Tag Archives: extreme close-ups

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.”

In this steamy offering from Tony Murano his subject, Rachel B., smiles a lot. I might even, under different circumstances, be tempted to say that she smiles too much. But then I revisit favorite images in the collection and I realize that Rachel B. has a lot to smile about!

Rachel’s smile has a contagious quality. It is hard to look at her smiling face and those feline eyes and not feel a certain uplift in one’s spirit. This lovely lady radiates a warmth that is nothing if not inviting. But it’s her body that generates and radiates the real heat and humidity here.

Watching her peel off her clinging pink dress is a delight, and the gradual revelation is well paced. A body like Rachel’s deserves to be savored, piece by delectable piece – this isn’t an experience any sane man would want to rush through. Her breasts, stunning in and of themselves, are worthy of extended study, and Murano provides ample opportunities and angles.

When complete nudity is achieved neither model or photographer is at all timid. Rachel freely exposes all, and Tony moves in extremely close for all the libido-pleasing detail one could ask for. Yes, Rachel B. smiles a lot. Have a look at “Interest” and you will, too!

Viewing the debut series from a new model is an experience I never tire of. I don’t fall in love with each and every new model on MetArt — there are too many, and more are added with dizzying frequency — but the potential to discover a new favorite adds excitement to the experience.

In this case, photographer Tony Murano and his subject, Lauren C., played a bit of a trick on me. In the introductory images I found a sweet, seemingly innocent, young woman shot in a visually busy setting. Floral print curtains throw shadows on floral print wall paper, and a similar motif is repeated on the bed dressings. Fine, I decide. Murano has cluttered the image with complexity to compensate for a shy model as she grows accustomed to posing for erotic art photos. The twosome certainly had me fooled.

Yes, the first two dozen images capture a demure, somewhat reserved model. #0024 captures Lauren C.’s winsome beauty quite effectively. If the set remained at that relatively restrained level of intensity I would not have complained. But there was more – much more – in store. Once she is fully nude, Lauren holds nothing back. What seemed so quaint at the start became a stunning, explicit exposé. And all those floral visual clues suddenly made sense. This impressive debut ranges from shy to shameless and, as a result, I can’t wait to see more of Lauren C.

A sense of mood and effective pacing are two highlights of this set crafted by Tony Murano. A smiling Irina J., wearing sheer black stockings and a bra and panty set, is seated before an ornate mirror on an ornate chair of similar style. Moonlight streams through a nearly sheer curtain, while much of the room recedes into deep shadow.

Slowly by slowly, bit by bit, the brunette beauty relaxes and reveals herself to the viewer and to the mirror. Some of these “doubled” images are extremely pleasing. In #0056, standing, Irina J. looks away from the camera, into the mirror, and back at the camera – offering two enticingly different views of her body, and two subtly different facial expressions. More brazen poses are similarly amplified.

While the set begins, appropriately, with a smile, as it proceeds it gets more and more serious. By the time we arrive at the final image Irina has been completely, expertly, and explicitly exposed. Outstanding.

I first encountered Kitty B. when I evaluated “Reddit,” by Juliano Gallio. In that set she was photographed in a particularly dramatic location. In Leonardo’s “Raising,” she’s in a subtly, artfully controlled studio environment, but the set is no less dramatic.

“Raising” derives its drama from a powerful sense of intimacy. Kitty B. is poised on a beige leather sofa in a dark room. The lighting here is particularly deft. She is brightly lit, but there is a softness, a touch of diffusion, and not a hint of glare. And the focus of this delicate technique and artistry is the young, beautiful, and expressive Kitty B. Those big, brown eyes are magnetic and mesmerizing, thoughtful and playful – two headshots, #0093 and #0094, illustrate my point.

The set contains numerous and varied views of Kitty’s nubile perfection. There are several shots of the model on all fours, offering herself without a hint of shame or restraint – a very pretty Kitty in heat. There are inches-away intimate close-ups of her immaculate anatomy. And there are positions and poses to satisfy most any appetite. The viewer’s pulse and temperature are only two of the things “Raising” is certain to elevate!

With a strong assist from ready, willing and extremely able model, Lily C., first-time MetArt contributor Arkisi delivers a knockout pictorial in the form of “Events.”

It begins with a few fully clothed, outdoor shots that capture the bubbly charm of the model, and perhaps serve to cleanse the palate for the delicacies the viewer is about to receive.

Indoors, in an armchair, Lily is now wearing lace panties and a bandeau corset, Whether she’s in this costume, completely rid of it, or any stage in between, she is pure visual pleasure. A less talented photographer could simply give Lily free rein, continue pressing the shutter release, and end up with a fine set. But Arkisi is a more talented photographer!

The range of poses Lily assumes, even when confined to a single chair, is truly impressive. And when she stands, as she does in a few shots here — I’m thinking, in particular, of #0067 — the angle Arkisi shoots from makes for a delicious image.

There’s far too much for me to call out by number, but do check #0074, an expressive, painterly composition. And those who like it hot, will find #0091 nothing less than incendiary. Encore, please!