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I’ve followed the MetArt careers of models who were demure in their debut galleries, but who grew bolder and more daring with each subsequent appearance. I can also think of a model or two who’s grown more reserved as her portfolio has expanded. Neither of those profiles applies to the star of “Disteso.” Patsy A delivered stunningly explicit poses in her MetArt debut (I blog about it here), and she may be even more uninhibited in this, her second pictorial. And that’s really saying something!

Rylsky shot Patsy A’s debut, and he’s behind the camera here, as well. The artist has a unique insight into the personalities and emotions of his subjects, and I can only imagine how rewarding it must be for him to work with such a confident and uninhibited model. I do take issue with some of his design choices in “Disteso” however. The back wall and floor of the studio are draped with sheer fabric in a rich reddish brown shade, and this is pleasing to the eye and proves versatile as the set unfolds. But the single piece of clothing the model wears – a backless, pink lace mini-dress — clashes with the background and is also slightly out of synch with Patsy A’s personality. Once she’s taken off the dress and moved it out of frame the series is dramatically improved.

I find this model particularly interesting. Patsy A is toned, fit, and graceful, and one senses a strength of personality that fits well with her physical attributes. And the long legs, long arms, long hair, and her overall proportions are extremely appealing. The ever-stiff nipples of her petite breasts and the glory of her femininity both serve to enhance the package. And in addition to all that, we have this confident, proud, eager model who is utterly without inhibition. It’s not something we necessarily expect from a girl next door type, but it is a joy to behold, nevertheless.

Yes, the explicit shots in “Disteso” are my favorites, but other less revealing images also make the list. #015, framed from the waist up, captures Patsy’s lean, toned beauty nicely. #068 may be the most strikingly stylish composition in the collection, a true gem. I also love the one-legged pose of #096 and how the details of her body are so wonderfully rendered.

And then there are the hot, explicit shots. #050, ripe, lush, and enticingly moist. I love the way Patsy thrusts herself at the lens in #045, but what I love even more is how she blossoms in the two shots that follow — what lover of the female flesh could possibly resist? The glistening fingers in #086 add additional impact to the glistening flower. And in #092 we have a dreamy, as well as daring, invitation. Oh, Patsy!

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 first three images in this debut MetArt gallery provide an inviting introduction to first time model Rinna A. It was only after viewing the series in its entirety that I realized those three shots also foreshadow one of the model’s signature traits that I mention in the title of this post.

Rinna A has exceptionally beautiful lips. They’re ripe, they’re full, they’re shapely. But with only a couple of exceptions, those lips remain firmly closed — by my casual count she opens her mouth only two times in the entire pictorial. So resolute is her refusal to part those pretty lips that I got the feeling that she might have a mouthful of braces. She does smile broadly enough in #074 to reveal a gleaming row of pearly whites, however, so I am at a loss to explain exactly why those lovely lips are locked.

I can’t explain with certainty why the nipples of Rinna’s pert and petite breasts are so prominently and eye-catchingly erect throughout the set, either, but this feature is far easier to enjoy than the mystery of this model’s mouth. While those prominent protuberances are visible in nearly every topless or nude shot in the set, Alex Sironi devotes several detailed images to the tantalizing twins, of which #090 is one fine example.

In “Presenting,” Rinna A projects a surprisingly wide range of expressions for a (presumed) first-time model — a fact made even more surprising when one considers the limited expressive options her locked lips create. She can look polished and glamorous, she can look relaxed and casual, and she peppers the set with many unexpected and varied looks. I’m intrigued by her expression in #021, even if (or perhaps because) I can’t quite tell what she’s thinking. I love her glamorous look in #023, with her lips just barely parted. And her green eyes and luscious lips are highlights of #068 and #108. If she can better integrate her mouth into her modeling I expect Rinna A to earn a devoted following in the future.

When I see that a MetArt erotic photo gallery was shot by master lensman Leonardo my expectations are high, but this set from the prolific artist isn’t what I expected at all.

“Verus” opens with a clothed shot (including sunglasses) of the model. This is followed by another clothed shot, and another, and still more. Initially I accept and enjoy these introductory images which were shot in some sunny locale and which have a distinct “what I did on my summer vacation” quality. But the clothed shots keep coming, and I begin to wonder if this appealing girl will ever shed a single stitch of her outfit.

