Tag Archives: fantasy

When a MetArt erotic photo series fails to win me over it can be for any number of reasons. I’ve evaluated galleries where the set design or location was unappealing or unflattering to the model, as well as pictorials in which the artist’s technical or design approach was in some way flawed, and there are those times when a model is stiff, or overly dramatic, or perhaps a bit too modest.

In the case of “Putnam” I can’t really fault the models, these are both girls with their own unique personalities and undeniable physical beauty. And the art direction, while somewhat unusual (I’ll explain this in further detail) isn’t the problem. And that leaves me with only the artist, Ingret, to blame.

As I’ve mentioned in the past, girl/girl galleries are uniquely challenging. If the models can’t generate some erotic spark, and the photographer can’t make their pairing visually engaging, the chances of success are narrowed. Ingret puts these two models together, positions them in a variety of poses, and even tries out three different pieces of furniture, but there isn’t the tiniest flicker of sexual attraction or eroticism to be found.

In #025 blonde Cristina A appears to be smelling Guerlain A‘s long hair. Why? In #062, a carefully posed composition, Guerlain looks to be sniffing Cristina’s ankle. Again, why? And how is “Putnam” improved when the bathtub in the first section of the series is replaced by a sofa, and later by dark geometric objects? It’s baffling. If you are a fan of either of these models I can understand how it would be at least somewhat interesting, but the lack of connection between the two girls, and the photographer’s conception and execution of the pictorial are a mystery. Perhaps someone who derived more enjoyment from “Putnam” than I did will offer some insight? Please feel free to enlighten me in the comments, below.

No blogging today, but let me wish you all a happy, healthy, prosperous, and joy-filled new year. 2012 was a big year for the MetArt Network, and we have no intention of slowing down in the year(s) to come. Thank you for your continued enthusiasm, input, and support — and comments! — and I look forward to sharing the MetArt experience with you in 2013 and beyond. Cheers! — Adam

It’s a rare artist who exists in a vacuum. Even the most isolated, monastic artist has been exposed to the work of other artists at some point, and that exposure can’t help but influence his or her own work. Indeed, studying the work of other artists is one of the most fundamental ways in which an artist learns and grows. Perhaps you’ve heard of writers who transcribe passages written by Hemmingway in order to develop a finer understanding of his signature structure and style. And painters will attempt to copy the work of the great masters, emulating their technique while refining their own.

In the MetArt erotic photo series “Dirante” we find Luca Helios borrowing a page or two from Tony Murano’s style book. Taken simply as an exercise, this is an intriguing proposition, as these two photographers have distinctly different styles. When I think of Helios I immediately imagine photos shot at a coastal location in a natural style. While Mr. Murano’s work is generally the product of a studio setting with highly stylized theatrical elements and a particularly strong explicit component. Here the lighting is subdued, candles burn low in the background and Venetian blinds cast their shadows across many of the images. And explicit poses and close-ups are prominently featured. When the model drapes a string of crystal beads across her sex we can easily imagine Tony Murano nodding with recognition and approval.

The subject of these photos, Yana B, brings her own drama to the series. She has a strong face and a shapely body, and she is generous and uninhibited in her presentation. The very first shot in the set, a headshot in profile, presents her structural beauty as well as the moody style of the set quite eloquently. Even in this moody setting Yana manages to stay relaxed and doesn’t take things too seriously — when she smiles it’s natural, spontaneous, and enjoyable (see #005, #031, and the invitingly explicit #0037). Additional highlights include #041 for Yana’s bedroom allure, and #044, a beautiful, understated standing full-body shot. “Dirante” is a short series (it contains just 61 photos) but it’s an intriguing stylistic experiment.

There’s a light, dreamy quality to the MetArt erotic photo series titled “Chora.” Much of this is due to the soft, hazy sunlight that illuminates the seaside setting and subject. Of course, that subject is Feeona A, and this fair-haired doll has a cherubic charm and angelic beauty that lends itself well to this type of presentation.

This is the only the second Feeona A series by Rylsky where the photographer has chosen to shoot her outside. And it’s interesting to compare his style and technique in a natural setting with his previous studio work. It seems to me that Rylsky understands the strengths and weaknesses of each location. In the studio he takes full advantage of the technology available. But in the picturesque location of “Chora” he takes a step back and lets the beauty of nature play a larger role. This isn’t landscape photography by any measure, but the photography is of a much simpler, natural style than his studio work.

My affection for Feeona A dates back to her MetArt debut. Since that happy occasion I’ve critiqued three — count ‘em: one, two, and three — more of her pictorials, and they never fail to delight. “Chora” didn’t bowl me over at first, however. It did take me a little while to adjust to the style here which, as already noted, is different than the previous sets. But, gradually, artist and model worked their usual magic and earned my praise and admiration once more.

Picking favorites in a Feeona A set is always a challenge, but let me mention these few: on her knees, explicitly exposed, and smiling in #031. The fantasy element of the series is well represented by #061. The sun shines just a bit brighter in #091 and captures the model during a quiet, thoughtful moment. The smile in #106, fully “dressed,” is wonderful. And the set ends with another smile, this time with an entirely candid, spontaneous quality.

What if you woke up one bright morning to discover that your bed had been moved to a wooded area adjacent to a vast, verdant meadow? That seems to be the thematic premise of this MetArt photo gallery from consummate erotic stylist Tony Murano.

Now, when I write “you” I mean Kayla B., just so there’s no confusion. But that’s what we’re treated to in “Expresivo.” The bed is dressed in frilly pink linens, the model is in a sheer violet nightie, and a pitcher filled with vividly colored blossoms sits atop the nightstand. When Mr. Murano’s name is mentioned it usually brings moody, nocturnal, indoor settings to mind, here he breaks free of that trademark, while retaining much of his signature style.

The set unfolds at a measured pace. The theme is established with shots like #019, a pretty and modest fully clothed portrait in which Kayla B calmly regards the camera. In #045, with foliage in the foreground, now topless, Kayla greets the new day. And in #048, with the model draped in a violet shawl, her beauty — and the beauty of this fanciful yet naturally beautiful setting — is rendered in a fine composition.

For all the soft colors and thoughtful, painterly images, this is a Tony Murano set, so we can expect explicit shots in “Expresivo,” and the photographer is true to form. #065 is certainly painterly, but it is also a frankly explicit figure study. And when he moves in close — and stays in close — we find a wide variety of masterfully executed detail shots of the model’s inviting intimate attributes. There is a method to Murano’s mania for erogenous exploration. Compare and contrast #086 with #088. Notice how he subtly manipulates depth of field. In the first image one item is in crisp focus while the other is slightly blurred. And in the second image the crisp/blurred bits are reversed. This is the thoughtful and creative product of a photographer fully immersed in his craft.

Between the impressionistic and the artfully explicit there is much to be savored in “Expresivo.”

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.