Tag Archives: curves

It’s been nearly a year since I’ve had the pleasure of reviewing the work of MetArt model Anika A. I had the good fortune of reviewing her very first MetArt erotic photo gallery, and she made an extremely favorable impression. That impression was confirmed, some months later, when I reviewed “Control.”

Since that time Anika A. has built up a tidy little portfolio — 11 sets at present. The two sets I’ve previously commented on were created by Ron Offlin who shot the first seven of Anika’s pictorials. Since then she has been working with Alex Sironi, and “Marzenie” is their latest collaboration. Here I have the opportunity not only to revisit an impressive model and gifted photographer, but also to see how they work as a team.

One difference emerges relatively quickly. In Mr. Offlin‘s sets Anika A. is subtly but stylishly presented with just enough artful makeup to bring out her beauty. In “Marzenie” the presentation is much more natural. Although I think I prefer Anika’s styling in the Offlin sets, the fresh, unadorned look Sironi has chosen is still very appealing.

No matter who is shooting her, Anika A. invites and excels at steamy, sexy, explicit poses. Whether she’s glammed up or dressed down, there’s no way to suppress or conceal her sensuality. And Alex Sironi‘s lighting scheme and art direction, true to his established form, create a stylish and unobtrusive setting that doesn’t divert any attention from his stunning subject.

This MetArt erotic photo gallery doesn’t waste any time. The model is nude from the first image to the last, and explicit close-ups appear early on, and continue in abundance.

This might be surprising in a debut set, but Stacie A. has fewer inhibitions than she has clothes in this series — and her wardrobe consists only of a pair of high heels and a necklace. There isn’t a single suggestion of any discomfort with the frank nature of the set and Stacie A. delivers an energetic and confident performance.

Although it is not immediately clear where in this home Stacie is posing, in #018 we find a clue. Here the model’s legs open wide and she’s flashing a broad smile. Just behind her we catch a glimpse of a washing machine. Perhaps her clothes are being cleaned? She doesn’t seem to miss them, however, and her curvy body more than compensates for the lack of garments to strip off and tease us with.

As Arkisi‘s pictorial unfolds we also learn that the laundry room does double duty as a luxuriously appointed W.C. I’m being completely sincere when I say that a few of my favorite shots in this set have Stacie posing adjacent to a bidet and toilet. Even though there is nothing explicit on view, the pose, composition, and Stacie’s expressions make #024, #025, and #026 quite delightful.

I can’t say why, exactly, but the shots where Stacie A. stands in the suds-filled bathtub didn’t make complete sense to me. The set, in general, is a bit short on logic, so maybe it makes perfect sense after all. It may not even matter as the model’s beauty and engaging energy make “Presenting” plenty pleasurable.

Prolific MetArt contributor Goncharov appears to have employed the “grab bag” technique while conceiving this pictorial. The costuming and, in particular, the props have a jumbled, disconnected quality.

This creates something of a challenge for first-time MetArt model Semmi A. However, she does her best to make sense of things, and exhibits an undeniable warmth along with an undeniably attractive physique.

In much of the series Semmi A. is wearing a horizontally striped black and white dress. In shots #022 and #023 she’s holding an odd-looking pussycat. Where the animal came from, or where it vanishes too is not made clear. But when she pulls down the neck of the dress to reveal her breasts in #033, there is no mystery at all, and effect is splendid.

The central prop in this series is an old suitcase. In much of the set Semmi is seated on it, and in several she reclines across it. It doesn’t look all that comfortable, but, as the pictorial opens it makes the slightest bit of sense. In those shots, Semmi is fully dressed (although barefoot) and wearing a large off-white hat. Could she be waiting for an imaginary bus in the elaborately lighted studio? Another mystery.

At some point the dress disappears and is replaced by a zip-front bustier. I don’t find the garment, particularly its color, terribly flattering. And its appearance is unexplained, because Semmi clearly wasn’t wearing it under her dress. Perhaps she pulled it out of the suitcase when she put away her cat.

My favorites here are those shots where the clothes are off and the props are minimized or off-camera. #074, shot from behind wearing only the bustier, is nice, as is the totally nude profile, #075. The suitcase performs platform duty in #093, which, despite being a touch “posey” is still a pretty image of this curvy MetArt debutante.

I don’t pretend to understand the techniques and methods used to name MetArt photo galleries. Some I understand immediately. Others I can decipher after careful study. While others leave me completely clueless and confused. Here, however, is a title that is crystal clear and entirely appropriate. “Parfaite,” you see, means “perfect,” in French, and the more I examine these photos, and the more I see of their subject, the more I’m impressed by the perfection of it all.

Anita C., in purely physical terms, is without flaw. Her proportions, her shape, her coloring, is a study in feminine splendor. Her hair is thick and lustrous, her eyes are clear, deep and lively, her nose, the plump curves of her lips – it all makes for a truly beautiful face. Her breasts — described in her bio as “medium” — strike an ideal balance between shape and size. In some shots she looks downright bosomy, but her breasts are in no way overwhelming to her physique.