Valeria A does, finally, expose her right breast in #048, but subsequent revelations come at a leisurely pace. She teases us with a glimpse of trimmed bush in #057, the first completely topless shot is #066, and she finally appears totally nude in #090. That shot, will revealing little, at least proves that there will be some nudity in this curious collection!

Despite the volume of non-nude images in “Verus,” when Valeria A does finally get naked she is uninhibited and we have several chances to view what she’s been withholding for so much of the set. The nude photos occur at the beach and in the water and the reddish color of the sand makes a nice, flattering backdrop to the model’s long auburn hair and pale skin. #068, a topless shot, with the model backed by blue water, captures a quiet, beautiful moment. I also like #110, with Valeria on her back at the water’s edge, eyes closed, hands in her hair — a nice figure study. And #123 (a tightly framed variation on #110) captures a moment of ecstasy that is a pleasure to behold.

There are absolutely gems to be found in “Verus,” but I do think it leans a bit too far in the direction of a young couple’s vacation snapshots collection.

As is my habit, I start at the beginning. I open the first image in “Pivoter,” a fully clothed shot, and I smile. Not because the photo makes me happy, but because it’s a funny picture. The model is seated on a plank of wood (we later see that it’s a swing hanging from lengths of stout chain). She’s wearing a pleasant, summery, blue dress, a rustic necklace hangs from her neck, and her hands are loosely clasped in her lap. Her hair is casually messy, as if it was carefully styled and then she took a nap. And her face has a subtle sheen as if the studio air conditioner is broken. Her head is tilted and her expression is relaxed and neutral. And the shot is tilted a few degrees to the right. The feeling here is casual…and curious.

This is my first direct experience of Tamara F, but she has been mentioned on the blog in the past. In that post we published a letter by an enthusiastic member regarding her MetArt debut. The post received a single comment, and I think it’s illuminating. The commenter wrote: “I like her raw beauty, not pretty but very sexy…” I will say that I don’t completely agree with the comment, but I find it interesting. In Tamara’s debut she’s quite nicely styled. In “Pivoter” she doesn’t appear to have been styled at all. Her natural charms are presented in unvarnished form. I think a few minutes in the make-up chair would not have been wasted, others may find the candid presentation pleasing. Tamara F does have the raw beauty the commenter mentions, but I think a touch of make-up helps bring out the pretty I believe she also possesses.

Apart from the styling, or lack of same, “Pivoter” is typical of photographer Alex Sironi‘s style. Simplicity is the rule, there are few distractions, and the emphasis is on the model, as it should be. There are a couple of missteps — that first shot I already mentioned, and #075 in which Tamara pretends to chew one of the chains supporting her swing, for example. Her physical attributes do receive appropriate and artful attention. Her pert breasts and stiff, prominent nipples are suitably showcased — #041 is a fine portrait of her powerful perkiness. The sexy fitness and physicality of Tamara’s body is nicely rendered in #052 and #064. The naughty bits are brazenly and beautifully revealed in #058. And despite the annoying tilt, #100, a back shot, is nicely posed and takes advantage of the simple set.

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.

I refer, in this post’s title, not only to the model’s stature, but to the qualities of this MetArt HD erotic movie. It’s a tasty visual confection, not much over six minutes in length, that is as easy to enjoy as a piece of sugar candy.

Eva E, the beautiful bonbon at the center of “Polaines” does happen to be short and sweet — standing a relatively petite 5-foot-3, and tipping the scales at a distinctly dainty 99 pounds. And that petite frame is both beautifully firm and toned as well as exceptionally shapely. Her proportions are such that I would have guessed she was much taller had I not peeked at her model bio.

Another fact I find interesting about this model is that she’s appeared in ten MetArt erotic videos in addition to twelve still pictorials — she’s had a lot of experience in moving pictures, and that’s amply evident in “Polaines.”

