Tag Archives: extreme close-ups

Calling a model in her early twenties a “veteran” seems a bit odd, but “Provalo” is Mila I‘s forty-ninth appearance at MetArt so the description is fitting. And it’s quite easy to understand this beautiful blonde’s enduring appeal. She’s physically enticing, of course, but Mila I also has a spirited, lively personality that is easily captured in still photos or on video.

In looking at Mila I’s impressive catalog I notice something interesting. Although she’s worked with a diverse assortment of MetArt contributing photographers, eight of her ten most highly rated pictorials were created by one artist, Tony Murano. With “Provalo” I have a chance to see for myself why this particular team has proven to be so popular and successful.

Although the very first image is tilted for no obvious reason (a pet peeve of mine), the lighting and set design is pleasing, and Mila’s styling is a bit more polished than usual, which is also pleasing — Mila is nothing if not versatile, and here’s yet more proof. Then model and artist begin to experiment. In #005 we Mila is in a thoughtful mood, but by #009, still fully dressed, she expresses sexual ecstasy.

Explicit and unashamedly sexual imagery is a Tony Murano trademark, and as “Provalo” progresses it offers ever-increasing eroticism. While Mila I is undeniably cute with a bright and charming spirit, she’s also powerfully sexy, and this series captures that aspect of her personality quite impressively.

Yes, there are “tame” yet stylish photos here – #047, a study of Mila’s breasts with several flowers slightly out of focus in the background is one example. And the architecture of her body is rendered to striking effect in #072. Here Mila’s shoulders are on the floor and her body arches upward, supported by her legs up on the bed.

But the main course here is flowers — of two distinct varieties. Toward the end of “Provalo” Mila’s is in glistening full bloom as it is showered with yellow petals. And in the final shot, an extreme close-up, a single golden petal is held near a pink blossom of incomparable beauty. That’s what I call flower power!

The first time I commented on a MetArt erotic photo gallery featuring Violla A she had dyed her hair a particularly vivid shade of orange. Although I quite enjoyed her performance and the set in general, I felt that her hair color might put some viewers off the series. In this pictorial I’m happy to say that Violla now sports a somewhat more natural color, one that flatters the model rather than drawing attention away from her other attributes.

Generally speaking, there are very few distractions in the photographer’s design and execution of “Pecado.” The model is totally nude and barefoot throughout. She does use a piece of fabric or clothing as a ground cover in several images, but other than that, a colorful manicure and earrings made of a single feather complete her costume.

The location is a forest. Much of the gallery has Violla situated among the gnarled branches and roots of a toppled tree. There is much visual interest and texture to work with here, and, to her credit, Violla seems completely comfortable in what isn’t necessarily a comfortable area. Violla A has a warm, lively, and fun-loving personality that really comes across in these photos. She laughs, she smiles, and she speaks volumes with her exceptionally beautiful eyes.

She is also completely free and at ease with her body and she seems to delight in striking the most explicitly revealing poses possible. Even at some distance these poses are bold and enticing, and when Matiss moves in for intimate close-ups the detail is truly exceptional. Better keep the fire crew on high alert — in “Pecado” Violla A is more than capable of igniting an erotic inferno.

Today we celebrate the unexpected but welcome reunion and return of two individuals with a long and prolific connection to MetArt. The star of “Ortancia” has posed in 56 erotic pictorials on the site, but her last appearance was almost exactly two years ago. And the photographer is a living legend in the field of erotic art photography with a particularly grand total of 370 photo sets and movies at MetArt — not to mention the vast catalog of his work presented at the site he founded, which is also a member of the MetArt Network.

So, the arrival of a set created by Altea B and Erro is a notable occasion and worthy of celebration. And, as one might rightly expect, “Ortancia” doesn’t disappoint. Because the model’s MetArt contributions ended not long after I came aboard this is the first time I’ve seen her. But, now that I have, I can — and will — go back and savor the many sets she appeared in between 2006 and 2010. Petite, with dark hair and eyes, Altea B is a delicate nymph with a kittenish spirit. And she’s more than willing to offer inviting explicit views.

Erro takes full advantage of his willing subject and several eye-pleasing extreme close-ups are among the standout images in the collection. And the master stylist also includes detail shots that are delicately beautiful — I’m thinking of #090, a close shot of Altea’s feet, and #112, a portrait of her toes. More conventional portraits, like #084, effortlessly create an intimacy between model and viewer.

