below-the-waist attributes her personality still remains front and center. This model has a warm, playful quality that makes her seem real and down-to-earth even when she’s projecting sultry eroticism. I get the feeling that she’s got a ready laugh and that a smile is never far from her luscious lips, and that gives these photos an extra bit of personality. Yes, she does a lot of “proper modeling” here, but not at the expense of her natural personality. That this beautiful, tall, and uninhibited young woman shares her body and her personality so completely in these photos makes “Deusa” delectable.

When a beautiful young woman decides to pose for erotic art photos in the nude she deserves our respect, admiration, and gratitude. Appearing totally nude in the digital age means that those images will be seen by millions of people, all around the world, and will be accessible and available for countless years to come.

Mika B — a 19-year-old first time MetArt model — has made this weighty decision, and she’s placed herself in the sensitive and capable hands of a female photographer, frequent and respected contributor Catherine.

I’m quite accustomed to giving new models a little leeway with their debut efforts. There are certain skills that only come with practice and experience, so I don’t expect a new model to perform at the same level as a model with dozens of sets in her portfolio. And in virtually every way — physical and emotional — Mika B’s debut is impressive. She has a great shape, lean but curvy, and her pert breasts and stiff nipples are tantalizing. Her face, framed by long, straight brown hair is also appealing — here she’s made up in an understated style, but I suspect she could also excel with a more polished, sophisticated cosmetic treatment.

And Catherine‘s design and execution of the series is pleasing, as well. The indoor setting, the soft, even lighting, and the colors selected all flatter the model, and there’s plenty of variety in terms of poses and compositions. One thing that is missing, however — and I blame both artist and subject — are any truly explicit images. As I suggest in this post’s title, baring means sharing, and when a nude model is as pleasing as Mika B, viewers expect her to share everything. There are a couple of shots of Mika’s beautiful behind, and details can be seen in the shadows, but these few glimpses only whet the appetite.

There are numerous beautiful images, thoughtful poses, and artfully framed photos in “Presenting,” but I wish Mika B hadn’t held back. When I come to a totally nude shot like #102, in which the model is seated, one leg resting on a nearby table, her other foot folded under, thighs parted, with one hand raised to her hair, the other one hiding her intimate bits, all I can think of saying is: “Mika, please move that beautiful hand!” I certainly hope she chooses to bare all and share all in future offerings — I very much like what I see here, I just want to see the rest!

This is one of those MetArt erotic galleries that took a while to make sense to me. And that’s surprising in view of the fact that I had nothing but praise for a previous set produced by this model and artist.

I made note of shot #006, describing Gwen A’s attitude and expression as “dour” and “serious.” And that impression stayed with me through much of the set. But as I grew accustomed to Gwen’s somewhat somber presentation I was able to focus on her physical beauty  and the quality of the photography. If my first reaction to “Neotita” was cool, by the time I’d reached the end of the gallery it had warmed up considerably!

I was so intrigued by Gwen A‘s muted performance here that I took a quick look at her portfolio. And I must tell you I was surprised to see a handful of her covers in which she’s smiling exuberantly. In several early sets she appears totally nude in public settings, and gleefully exposes her beautiful all to dozens of lucky passersby. While she may be in a somewhat serious mood in “Neotita,” this model is one high-spirited, adventurous, daring, and playful individual.

And the word “shy” doesn’t appear to be included in her vocabulary, either. Gwen A’s intimate anatomy is delicate and inviting, and Samo Mervar accepts that invitation to create some truly mouthwatering explicit close-ups. But Mervar also takes time to capture the entire woman — from tight shots of feet and sexy shoes (#004 and #005) to Gwen’s beautiful breasts (#025), to intriguing figure studies like #049 which captures her hips and torso artfully, and on to full-length images (#031 and #034, both standing shots) that showcase Gwen’s lean yet shapely build.

Let me mention two additional favorite images in “Neotita.” #015, a frank, direct headshot, fully captures the moody intensity Gwen displays through much of the series. And #055, a beautiful, almost painterly composition, shot from above, with her eyes hidden, captures the quiet mystery that makes this model and this set so intriguing.

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.

I make a concerted effort to evaluate every MetArt erotic photo gallery, and every MetArt model, on its or her individual merits, and the same is true for every MetArt photographer. Still there are times when it is impossible not to compare, contrast, and refer to another model in a different set photographed by a different photographer.

In yesterday’s post I reviewed a model’s first MetArt series. As you will see (scroll down or click here), she was a particularly pretty girl, and the photography was pleasing, as well. My single greatest complaint was that the model exhibited a rather limited expressive range. That is most definitely not the case with the set I address in this post, Arkisi’s “Presenting” Zsanett Tormay.

