Tag Archives: fantasy

Some MetArt models are chameleons. Put them into a scene or situation and they can instantly mold their expression to match the setting. Others are open books. They don’t attempt to hide their feelings, no matter where they are or what is going on around them, and their expressions are entirely spontaneous and sincere. And there are those models who, by temperament or calculation, choose to restrain their emotions and withhold those facial and physical signals that inform us as to their thoughts and feelings.

Kalina B. belongs very much in this last group. She projects an extremely narrow range of emotions in “Beviz,” and it is nearly impossible to guess what she is thinking or feeling. Yes, she does deviate from her “poker face” several times. She treats us to a smile in perhaps half a dozen images — she even appears to be laughing in #091. But, overall, this young woman is very, very difficult to “read.”

This is not a bad thing – far from it. The more I tried to decipher and determine her mood or emotion, the more complex and intriguing I found her to be. In #069, a headshot framed from just below her breasts, I can’t tell if she’s pensive, angry, impatient, frustrated, thoughtful, or simply relaxed. She could be any of those things. What is so intriguing is how she “plays hard to get” with her feelings.

When I turn my attention from the model’s interior life to Paromov‘s photos of her, I find much to like. #021, with its soft, pastel tones and lighting, has the feeling and composition of a painting. #070, hugging a pillow and raising her ass, has a subtle erotic glamour, and #074 continues in that vein with the addition of a pleasing, dreamlike quality.

I know what I’m thinking while I study Kalina B.’s beautiful body — I only wish she’d give a few more clues as to what’s going on in that pretty head.

Water in various natural settings – the seaside, rivers, lakes, backyard swimming pools – has played a supporting role in countless MetArt galleries. Take a scenic bit of oceanfront, position a beautiful nude model appropriately, add a skilled photographer, and the potential for a satisfying work of erotic art is very high.

But move indoors, into the controlled environment of the studio, and integrating water into a photo series becomes far more complicated. Water, electricity, sensitive (not to mention expensive) equipment, and delicate (not to mention priceless) feminine flesh, all need to function in harmony and safety. Confident and accomplished artisan Rylsky brings water, light, and woman together beautifully in “Wasser.”

The floor and background are inky black and an orange light behind MetArt model Augusta Crystal tints a steady spray of falling water droplets throughout the series. Two seashells provide the only props, a necklace and bracelet her only costume. This is a dreamlike landscape, and at moments the glowing light in the darkness evokes a tropical moon, or perhaps a midnight sun in some otherworldly locale. This beautiful illusion is, however, shattered in those images in which the light, with its barn door shades and stand, comes into direct view, as it does in several shots.

Apart from that regrettable technical slip-up the series contains some truly notable images. Numbers 034, 035, and 036, shot from a high angle, with “raindrops” blurred in midair, constitute subtle variations on a pleasing theme. Framed from mid-torso up, #020 captures Augusta Crystal’s warmth and vitality along with her facial features and beautiful breasts. And for sheer, dreamy, painterly beauty I can’t resist #067. Augusta Crystal in Rylsky‘s “Wasser” is both wet and wonderful.

There’s no way around it. This series is saturated with it. From the glowing, mottled backdrop to the tips of the model’s lacquered fingernails, virtually every element in “Heliras” is a shade of red. The model’s panties may be black, in fact, but there is so much red on display that they take on a bit of the dominant hue.

Marina L., a striking, pale-skinned blonde, thrives in this dramatic setting. There is an undeniable theatricality to her posing, and a highly stylized flavor that brings to mind heavy metal music and horror movies. Certainly a step or two outside the norm for a MetArt gallery, but it’s absolutely engaging and enjoyable.

In the midst of all this color and drama, however, there are moments of calm and quiet. In #093, to cite one beautiful example, Marina relaxes into an intriguing pose on the floor, and her facial expression is serene and entirely natural.

If I may mention two minor quibbles. The style and lighting here present a technical challenge that erotic artist Anry V. has handled admirably. There are a few shots, however, where Marina’s body is slightly overexposed – I’m thinking, specifically, of #031 and #038 – and the surface details of her body are blown out and lost. A quibble, at best, as I said. Additionally, and I don’t know whether to “blame” the photographer or the model, I would have preferred a bit more in the way of explicit images. A selection of dramatic close-ups would certainly be in keeping with the red-hot style of the series.