There is nothing elaborate or overdone in this production from director Fenix. The mood is casual and carefree, and it’s really nothing much more than a pretty girl interacting with the camera. Eva starts out wearing a blouse and what I can only describe as ankle warmers. She moves with playful grace, often walking on tiptoe, and both performer and director take advantage of large mirror-finished windows that allow for some interesting visual effects.

But, again, not much happens, there’s nothing to speak of in terms of narrative, art direction, or cinematic trickery. It’s just a few enjoyable moments spent in the company of a beautiful naked girl with a particularly pleasing personality to match her inviting body. Much like its star, “Polaines” is a short and sweet little visual treat.

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.

My initial reaction to this model and this MetArt erotic gallery, based on a handful of images, was positive. The set design was bright and colorful, Leonardo‘s photography was direct and free of gimmickry, Mary C’s beauty was obvious, and her energy and spirit was quite engaging. In short, I fully expected to enjoy the pictorial and consequently write a glowing evaluation.

But, as I worked my way through “Volico,” several flaws made themselves apparent, two I’ve mentioned in previous reviews, and one that I may have never had occasion to mention.

Mary C has a type of accessible beauty that is easy to appreciate. She has the ability to project a wide range of moods — she does give us a hint of that here. But only a hint. Mary has a habit of holding her face in the same cheerful semi-smile from shot to shot, pose to pose. Additionally, she has some difficulty relaxing her hands that compromises many of her poses (see #031, for one example) and gives them a stiff, unnatural quality.

Both those problems I’ve experienced with other models. But, as I thought about it, I realized that they might be part of a larger problem. And I think it comes down to motivation and purpose. Actors address the issue regularly — “What’s my motivation?” — to give their performances realism. And what is the purpose of this performance?

“Volico,” like all MetArt pictorials, is an erotic photo set. “Erotic: of, relating to, or tending to arouse sexual desire or excitement.” Her purpose here, her motivation, is, on a fundamental level, to arouse sexual desire. And in many of these images, even the most explicit ones, I feel that Mary isn’t quite clear on this point. She poses earnestly, she’s fully engaged, and she isn’t uninhibited physically. I’ll cite just one example. In #088 she couldn’t be more completely exposed. But what is that beautiful face expressing? I couldn’t even venture a guess.

I have never seen any of her other sets, so I will give her the benefit of a doubt. And there are some absolutely beautiful images here — in #132 I love the innocent (and different!) expression; #136 captures the slender perfection of her body (again with a slightly different facial look); and #137, a torso and headshot, has a spontaneity that’s (sadly) missing from much of the series. A girl this beautiful is certainly capable of arousing considerable amounts of sexual desire or excitement. If she gives her motivation and purpose some careful thought, future sets will realize her full potential.

Of course, as always, I could be completely wrong! Please feel free to share your opinions, below.

An old piano is the central prop in this MetArt erotic photo series. The well-used instrument contributes dark visual mass, and a makes a versatile platform for posing on or against. It also contrasts pleasingly with the clean, polished design of photographer Ivan Harrin‘s set —  a chair and a potted tree are the only other items placed on a glossy white floor before a subtly textured white background.

So, the non-model ingredients are pleasing. What about the girl?

Angel E. really is quite striking. With her slim build, and long, thick, dark hair and bangs running straight across her brow line, this model has a distinct high fashion flavor. And the combination of her sparkling blue eyes against a creamy complexion is a personal favorite.

I have two minor complaints with Angel’s performance. This girl has a subtle, intriguing smile. My complaint is that she doesn’t share it nearly enough! In #070, standing temptingly tall on her tip-toes, she gives us a taste of it, but I, for one, would like to see much, much more. My second gripe is that Angel has habit of tilting her head to her left. In one photo, or a dozen, this wouldn’t be notable. But it seems to be her default position, and it gets repetitious. Those shots where she tilts her head in the opposite direction are rare, and really stand out.

Angel E. is totally nude from beginning to end, and is pleasingly at ease revealing all. The high gloss floor and some creative poses combine to create some exceptional and interesting images — see #006 and #009 for two examples.

“Lunettar” has wonderful moments and all of the individual elements that might result in a stellar series. But I can’t help but feel that it would be vastly improved if beautiful and talented Angel E. loosened up and performed with a bit more spontaneity.