Of course, a model’s expressiveness isn’t normally the first thing I notice in any pictorial, and it wasn’t the case here, either. What struck me first was this dark-haired beauty’s big, almost impossibly blue eyes. I’ve mentioned in the past how powerful I find the combination of dark hair and blue eyes and here’s a perfect example of the effect. It certainly doesn’t hurt that those azure orbs are set in a face that is refined and elegant, with ripe lips, and that her slender body is so appealing, either.

What emerged as I viewed the series was the broad and varied range of facial expressions and body language Zsanett Tormay employs in what may well be her first nude erotic photo set. She can be perfectly formal in pose and expression in one shot, and then entirely spontaneous and candid in the next. Here thoughtful, and there giddy. Seductive, teasing, sly, mysterious, flirtatious, frank, pensive, playful — these are just a few of the many expressive moods Zsanett presents to us here.

I can’t say what role the artist Arkisi played in getting his subject to share so many moods, but in terms of style and technique there is much to admire in the photographer’s approach to this pictorial. In #018, to cite one example, he shoots Zsanett from behind, her head in profile, while she’s leaning against a wall that is sharply divided between light and dark — just one of many beautifully composed images here.

Notice the little patch of bright light on the floor near the model’s right foot in #042 and the unusual “X” formed by her artfully positioned arms and legs. I love the sly expression on Zsanett’s face in the background while her toes and feet blur in the near field and her sex occupies the middle. From explicit to demure, from pose, to composition, to the many varied moods and intriguing expressions (#085), “Presenting” Zsanett Tormay signals the arrival of a beautiful and particularly talented new model.

When MetArt contributor Rylsky introduces us to this fresh-faced new model she’s casually dressed, it’s in public, onlookers look on (the fellow in #004 stares at the camera in a way that suggests he’s used to being stared at, himself), and we get to know something of Zelda B in her natural environs.

After the ten images of the introduction, the setting and spirit changes completely. The remainder of the series takes place indoors, in a luxuriously appointed room decorated in rich, dark shades of brown: the leather upholstery of an overstuffed armchair, the wood of the floor and a side table, and the leather, button-tufted walls. Zelda B’s costume now consists solely of green blouse which is not long enough to hide the fact that she’s otherwise completely nude.

I admire this lack of inhibition in any pretty girl, but for a first time MetArt model it’s particularly impressive. There’s no warm-up phase here, no getting used to the camera — Zelda B is immediately comfortable showing us all she has to offer. We get explicit intimate close-ups (#054 and #066 are two prime examples) that showcase not only the model’s anatomy but also Rylsky’s nuanced art direction and lighting. These shots are nicely balanced by images that bring out Zelda B’s bright, girlish charm (#026, with the blouse worn as a flattering mini-skirt, and #107 smiling genuinely in an inverted stance).

There is the slightest air of inexperience to Zelda B’s performance in this series, but that is easily forgiven, and her charms easily outweigh what few trifling flaws might be present. And I do love the way she can take a “posey” pose, like the one she assumes in #074, and make it seem utterly spontaneous and natural with the beaming energy of her facial expression. Despite the explicit content, “Presenting” Zelda B tends to skew to the cute end of the scale, but in a moody, expressive shot like #047 this new MetArt model is nothing less than beautiful.

Feminine beauty, even though we recognize it instantly, is extremely difficult to quantify. Make a list of ten physical attributes that define beauty for you and compare it with a friend’s list. Chances are there would be some overlap, but it’s highly unlikely the lists would match. Everybody is different, and everybody has different tastes. And if we move away from the general topic of beauty to attempt and describe what constitutes a sub-category, in this case cuteness, the task becomes even more difficult. Like beauty, cuteness is something far greater than a combination of physical traits. It’s a spirit, an energy, personality, and other appealing intangibles.

But when I opened this debut MetArt erotic gallery I didn’t have to consult my notes or review any lists — Melena A is the very embodiment of cuteness. She’s quite beautiful, strikingly so, but I find her cuteness to be the overriding quality. The sparkle in those dark brown eyes, the smile that so often graces those ripe lips, the slightly mussed hair, and her carefree attitude all express a tempting cuteness I have difficulty resisting. Melena A is so cute, in fact, that I was almost surprised to learn that she’s a 22-year-old — to my eyes her cuteness subtracts 3 or 4 years from that figure.

And while we’re speaking of figures, Melena A happens to be blessed with a particularly fine one. She’s got long, graceful limbs, petite, dark-nippled breasts, exceptionally delicate details, and she’s got a slim waist and full, yet perfectly proportioned, hips. When you combine her physical beauty with her undeniable cuteness the effect is particularly pleasing.

Alex Sironi has a good grasp of Melena’s attributes and potential, and he’s styled the set and dressed her in a way that flatters her while also conveying a bit of her casual charm. She’s barefoot, wearing a sheer blouse, a bracelet and a necklace, and her makeup is subtle and natural. She’s seated on a small wrought iron bench draped with a piece of sheer yellow fabric, and that’s it. This simple arrangement allows the first time MetArt model’s beauty and cuteness to blossom for the lens in “Presenting” Melena A.

