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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 —  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.

A still photo shoot is very much a pas de deux — a dance between two people. The photographer’s focus, both literally and figuratively, is on his subject. And she, in turn, directs her effort and energy directly at him. This bond, this connection between artist and model, is at the very heart of what draws us to erotic photography and is really at the core of the MetArt experience. We admire the artistry of the photos, but the emotional element, the chance to see the “spirit” of a model elevates the experience well beyond simply looking at pictures.

Now — and I hope you can follow my reasoning — imagine you are at a play. A beautiful actress is delivering a monologue. So great is her beauty and so compelling is her performance, that you feel as if she is speaking directly to you, and to you alone. Now, imagine that you are backstage, hidden in the wings, and watching the same performance. You may be witnessing a great performance, but the feeling of connection is missing. The actress is reaching the members of her audience while you look on from the shadows.

Which brings us, at last, to “Bustani.” Directed by Luca Helios, this MetArt HD erotic movie was shot at the same time as the artist was shooting two separate still galleries (those pictorials are “Directa” and “Weekend,” by the way). Melisa A. is the star of all three creations, and she is, as always, a pleasure to witness. But.

But there is a bit of a problem, and I’ve alluded to it in the introductory paragraphs, above. Here Melisa A. is directing her attention to the still photographer. She is a skilled, professional model, with a warm, spirited personality. And her warmth and spirit is being lavished on lucky Luca’s lens, while we watch through the lens of the camcorder wielded, presumably, by an assistant. We are watching from the wings, as it were.

I can find value and enjoyment in this style of movie. It’s interesting to watch a model at work. It is only because Melisa A. is so beautiful, sexy, and engaging that I wish she interacted directly with the movie camera and let the still photographer play second fiddle for a while!

In her debut MetArt erotic photo series , Milagres A. displays a natural beauty and an easy-going personality. And the design and technical aspects of the pictorial combine to capture these qualities with a relaxed, effortless style that is in perfect harmony with the subject.

Although she’s quite pretty, Milagres A. does have a girl-next-door quality that is a big part of her appeal. Here “next door” happens to be the balcony of a house with a commanding view of the ocean and coastline. While Antonio Clemens has chosen to minimize the views and keeps his focus on the model, he does employ the location in some very interesting ways.

Whether it was by design or accident, the set was created towards the end of the day. The setting sun appears to be the sole light source. Clemens masterfully employs the natural light to give these images a soft, informal feel. But he also captures reflected views of the glowing golden orb as it descends through scattered clouds in the windows behind the model — see #026, #036, and #050 for three examples. In other shots a flash of warm sunlight reflects off the blue metallic window frames to add a pleasing bit of color and contrast – #065 is one example, and #074 is another very pretty shot that employs the effect.

Milagres A. has a relaxed demeanor and a natural warmth that Clemens really captures here. She is not at all inhibited, and eagerly displays every inch of her body. Her physique is delicate and understated, from her petite breasts to her intimate anatomy, but not at the expense of curvaceous hips and long, shapely legs. The final shots in the series, #133 and #134 manage to showcase her mood, her beauty, her build, and a bit of the landscape in an effortlessly artful manner. A successful debut, to be sure, and I look forward to more from both model and artist.

During the long history and evolution of the cinematic art form filmmakers have developed a rich, nuanced language of symbolism with innumerable techniques for conveying information to the viewer. In this MetArt HD erotic movie the director, Leonardo, dresses his star in a pair of white panties. Printed in bold, block letters across the seat of these panties are the words: “That’s Hot.”

So much for symbolism. Those two words concisely summarize “Visita,” and also provide an apt thumbnail description of Jesika A.

If a short film can be broken down into “acts,” this one has three. In the first Jesika primps and poses in front of a mirror. Her printed panties and snug white top do much to flatter a curvy hourglass figure, and the sight of the model’s nipples straining beneath the tight fabric is a visual treat. The tone here is light and flirtatious, and Jesika’s twin pigtails underscore the girlish energy.

In the second act action moves to the living room. Sitting on a shaggy fur rug, Jesika A. uses brush and watercolors to paint in a coloring book. When she tires of painting between the lines, she turns the brush on her torso and firm, full breasts. Cleverness and cuteness ensues.

In the concluding segment the printed panties come off — and are tossed at the camera with a playful flourish at the 6:08 mark — and Jesika A. offers a series of far more revealing poses. While the mood, throughout, is light and cheerful, by the end of “Visita” I expect the many viewers will agree: That’s Hot.

This might not seem like an obvious photo opportunity. It could be a corner of a rustic tavern, perhaps one frequented by lumberjacks. There is a tall table surrounded by stools. And these furnishings are crafted of large logs, stripped of their bark, and burnished to a warm, natural glow. Somehow, with her long hair, slender build, and refined beauty, I can more easily imagine Dominika A. in a sleek, modern setting, or outdoors in a meadow or by the sea. So, there is something somewhat odd about the location, but the model’s beauty and appeal more than overcomes this disadvantage.