That effortless quality extends to the design and execution of the entire series. The model poses on two simple white tables, backed on one side by a white wall, and on the other by the landscape. The lighting is natural, soft, slightly diffused. When he frames his subject against the white wall it’s almost as if she’s posing against a seamless backdrop in an artfully lighted studio setting (see #047 for an example of this effect). But, overall, the mood is casual and relaxed — a seasoned artist working with a beautiful and cooperative model.

There’s much to enjoy here, but I can’t resist calling out some additional images: #076 (adorable sideways headshot), #037 (close, really close), #098 (on all fours, beaming – a irresistible centerpiece), and  #095 (beautiful, intimate headshot).

Whether you’re already a fan of the model or artist, or if this is your first exposure to either one, “Ortancia” offers an unexpected opportunity to experience two uniquely talented MetArt contributors.

Pacing is a term that I often use when discussing MetArt — or SexArt, for that matter — HD erotic movies. But the notion of pacing also applies to erotic photo galleries. A pictorial containing well over one hundred images allows the artist to tell a bit of a story as the model disrobes, for example, or as her posing becomes more and more frank over the course of the pictorial.

In “Protasi,” created by the artist Arkisi, the pacing is akin to a starter’s pistol. On your mark, get set, go! We have four images of the model, topless, barefoot, and wearing a skirt. Then in image #005 — bang! A boldly explicit rear view hits us right between the eyes. There’s virtually nothing in the way of build up, the merest hint of tease, and “Protasi” explodes with exuberant, up-close, detailed, and energetically erotic imagery.

Sinia A is no shrinking violet, that much I can assure you! This beauty is unabashed and unashamedly sexual. She is sweet and thoughtful, as well. And there’s an undeniable warmth and a playful intelligence in her gorgeous eyes, but her sultry, playful, “come and get it” sexuality is the most striking element of this bold and beautiful erotic offering.

I understand that some MetArt members have a limited interest in explicit intimate close-ups. But if you enjoy them, I think you’ll agree that the subject — delicate, pink, and succulent — is more than worthy of detailed scrutiny. And these aren’t simply pin-sharp pictures of Sinia’s (formerly) private parts. Each of these plentiful explicit images is a self-contained sexual story. I have far too many favorites to list, but one doesn’t often find photos as achingly erotic (and strikingly beautiful) as image #039. Go ahead, use your fingers and toes — you’ll soon see that there are too many super-hot shots in this collection to count.

Now, there are cute shots, sweet shots, and beautiful headshots, as well (see #109). Oh, she’s cute, charming, and engaging, alright. But in “Protasi” Sinia A simply sizzles with sexuality.

This is a very good set. That’s the condensed version of my initial impressions, and if it’s enough to get you to take a close look at the MetArt erotic gallery titled “Favor,” then I consider my job here complete. For those who require further persuasion, however, I will elaborate.

When this model made her MetArt debut I was immediately smitten. It was a beautifully shot gallery, to be sure, but what won me over was the model’s beauty and personal warmth. My only difficulty with the set was the model’s name — I still don’t know why she’s named Toxic A, and I doubt I ever will. “Favor” her sixth series, offers ample proof that my “love at first sight” was no fluke.

And when I say that “this is a very good set” I’m referring to more than the model, much more, in fact. Arkisi photographed “Favor,” and it is a rich, varied, and truly impressive demonstration of artistry. It falls, roughly, into two segments. The first of these takes place before large windows looking out on tall trees. The lighting is complex and tricky, but Arkisi masters the challenges it presents. Notice, for example, how the backlighting in #021 brings out the details of Toxic’s slender body while shrouding her sex in darkness. Another, entirely different effect is achieved in #050, where bright light shines on her hand and hip while her smile radiates softly from the shadows.

In the second section, Toxic A moves away from the windows and into what we now learn is a bedroom. Here the rich, warm colors of the furnishings and subdued light create a romantic and inviting setting in which Toxic’s charms — both physical and emotional — bloom vibrantly. An eager and inventive poser, Toxic A delivers and energetic and lively performance. In a calm, pensive mode she helps Arkisi create a painterly gem in #058. In #097, her body striped by vivid light and shadow her smiling face fairly glows. And in more than a few of these diverse and delightfully artistic images Toxic A‘s luscious intimate anatomy is fully and explicitly revealed.

