Tag Archives: full bush

When it comes to women in general, and MetArt models in particular, I like to think I have catholic tastes. I have my opinions and my personal preferences, but I don’t really “run to a type” or have too many rules or regulations in terms of what I like. But I realize that others do. For some a tattoo is a deal-breaker, for others it might be big breasts, for somebody else flat-chested girls might be a turn-off. Hair, specifically the pubic and axillary varieties, is another polarizing topic. Some are aroused by a hirsute female, others repulsed. The clean-shaven style has never been more popular than it is now, and this makes the unshaven model stand out like, well, a lush, luxurious bush in the middle of a barren desert. Which, by no coincidence, brings us to “Logio.”

The star of this MetArt erotic pictorial, Karen A, is proudly and profoundly furry. Both armpits host fuzzy patches and south of the border, front and back, she sports a thick, dark pelt. Some will love the look, others will not. I’ve been spoiled by the seemingly endless parade of barbered beauties at MetArt and elsewhere, and I wouldn’t mind seeing Karen A with no hair there sometime, but I must say that this girl has a charm and allure that is more than worthy of your attentions — don’t let that bush blind you to her considerable talent.

This is the first Karl Sirmi series I’ve viewed — it’s only his third MetArt contribution — but I’m favorably impressed with his style and technique. Although the model is a girl-next-door type she’s a hot one, and Sirmi has put her in a bedroom setting that allows her to tease and tempt us quite effectively. There’s a dreamy, sexy, steamy undercurrent in much of the set, and whether Karen’s eyes are closed (#018), seductively heavy-lidded (#024), or wide open (#030) she radiates intriguing energy. Two favorites, which couldn’t be less alike, include #020, Sirmi’s wonderful figure study, and #110, where Karen A raises her ass high off the mattress and smiles spontaneously and invitingly.

My thoughts? Fur-lovers will love it. Bald-boosters, well, not so much. But I urge you to look past the curls and check out the girl: this petite, slender vixen has quite a lot to offer.

I evaluated Semmi A’s very first MetArt erotic gallery. While the photographer’s approach to that set struck me as somewhat odd at the time, there was no doubt in my mind that this was a beautiful and talented model. When I had the opportunity to critique a subsequent series I was once again impressed by Semmi, but the gallery had a distinctly strange quality that was distracting, at the very least. Now I have the chance to comment on Semmi A’s debut MetArt HD erotic movie. I can’t help but wonder if it will share the curious qualities of the two sets I’ve seen.

The short answer, thankfully, is “no.” “Prokopi” was directed by Alex Iskan, who also shot the second set I mentioned, above, so I didn’t quite know what to expect. But from the moment it began I had a good feeling about this movie — and that feeling was confirmed throughout the production. Yes, the film does contain one completely inexplicable element, but it is brief, it doesn’t detract from the overall quality, and I will discuss it later in this critique.

With just over ten minutes to work with Alex Iskan doesn’t have time to waste. So, with remarkable skill and economy, he sets up the “story” of “Prokopi” very simply. Semmi A, wearing a matching bra and panties set, stands at a wall of windows and ties back the heavy curtains. The implication is that it’s morning and she’s getting ready to start her day. And this particular day is going to begin with a bit of leisurely auto-erotic pleasure, made even more pleasurable by a subtly implied act of exhibitionism.

As the title of this post suggests, “Prokopi” relies on the artful implication of things that can’t be captured on film or shown on the screen. The act of slowly stripping out of her lingerie is a beautifully lensed act of foreplay. Once she’s nude the sliding, caressing, exploring hands that Semmi sends across her flawless skin, and below her waist, do nothing less than suggest that she’s masturbating. Masturbating and enjoying every minute of it! And realize that she’s doing this on a sofa in front of windows facing out on another building. Who knows how many strangers have a view of her activities? The thought adds an undercurrent of highly charged exhibitionist/voyeuristic energy that gives the film real heat from beginning to end.

Before I run out of space let me make some points quickly and concisely. Semmi A is a physical delight. She moves with natural ease, she plays her role with skill and grace, and when she interacts with the camera (the smile at 2:42, for example) it’s entirely genuine. Alex Iskan’s lighting, art direction, concept, and camerawork are all exemplary — this is a beautiful piece of erotic film making. Oh, but what’s up with that can of whipped cream? I find it totally extraneous and totally unnecessary in this totally entertaining effort.