[I had planned to write a critique of Rylsky's "Silexia," starring Ralina A., to appear today. Shortly before I viewed the movie, a MetArt member, Cyranos, submitted his own impressions. What follows are his thoughtful insights, in his own, quite eloquent, words. — Adam]

This movie is MetArt at its finest, truly a showcase offering. My compliments to all involved, this is a fine work of art.

To say Ralina is beautiful young lady is an understatement, she is a dream and a delight. Her performance is classic, she portrays that line so thin that divides woman-child from woman, those moments as she accepts into herself the full scope of her life and her loves. I am far more a voyeur of hearts than of bodies, and Ralina’s performance is what a man of the heart hopes to see in the woman in his life, that modesty that isn’t shame but rather self respect, a modesty she will set aside only for her love and lover, and no other. Ralina has serious talent as an actress, watch her eyes, watch those transitions as her eyes pass from girl to woman-child to woman and then back again.

When I watch the Met movies I always ask myself this question: what set of circumstances in real life might produce what I’m seeing here? In the case of this movie the answer was so very easy to find. If a guardian angel were to make a movie of a honeymoon this is what I would expect to see, the images that angel would record, take into his immortal memory for safekeeping to be shown back when the mortal memory might dim, to reinforce in those he watches over the love to be seen in those moments.

From a technical standpoint there is only one thing I would have done differently. I would not have shown her genitals at all, not until the very end of the movie. She always looked to her right as if her lover was in that direction, I’d have emphasized that look just a bit more, and ended the movie by having her hold out her hand as if in invitation: come to me? No? Then I will come to you… and as she stood given just a glimpse of a gentle arousal, the one associated to making love without lust, and ended with that look she can portray so well, the one that says my love, don’t worry, if I conceive now it will not be too soon. I’m ready, and so are you… her transition to woman shown complete.

— Cyranos

The basic elements of this series are visually pleasing and extremely evocative: A beautiful young woman wearing only a trench coat and high heels, a (seemingly) deserted train station, a graffiti decorated train in the background. Where has she come from? Where is she headed? Has she abandoned a traveling companion? Or is she looking for one? Is anybody looking at her from one of the many windows of the train?

As it begins, I think that Volkov makes decent use of what he has to work with – how can one look at image #0000 and not be intrigued and primed to see what comes next? And by #0008, when the natural beauty of Koty A.’s body has been revealed, we are still very much on the right track, to coin a phrase.

But as the set unfolds I find that it loses steam. With such a rich setting there is a static quality to the set-ups. Indeed, when the photographer moves the camera and chooses a dramatically different P.O.V., as in #0125, for example, the effect is quite refreshing.

There are extremely pleasing shots in the collection, but I don’t find it completely satisfying. If I sound slightly disappointed it only reflects that, in my opinion, the set fails to completely exploit the potential of the setting and the model. Feel free to disagree, enlighten, or share your own opinion in the comments, below.

I like naked girls. And I like food. But, where possible, I prefer to enjoy them separately. Call this an eccentricity, a quirk, a personal problem, but that is my preference. If you are someone who finds the combination of nudity and foodstuffs erotic, I don’t judge you. Satisfy your appetites in whatever way you wish. And I shall do the same.

Sadly – for me, at least – Albert Varin has chosen a cake as the central, omnipresent prop in “Presenting” Susanna A. She poses with the cake. She plays with a candy strawberry. She makes a show of eating the creamy icing. She places a strawberry in her naval. The cake is in the great majority of images here, and the model wears or interacts with parts of it throughout the series. This is either a stroke of erotic genius, or something quite the opposite. Have I made myself clear enough, dear readers?

Susanna A. has a very nice body. I rarely address the issue of non-head hair, but in her case I believe some depilation is in order. The sometimes harsh lighting in this set isn’t always flattering to the model’s coloring and I think she might be better presented in natural light — and without any baked goods. Please.