On further thought, “this is a very good set” seems to be a bit of an understatement. In considering the model’s natural beauty and ability, and the photographer’s technical skill and artistic talent, I have to say that “Favor” is fine, indeed.

Sharp-eyed readers — well, even one-eyed readers — will immediately recognize the location of this set. I wrote about a series created in the same space by the same photographer just the other day. It’s a pleasant room, with lovely light, the only question is, will this MetArt gallery be as pleasing as the previous example?

I could make you wait and turn my attention to the more pleasing elements of “Veritat,” but I will spare you the wait. After all, the set’s title is the Latin word for truth, so I have no choice but to be honest. The answer is: no.

In technical and stylistic terms Koenart is consistent from the previous set and this one. He’s rearranged the room slightly, moved out the chair and replaced it with an ottoman. So, why is this set less successful? Who gets the credit, or the blame? Our choices are limited. Would anybody care to venture a guess?

Yes, a gold star for those who picked the model. What is it about her, what she’s done, or what she hasn’t done, that makes this series less than satisfying? It can’t be her body, she’s voluptuous, shapely, and otherwise inviting. It can’t be her tattoos — Koenart studiously avoids including them in his compositions and they are only visible in a few shots. And it’s not her face, not exactly.

It’s her smile, or absence of same. It’s her attitude. Truthfully, I can only say that I get the distinct feeling Bella C isn’t enjoying posing for this set. When she attempts even a shadow of a smile, as in #032, the result is faint and forced. And in #058 her expression is almost one of resentment.

I don’t mean to suggest that all models should always be happy and smiling broadly – far from it! Some of my favorite MetArt galleries feature models in contemplative, thoughtful, understated moods. But in shot after shot, no matter how appealing Bella C is physically, I get the feeling she’d rather be somewhere, anywhere, else.

As it happens, the last few shots feature the fully dressed model outdoors. In these shots Bella C is happy! She is smiling, naturally and genuinely. I only wish she’d brought some of that cheerful spirit to her nude sitting.

This MetArt erotic photo series is a bit of a jumble. There’s a casual, thrown-together flavor to the set design. The model’s costume — a shirt and panties — seems somewhat randomly chosen. And there’s an odd and — to my eyes — unappealing and completely unexplained and unexpected twist that appears later in the set (and which I’ll discuss later in this post).

Here Swan A. makes her first appearance as a MetArt model. Long-limbed and with a sweet, girl next door demeanor, Swan poses eagerly and freely, offering explicit, intensely suggestive poses along with demure images that seem more in keeping with her youthful, genial personality.

Rylsky is no shrinking violet, either — he maneuvers his lens as close as can be and some of these intimate views are almost startling in their proximity and detail.

Oddly enough, but in keeping with the slightly odd nature of the entire pictorial, there are also a group of shots that appear to have been subjected to rather extensive image editing. #023, for example, almost looks like a piece of airbrush art circa 1980. Interesting and curious.

As mentioned earlier, the oddness here extends to the set design with includes various curtains for background, a red leather couch with a white frame, and flooring composed of photographic tiles of white button-tufted leather cushions. Interesting, yes (in an odd way) but the effect is far from harmonious.

The unexpected twist comes in the form of dessert — an orange filled with ice-cream on a plate of sticky fruit syrup. Like a good girl, Swan plays with her food and makes a mess of herself in the process. Certainly a memorable debut, but perhaps not for the right reasons.

When Nichole A. first appeared in a MetArt erotic gallery I was “roundly impressed” (you can read my impressions here). Will her second appearance, working with the same photographer, prove as impressive, or will she fall victim to the “sophomore slump?”

The answer is a bit of a mixture. But, in the model’s defense, I can lay what quibbles I have at the feet of the artist, Arkisi. I must say, in the spirit of fairness, that this set’s technical and design aspects far outweigh the primary flaws in its execution. Those flaws are a slight reddish pink tint to many of the images, and a bit of TCS — Tilting Camera Syndrome. Neither flaw is terminal, however, but it is my duty to mention them.