Due to the appealing power of her personality — and also to the fact that I’ve critiqued no fewer than five of her MetArt offerings — sitting down to view Lorena B in her latest pictorial feels like a welcome reunion with a cherished friend. This model exudes a natural warmth and charm that I find simply irresistible.

Like the another Luca Helios photo set I recently commented on, this one takes place on a scenic stretch of beach, but this time the lensman has his subject positioned in full sunshine, and the difference is dramatic. In “Mare” the rugged beauty of the setting and Lorena B are both fully and naturally illuminated, in a way that, as I mentioned at the time, would have benefited the other seaside series.

Lorena B is a seasoned professional. She is well practiced and confident when she’s in front of the camera. This is both an asset, and to a far lesser degree, a bit of a liability. There are some images in this collection that are a touch too “posey” for my liking. On the other hand, there are dozens of shots that are absolutely spontaneous and sincere, and these captured moments are almost infectiously enjoyable. Have a look at numbers 032, 077, 089, and 092, and see if you don’t agree.

And beautiful, bright, beaming smiles are not the only highlights here. In numbers 058 and 095 we find Lorena B in a somewhat more subdued, slightly mellower mood, and this results in two truly beautiful headshots. And, if I may mention another favorite, I have to single out #076 — I suspect this shot will be employed as a desktop image on countless computers, capturing as it does the natural splendor of the location with the beauty and high spirits of the model. In “Mare” the weather is beautiful, and the water is as warm and inviting as the model.

The MetArt HD erotic movie titled “Carriera” was lensed at the same time as a still photo set called “Volico.” Enough time has passed since I critiqued the pictorial that I’d forgotten my reaction to it. So I was able to watch the movie with “fresh” eyes.

And I must say I found it enjoyable. It is short, just over six minutes, but that seems to be about the perfect length for this very simple production. Mary C is quite beautiful, and her slim, curvy body is displayed from nearly every possible angle as the film progresses.

Mary C is nearly or totally nude for the entire production, and she is not in the least inhibited. She does, however, seem ever so slightly nervous or ill at ease. I have two thoughts about that. One, it can’t be easy staying in constant motion while playing to the camera for even this brief span of time, so I’m inclined to give her a pass on this point. Also, if she is unsure or uncertain, she attempts to mask it by smiling. And the smile can appear stiff or forced after a while. However, it is such a beautiful smile, I will give her a pass for that, as well! This type of beauty is a delight to view, and it makes it easy to excuse what faults I might find with the performance.

Now, after rereading my review of “Volico,” I’m reminded that I found similar faults in the pictorial. For some reason those faults appeared more glaring in the photo series when compared to the movie. Working with the same photographer/director, Leonardo, on the same set and almost certainly on the same day, the two creations are still different.

I tend to think that, even if Mary C is a somewhat tentative performer, and even if she does have a somewhat limited expressive range, the video format is more forgiving. She’s beautiful in pictures and she’s beautiful in motion pictures, but more of her personality comes across in the latter format.

I wonder how those among Mary C’s admirers who have viewed both “Volico” and “Carriera” feel? With luck, some of them will offer their thoughts in the comments, below.

This is the first time I’ve seen this particular model, but I’m quite familiar with the work of her photographer, Leonardo, so I assume she is in capable hands. This photographer has a particular knack for lighting design, and he has impressed me with his skill and artistry time and again. But after viewing only a handful of images in this series I realize the man is not infallible!

The set design is a chaotic collection of patterns and colors. Black and white striped curtains are flanked by gaudy, outsized floral tapestries. A couch is upholstered in a patchwork parti-colored fabrics. A cut glass table lamp adds a bit more visual clutter, and then odd and unexplained light throws diagonal shadows across the body of the hapless model who must somehow take center stage surrounded by this visual chaos.

Gillian B does her best, but she’s working at a distinct disadvantage. She is a pretty girl, with a curvy body and a winning smile (see #019), but despite her concerted efforts I can never “tune out” the distracting background and devote my full, relaxed attention to her attributes and performance. The sheer blue blouse is sexy, yes, but it’s not nearly dramatic enough to compete with the kaleidoscopic visual assault she must contend with here.

Perhaps “Rander” is a stylized variation on the word “random,” because there’s an arbitrary, haphazard quality to the art direction and execution here. The work of an inexperienced artist? That I’d understand. But from a seasoned and accomplished professional like Leonardo? Well, even the master has an “off day,” or so it seems.

Take Gillian B, in the very same blue blouse, and put her on white sheets on a white bed in a white room — that kind of simplicity would both flatter and showcase this model in simple and effective fashion. Make no mistake, I had a strong reaction to this set. But I do welcome other points of view. Is there something I’ve missed in coming to my conclusions? Please feel free to share your points of view, below.