I’m not sure, exactly, if it’s what is sometimes known as “the elephant in the room,” but there’s a large, eye-catching, bright red structure in the distant background of most of these photos. And it’s not part of the series, it’s not a graphic or stylistic element in the pictorial. Unlike a series of a girl on a bridge, for example, or at the seaside where the structure or the landscape is a primary component In each composition, this bright red architectural object is just there. In those shots where the structure isn’t shown, it isn’t missed. But in the majority it’s there, looming, and distracting from what is otherwise a pleasing series. Odd.

This is Nedda A’s second MetArt erotic gallery, and the first time I’ve seen her. She’s got a strong, pretty face, ripe lips, a thick head of shoulder-length auburn hair, and a trim, appealing body. She also boasts a luxuriant bush, which either enhances or detracts from her dramatic intimate architecture, depending on one’s personal preference.

I can’t decide if the red paint on that structure in the background complements or clashes with Nedda’s coloring and her orange dress. Here immediate setting, a lush thicket of dark green shrubs and trees and a carpet of grass, is flattering, however, and Nedda A is at ease and delightfully uninhibited in this location.

As for favorites, I have more than a few. I like #014 for Nedda’s pretty face and the quality of the afternoon light, and #015 — a standing up-skirt rearview as she teasingly lifts the hem of her dress — is certainly eye-catching (despite that scarlet arch in the deep background). The arch is absent from #085 allowing us to appreciate her delicately sculpted body and the natural setting. I love the energy and the expression in #020. And #115, totally nude and reclining in the grass, presents a natural beauty in the beauty of nature. As a bonus, the set concludes with several shots of Nedda in the city, in street clothes. She’s a doll, alright, and her smile in #138 is truly winning.

Did the red arch in “Paroch” diminish your enjoyment of this set? Did it add to your appreciation? Does anybody know what or where it is? I’d be curious to know.

Most of this Rylsky-lensed pictorial takes place rustic meadow on a beautiful, sunny day. The natural beauty of the setting is in perfect, flattering harmony with the ripe, natural beauty of the model.

In addition to her voluptuous physical blessings, Mirelle A displays a warm, sunny attitude throughout the entire MetArt gallery. Although some might ask for a bit more range in terms of emotion and expression, the mood she projects is so inviting that one wouldn’t dream of complaining.

One cluster of my favorite images from the series occurs early on. The first 15 shots are all variations on a headshot. Each variation has its own charms, but #009, with the sun and wind in her hair, and her arms covering her breasts, is among the best of this particular bunch. But so is #010. Or #013. And so on.

I was so pleased by the natural setting that those shots which reveal that Mirelle is standing or sitting on a pair of truck tires buried in the ground come as something of a surprise. And a handful of images in which Mirelle A is photographed posing on a circular reflector feel a bit awkward. To my mind this implies either resourcefulness on the photographer’s part, or his failure to bring along a more suitable and appropriate piece of groundcover.

Towards the end of “Elato” there is a change of venue — a lush garden replaces the wild meadow. Although several shots from this segment are quite appealing, my stand-out favorite has to be #107. Shot from above, Mirelle A is on her back on a vivid emerald green swath of lawn, a single vibrant rose rests just beneath her ample bosom. The colors, the composition, the model’s curves, and her wide-eyed and intriguing expression result in a uniquely beautiful photo.

Cute is cute and pretty is pretty, and I’m drawn to MetArt models who fall into both those categories. But in Alina H. we have someone distinctly different. She can be cute — if the mood or situation requires it. And she’s pretty, without question. But what makes her so exceptional is a certain intangible but very nearly palpable attitude. This is a powerful, intriguing, and complex woman. And she can infuse even the most simple images with a richly textured sensuality just by tilting her head or arching an eyebrow.

Prolific and gifted MetArt contributing photographer Leonardo is clearly aware of Alina’s attitude and ability. The set he has designed for “Trust” is simplicity itself. The background is white, the lighting is bright and even, no key lights or hot spots are required. A large, peach colored bedspread or throw entirely covers a sofa. This forms a stage on which Alina H. delivers another riveting performance.

Wearing a sheer, black, ruffled camisole and matching panties, even the fully clothed introductory images have a subtle but undeniable drama. In #007, a relatively modest photo, there’s a hint of kittenish flavor, and a suggestion of the heat that will shortly be unleashed. Rid of her panties, Alina H. delivers back-to-back shots, #017 and #018, that express entirely different emotions. I find this kind of emotional variety irresistible, and the set has barely begun!