Arkisi has designed a set with a pleasing bit of theatricality. He’s placed an upholstered, cream-colored armchair against a patterned scarlet curtain. In the foreground he’s hung two panels of sheer, golden fabric. It is on this “stage” that Nichole A. delivers her performance. When the set opens she’s wearing open-toe stilettos, lacy pink panties, and a smile. While I do love that smile, Nichole has a range of expressions, and I very much like the quiet, calm, direct look in #005. Then again, the spontaneous smile she exhibits in #012, as she slides her panties down her thighs, is a thing of beauty, as well.

The photographer can create beautiful images that are completely free of any “naughty bits,” as he does in #023, in which the model obscures her body with the golden fabric. But he also delivers powerful, eye-opening explicit close-ups of Nichole‘s fleshy delicacies. The details available to the eye in extreme close-ups like #074 and #079 seem certain to satisfy lads who love lush, lavish, labia.

A personal favorite here is one that straddles the extremes contained in “Eftaxis.” In #084 Nichole A. is seated. Her feet are far apart, her knees touching. Her elbows rest on the arms of the chair, her hands are raised, her fingers curled. She looks directly at the camera with a sweet, but somewhat mysterious, look on her face. There is something whimsical about this photo that is in perfect harmony both with the model and the clever design of the set.

As happened with yesterday’s entry, “Provoquer” took some time to win my affection. But today the reasons are nearly reversed. In yesterday’s post I liked the model but took issue with some of the photographer’s choices. Today I liked the art direction and approach that Balius has taken, but I failed to respond to his model. At least initially.

The fact is, if you look at ten pretty girls — or 2,595 by today’s total MetArt model count — you’re going to find some of them more attractive than others. We are all individuals and have our own unique tastes and preferences. So, speaking candidly, Liv B. didn’t really “trip my trigger.” At least initially.

Oh, there are some fine shots early on in the set. And Liv’s pale, creamy skin is set off quite beautifully by the dark background and rich colors of the set design. I very much like #016, for example, with that glowing skin, the fur rug adding warmth and texture, the foot reflected in the high-gloss floor.

Then, with #030, Liv B. begins to win me over. It may be something about that subtle smile, and it certainly has something to do with that beautiful behind with its nearly lunar radiance.

But when Liv B. bares all — and Balius moves in for a series of explicit images — she finally reaches me on a profound and undeniably animal level. This may not be everyone’s ideal, but my reaction to shots like #039 and #040 is powerful and immediate. And when Balius captures Liv from a greater distance — but still in an enticingly explicit pose — her physical charms are joined by her personality with wonderful results. Note the contrast between eyes open and eyes shut in #049 and #050. And #055 and #056 are two powerfully erotic, painterly photographic gems.

There’s much more to enjoy here, not all of it so frankly revealing — I’m thinking, specifically, of #090 and #095. And for an amusing conclusion to an unexpectedly heated session, Balius captures Liv B. as she tidies the bed in the closing shots of “Provoquer.”

I can’t quite decide what the title of this set means. No matter how much I concentrate, no matter how I strain my ears, I hear nothing more than the pounding of my pulse and my increasingly heavy breathing. My eyes, however, are wide with pleasure and delight as I take a leisurely look at “Listen.”

The model is particularly impressive. Kari A. is a genuine beauty. She’s so beautiful, in fact, that one wouldn’t mind if she was cold and distant in a way that some beautiful women are. But Kari radiates a natural, down-to-earth warmth that makes her even more appealing. From the subtle dimple on her chin, to her trim waist and the womanly flare of her hips, to her eyes, and on to her intimate bits, Kari is a study in feminine fineness.

Koenart‘s treatment takes full advantage of his subject’s attributes and attitude. He has her on an inviting bed, in flattering lingerie. In several shots a stray ray of sunlight strikes her in a visually pleasing and evocative manner – is it morning, or perhaps a lazy afternoon well suited to romance and passion? The photographer has and eye for pleasing composition, and he also has an effective sense of pace. The bra and panties come off slowly, and anticipation builds very effectively.

Extreme close-ups are featured, and quite impressive (#0062, for example). But some of the most enticing images are far less explicit, including headshots where her most intimate areas are concealed – #0099, #0100, #0102, and #0105. Let me also quickly mention #0004 (for the sunlight), #0024 (thighs and chin), and #0044 (ass). In case I haven’t made myself clear, I loved looking at “Listen.”