But, in addition to a veritable laundry list of admirable physical attributes, Anita C. is also gifted with inviting intangible assets. There is an unmistakable playfulness and warmth to her personality that Dolce‘s camera has no trouble capturing. The combination of physical beauty and inviting, engaging personality is a mixture that’s extremely desirable and highly sought after, and this pictorial and this model are both more than worthy of the title “Parfaite.”

“Win-Win” has a relaxed, leisurely pace, and this is underscored and emphasized by the music. The film progresses at an even tempo and it is free of distracting cuts and extraneous footage.

There is no plot, no live sound here, it’s simply a tasteful video record of a still photo shoot, in this case Majoly‘s “Traum” starring Peaches A., that was added to MetArt in September 2007.

The action, such as it is, begins and ends on a large leather sofa. Seated and fully dressed, Peaches A. tempts the viewer with a couple of fleeting glimpses up her short skirt. The model’s attitude here is distinctly seductive. And, because she is playing primarily to the still camera, she holds her poses at some length, even as she maintains her sultry attitude.

Bit by bit more and more skin is exposed. When her breasts are revealed, at the 1:56 mark, I was tempted to hit the pause button – they really are worth lingering over. But the pacing here is so measured that no pause is necessary, we have ample time to enjoy each new revelation, each pose, each variation.

Those who require absolute nudity may complain — the model never removes her stiletto heels and sheer black stockings — but I find the minimal bit of clothing quite sexy. Peaches A. doesn’t need any costuming to enhance her body or amplify her sex appeal, however. Her long hair, dark eyes, and curvaceous body are a visual treat, and when she begins to play more directly to the video camera, as she does in the closing moments of this production, the effect is striking.

I’m not exactly certain how I feel about “Lavico,” the latest addition to MetArt’s HD movie collection. This production is unlike any other I’ve reviewed and it really is something of a curiosity.

It opens on a stretch of oceanfront. At some distance a long-haired young woman walks slowly, her white dress fluttering in the wind. The sky is leaden, the natural light dim, a storm appears to be impending. Then, without warning, we’re indoors. A girl — at this point we can’t be certain it’s the beach wanderer — wearing a floppy hat and an oversized T-shirt is cheerfully eating lunch, she waves at the camera. Next, again without warning, we watch a girl in a black dress walking along a promenade, the sun shines brightly, tourists sit with their baggage, palm trees in the background suggest this might be Spain. Another cut and our female friend is seated at a dinner table having an amiable and animated conversation while smoking a cigarette — she even addresses the camera, but I am unable to translate her comments.

We return to the dark beach. The girl removes her dress to reveal a splendid body, but the camera remains at a distance. She throws her dress to the winds. A female assistant scurries into the frame chasing the garment.

Now we’re on a brightly sunlit beach, islands dot the horizon. Now our star is wearing sunglasses and an orange bathrobe. The camera remains at a distance, the robe remains closed.

There is something disjointed and jumbled in this presentation. It really is a hodgepodge. The footage on the dark beach is appealing, if overly dark. And Indiana A. is both beautiful and charming. I would very much like to have a closer, well-lighted, view of her, but it is not to be, at least not in “Lavico.” The companion photo series, “Magazine,” also by Luca Helios, features only the dark beach setting, and it does offer a just a bit more detail.

And still, even after giving it some considered thought, I’m not sure how I feel about “Lavico.” Please feel free to share your impressions in the comments, below.

This is my first exposure to a model who has appeared many times before at MetArt. Her many admirers are well acquainted with Nelly’s beauty, but it caught me unawares and I’m still enjoying the feeling of surprise and delight that I get when I find a model who really “trips my trigger.”

Early on in the set I was intrigued by the red, see-through dress Nelly A. is wearing. But, until the dress was taken completely off, teasingly, I wasn’t fully aware of what a sublimely shapely body this model possesses. She has all the freshness of a young nubile, but she’s also sculpted into a womanly “hourglass” shape — the swell of her bosom, the trim, narrow waist, the full, rounded hips.

In addition to her physical delights, Nelly also possesses a model’s natural instincts. Even in this particular setting — is it outside a house that is undergoing renovation, or perhaps demolition? — amidst dirt, chunks of plaster, and broken masonry, she is elegant and refined. And desirable — very, very desirable!

If you’ve ever wondered what the term “bedroom eyes” meant, wonder no more. Just eyeball virtually any photo in this collection and you’ll understand the concept perfectly. The seductive and inviting look in Marina’s eyes is mesmerizing, but she possesses many additional assets and Ron Offlin has a frank and forthright manner of catching them with his camera.

Marina H. is no mere slip of a girl. She has curves. She has a sensational shape. And her coloring — the rich deep, dark brown of her long hair, and the eye-catching pinkness of her nipples — is dramatic. So is what is revealed when the model brazenly parts her thighs to show off her sex. That last sentence really needs a “!” at the end — you’ll understand when you’ve had a look at the particular shots I’m referring to.

The set’s title, “Schitterend,” had me baffled, but I’m given to understand that it means “Shining,” in Dutch. And it is certainly a shining example of erotic portraiture.