Let me simply call out a few of my favorite photos in “Trust” with the briefest possible explanations. #009, arms crossed, attitude cranked up to 11. #053 and #055 — hey, how about that smile?! #059 through #061 — getting a grip on the gorgeous goods. #064 and #065 — on her knees, upright, and gloriously nude. #002 — pure pin-up perfection. As for explicit shots, there are many to choose from — the majority of them enhanced by Alina’s erotic attitude.

An exceptional model and an exemplary erotic photo set — that’s my sincere opinion. Agree or disagree, please feel free to share your thoughts in the comments, below.

Before I proceed with my comments on this MetArt erotic HD movie, a scheduling note: Of the most recent MetArt movie releases “Cyan,” starring Mia D. was the one that most appealed to me. However, since I wrote about her latest still series only yesterday, I thought it best to postpone my critique of the Mia D. movie. I do look forward to seeing it, and hope that it merits the wait.

Some MetArt movies can be a polarizing proposition. There are members will embrace and enjoy any production featuring their favorite model. I sometimes like the girl while the movie fails to move me — and vice versa. And there is certainly an ongoing controversy regarding “behind the scenes” videos that were recorded simultaneously with a still shoot.

The good news regarding “Foulari” is that it is a stand-alone movie. Further, the star, Night A., is a pleasure to look at. The not so good news, at least in my view, is that there is an aimless quality to the “action” and a lack of direction or sense of purpose. The muted natural lighting and the somewhat somber interior décor also contribute to the generally downbeat tone of the proceedings, such as they are.

It opens nicely enough, with the model seated on a window sill, flanked by two shoji screen-styled windows, and backlit almost into complete silhouette. Next she’s seated on a sofa where, at a languid, meandering pace, she takes off her dress and moves around. Night A. has a lovely body, and there is certainly pleasure to be derived from seeing it in motion, but her lack of expression and the randomness of her movements don’t make much sense, and any drama or excitement evades me.

I can’t tell if director Rylsky has given his subject the freedom to improvise her performance, or if he is actually directing her. At 4:43, for example, prone on the floor, she buries her face in her balled-up dress and appears to be inhaling its aroma. That may be the most curious moment in “Foulari,” but it isn’t the only one. Night A. is “caught in the act” here, but the question remains: the act of what, exactly?

Have I missed the mark? Any clarification, insight, or education the reader cares to offer is most welcome!

As I was preparing to watch this MetArt movie I had a minor epiphany. Before I watched “Cocoon” a question crossed my mind: would this be a self-contained production, or would it be a video recording of a still photo shoot. The names of Luca Helios and Leonardo immediately came to mind — both men are frequent contributors of still sets, and both have crafted videos that were shot at the same time as a still session.

Then it dawned on me. All of the movies created by Fenix have been self-contained, stand-alone productions, none of them have been video tapes of still photo sessions…because Fenix doesn’t shoot still photos! This may be obvious to others, but the realization took me by surprise. There are certainly photographers in the MetArt talent pool who have never shot a movie, but I wonder if there are other MetArt movie directors who have never shot a photo series? A research project for another day.

MetArt members have propelled Sofi A. to Top Model status and have kept her there. I share that enthusiasm. Sofi not only has an amazing body, she also has a sprightly attitude and a particularly graceful physicality. Whether it’s a still series or a movie, I never get tired of looking at her. “Cocoon” makes a fine and interesting addition to her catalog.

The movie has two completely different basic components. When it opens Sofi is indoors. She is barefoot and nearly naked — her sole piece of clothing is a diaphanous skirt. She poses, caresses, and displays her body with her signature skill. But then, without warning, we’re outdoors, in the rain, and Sofi, fully dressed, is chatting amiably with the cameraman. Another cut finds Sofi seated in a noisy restaurant. She chats some more, in English, while eating her lunch — a salad, a piece of cake, and a cup of green tea. After that we tag along as the model admires the offerings at a flower stand. Then it’s back inside for more posing.

The second round of posing finds Sofi on a circle of carpet and the camera looks down on her from above. Just after the four minute mark she assumes a pose that perfectly showcases her bodily splendor and her limber physical grace. The two distinct elements of “Cocoon” — formal nude posing and casual clothed “slice of life” footage — are sure to amuse and entertain Sofi’s many fans.