In fact, the log furnishings and wood paneling of the room possess a warmth that is quite flattering to Dominika’s coloring. And the model, in her high heels, floral mini-dress (or is that just a blouse standing in for a mini-dress?), and bracelets (one of which later does duty as an anklet), is nothing if not attractive, even in this incongruous setting.

This experienced and eye-pleasing MetArt model works well with photographer Luca Helios. She’s at ease here, relaxed, and her smiles are frequent and genuine.

In terms of favorites, I do like the very first image, #001, for those mile-long legs. #110, a fully nude shot, illustrates how well the texture and color of the setting flatters Dominika’s coloring. #072 is a beautiful, natural, and moody headshot. And who can resist the smile on the model’s face in #106 as she reveals her intimate architecture?

Before screening “Throne” I was surprised to discover that this MetArt HD movie presentation boasts a run time of just under four minutes. I don’t know if there are other videos in the archive of similar length, but I do know this is the shortest feature I’ve critiqued. I must say that any concerns this raised evaporated seconds after I’d pressed “play.”

Olga M. is a glamorous beauty with a smoky sensuality that is particularly well suited to motion pictures. She’s a delight in her still series, without a doubt, and if you’re a fan of her pictorials “Throne” is an absolute must-see. In fact, whether you’re familiar with her or not, I can recommend this production without reservation.

Leonardo‘s approach here is beautifully simple and simply beautiful. It begins with Olga M. posing in front of a stone column. Her outfit — stiletto heels, sheer black hose, and a sheer black body stocking — is sexy and incredibly flattering to the model’s lithe figure and dark coloring. And Olga knows how to move that beautiful body. Leonardo’s framing and camera movements create some truly moving images, in every sense of the phrase.

After the upright sequence Olga appears in a chair. Oddly enough, this is not the “Throne” pictured on the movie’s cover, which is an image lifted from an earlier still set, “Graziosa.” While reclining Olga M. smokes a cigarette (at the 2:17 mark), reveals her completely shaven sex (at 2:59), and finally uncovers her stiff-nippled breasts (at 3:05). The pacing of these events approaches perfection.

While there isn’t a dreary image or dull moment in “Throne,” one of the genuine highlights starts at 3:16, when Olga M., with her feet on the ground and her head supported on the chair, forms a graceful bridge. The view across her hips, mons and torso at 3:20 is wondrous.

Short in duration but long on erotic beauty, “Throne” is royally entertaining.

As near as I can tell, this is a stand-alone movie — meaning that it was conceived and created as a moving picture. I can find no MetArt gallery featuring the same model, photographer, and location in the archives. And, while a still set might well have been created by these collaborators, for release at a later date, I don’t think this video was recorded while still photos were being taken. And, in case all the previous words don’t make it clear, I think that’s a good thing. I enjoy videos of photo shoots, but a self-contained movie offers a different experience.

A crucial part of that experience is the cameraman. In a video of a photo shoot, an assistant mans the camcorder while the photographer and nominal director handles the still camera. As a result, the assistant contributes much to the visual style of such productions. Here I think it’s safe to assume that Leonardo is operating the video camera, and his style and skill is very much in evidence.

The opening sequence — a quick shot of the background, a slow pan up Adelia A.’s body, from toes to head, and a dissolve to another headshot — has a subtle, controlled artistry that sets the tempo and the flavor of what follows.

Adelia’s trim body glows with a light sheen of oil. At several points in the production a flare of reflected light plays across her face or on various parts of her body — a pleasing and creative effect. And the model’s performance is well matched to the style and rhythm of the movie. Adelia is expressive, but in a controlled, restrained manner. This is an engaging performance, but it is not at all theatrical or overblown. The subject, the setting, and the artistry of its execution ensure that “Disposa” is anything but disposable.

When a beautiful young woman dances suggestively next to a post it can’t help but suggest a modern pole dance, even if the pole in question supports an antique style gas lamp. And that’s how “Dinamico” begins. Wearing strappy, high heeled sandals and a figure-hugging red dress, Natalia A. proceeds to tease and tempt the camera with some particularly seductive dance moves.

If one has a sense of déjà vu while watching this MetArt erotic movie it’s not some psychological mystery or anomaly — we have been here before, and I even wrote a critique of the experience. That movie featured a different model, however, and it was shot at night, giving it an entirely different feel.

“Dinamico” was shot using natural light, on a somewhat gray and overcast day, and this robs it of some of the drama and atmosphere of the nighttime production. Leonardo employs a much more dynamic and varied style of camerawork here, and the results are mixed. Some may find the sometimes radical tilting of the compositions, and the frequent changes in angle unsettling. And there are times when the backlighting throws the model’s face and body into shadow.

The action then moves to a flight of shallow stairs, still outside, but away from the lamppost. Here the pinkish floor tiles, red dress, Natalia’s red hair, and the bricks of the structure in the background bias the entire frame a bit too far into the red range for my tastes, but the model makes up for it by turning up the heat with additional tease and some eye-opening posing, providing extremely intimate views in the process. Take a look at the sequence beginning at the 4:50 mark and all will be revealed.