Opening, as it does, with a slow motion shot of Cristina A. catching a dress, followed by a close shot of her feet and the back of her totally nude, prostrate body, I didn’t quite know what to expect from “Prix,” and the jaunty, vaguely olde English soundtrack offered few clues. But when the model donned the full-skirted Elizabethan dress things became somewhat clearer. But only somewhat.

The action in this Luca Helios production then moves outdoors. There is fresh snow on the ground and the winter sun shines brightly. Into this scene walks Cristina, a vision from some non-specific bygone era, now with what may be a bicorn hat on her head and thigh-high boots on her feet. The setting and the costuming – and, of course, Cristina – are all quite striking. And when the model reveals her breasts, as she does at the 2:03 mark, it’s a particularly pleasing revelation.

And there are more exposures along those lines. Helios mixes in full-nude, indoor moments with the outside footage, and we get a detailed view of Cristina’s unadorned body to enhance the dressed and semi-undressed outdoor views.

A humorous highlight occurs at around the 3:19 mark. Standing on a mound of snow, with her skirt hiked up, Cristina wriggles out of her frilly panties. At that moment a pedestrian, in modern dress, walks past in the background, seemingly oblivious. Another entertaining moment among many to be found here.

This set’s title, I’ve learned, is the Dutch word for “elegance,” and it is entirely appropriate. In both concept and execution this is art photography of a particularly elegant sort. Not stiff, stuffy, formal elegance, but the organic, stylish, natural type.

It isn’t easy to describe, but the blue studio floor is a pool of water, two or three inches deep. A large piece of sheer yellow fabric floats in a flowing abstract shape. The light comes from directly above, but no effort is made to simulate sunlight. Sharon D., completely nude, reclines in the water. And from this, a subtly mysterious and strikingly beautiful series flows.

The water is ever-present, but some combination of color and light make it appear as if the model is floating in air in several of the images. Each change of pose, no matter how small or large, moves the fabric and so no two images are alike. And those poses are many. I love #0015, a lovely figure study. And #0049 for the pose. And #0142. I could go on and on. Antonio Clemens‘”Sierlijk” contains ample amounts of elegance and excellence.

From the first image it is clear that “Evik” is out of the ordinary. That image? A picture of a picture – a somewhat garish oil painting, in an antique style, of cherubs cavorting in the heavens. That picture of a picture serves to “reset” the viewer’s expectations, and helps prepare him for what follows.

The second image pulls back. From a low angle the room is revealed. The picture hangs rather high on the wall. That wall is patterned with vertical stripes that exaggerate the ceiling’s height. Oh, and there’s a beautiful young woman, Anita C., on her knees on an elaborate bed. There is more than a hint of magic and mischief in the set design, photography and the model’s expression.

This sense of “through the looking glass” mystery imbues the entire set with a whimsical flavor that is both entertaining and involving. And Anita C. appears to be in on whatever joke is being played. There is a sly glint in her eyes and she is clearly enjoying this theatrical, stylized performance.

Photographer Los Angeles doesn’t sacrifice sex on the alter of art, there are numerous explicit and inviting shots of Anita C.’s ripe, young body. I will be curious to learn how members react – I wouldn’t be surprised if this is a love it/hate it proposition. I, for one, can confidently state: I love it!

The prospect of a series featuring a new model is always enticing. Doubly so in the case of a girl-girl set. And we’ll need to significantly up the multiplier if those two girls are twins (whether identical, fraternal, or simply by some coincidence or quirk of fate). But if that isn’t enough to pique your interest, you might also note that this set is the debut MetArt contribution by a new photographer. And a female photographer, at that!

Although Marta D. and Rosa A. are very, very similar in appearance and presentation, they are not identical. But they are certainly close enough to create an impressive and intriguing pair. The mood here is light, playful, with a hit of “sleepover party” thrown in for good measure. There is a bit of mock pillow fighting, and a good natured “truth or dare” aspect when it comes time to strip down.

I also enjoyed a faint surreality in some of the compositions, the just perceptible sense of something slightly, but pleasingly, off-kilter. The set didn’t knock me over or take away my breath, but it did intrigue. I wonder how members will react?