First time MetArt model Feeona A. concludes her bio with the following suggestion: “Enjoy life and smile often.” And it becomes quickly clear that she follows her own advice. There is a lively light dancing in this model’s eyes, and a smile is never far from her lips. And when she is smiling, quite often that smile is joined by a pair of pretty dimples in her cheeks.

The set begins outside on a sunny day. Wearing a short dress — and that adorable smile — Feeona makes a fine first impression. A shot like #010, with the model leaning against the wall of a building, has a casual quality and her pleasant personality is evident.

After getting to know the model in an urban setting, the series moves indoors for a more formal, stylized photo session. Here the studio light is diffused, the background is white, as is a layer of sheer fabric which gives the floor a cloudlike texture.

One of my favorite shots in this gallery is #037. Feeona is still fully clothed in this headshot. She’s framed from her shoulders up, and the composition, combined with the lighting and the expression on Feeona’s face is very pretty. Another headshot, #100, is another favorite. The dress is absent here, and the model is lying down, but the beauty of her face is deftly captured.

While photographer Rylsky tends to hang back at a respectful distance for the more explicit poses, Feeona is quite open and uninhibited in her presentation. I get the feeling she is completely at ease before the camera, and enjoying this experience to the full. Have a look at a totally nude shot like #065 and you’ll see exactly what I mean.

I was extremely impressed by this model’s first MetArt gallery. Will her second offering, with the same photographer, elicit similarly enthusiastic praise?

Unfortunately, I must answer that question in the negative. The styling of the series is fine, clever even, and I don’t have a single complaint about Rylsky‘s execution here. In technical and artistic terms, “Lustroso” is virtually without flaw.

Through an elaborate and complex process of elimination you may have reached the conclusion that I’m less than pleased with the model here. If so, you are quite correct.

It took me some time to realize what was troubling me about Kristel A. in “Lustroso.” I know some will complain about the unshorn axillary and public regions. (And at the same time others will rave about her hirsute state.) But that is not the problem.

The difficulty I have with the model is her mouth and lips. From beginning to end her mouth is locked in a single expression. She neither smiles nor frowns. She doesn’t pout or purse her lips. And she never reveals her teeth. She maintains the same neutral expression for the entire set. As a feat of endurance, this may be notable. But in terms of emotional expression and nuance, it is a distinct liability.

Conceptually, the series is interesting. At first the blue speckled background appears to be simply that — a background. But when Kristel A. leans back, and gets splashed with falling “raindrops,” we realize that the background is a dynamic, liquid, animated optical illusion. And the water is put to good effect as the model gets wetter and wetter.

Shot #095 is my pick of this particular litter. Here we can experience the “raindrops” illusion, as well as its very real results. And the composition, a torso shot framed from navel to clavicles, further illuminates my reasoning.

Is my assessment unduly harsh? I’d be interested to hear conflicting opinions. Feel free to educate me in the comments, below.

Yes, there is a bit of costuming, some accessories, shoes, but the two central visual elements of this MetArt erotic movie presentation are Hunter A. and the old fashioned lamppost she spends much of the production interacting with.

Leonardo shot this at night, and the light (not supplied by the antique lamp, incidentally) and shadows infuse the film with a rich and evocative mood. This appears to have been shot as a stand-alone movie, there are no telltale strobe flashes to signal that a still shoot is taking place simultaneously, which also contributes to its effectiveness.

With a throbbing sound track providing the beat, Hunter A. dances and writhes, playing to the camera and teasing the viewer mercilessly. This model can say a lot with her body, and even more with her eyes, and one doesn’t want to blink and risk missing a second of the performance. Although it may well have been chilly on that night, which might provide an explanation of Hunter’s ever-erect nipples here, it is no great leap to suggest that she’s in a heightened state of arousal. The heat this gorgeous creature generates is more than sufficient to banish the chill on the set, as well as raise the temperature in the viewer’s location.

Topless from the start, Hunter is “wearing” a tight, pale blue dress that’s pulled down and bunched up around her waist. She makes quite a show of taking off her black belt, and that’s followed, not long after, by the taunting, drawn out, removal of her skimpy white panties. That undergarment gets thrown in Leonardo’s direction, with a wicked little smile, at the 3:13 mark. Another moment to savor begins at 5:19. With her back turned to the camera, Leonardo frames Hunter from a low angle and the rear aspect of her beautiful body is thrown into delicious relief.

This collaboration between a heated Hunter A. and a creative Leonardo results in one hot “Spietato.”