Tag Archives: girl/girl

Can you imagine how much fun it would be to spend time with these three girls? If their personalities are even half as engaging as they appear to be, even mundane activities in their company would certainly become fun-filled, memorable events. Or spend some time considering the erotic possibilities. Yes, it’s almost overwhelming, but just think how much pleasure would be possible with these three vixens offering themselves for your personal enjoyment. Finally, picture what would ensue if this trio were to engage in explicit Sapphic sex acts for their own gratification — and for your viewing pleasure.

Keep those steamy erotic images handy, because you will find nothing approaching them for heat or intensity in “Coresmos.” The strengths of this MetArt gallery are its three stars. In their own right, each of these models are delicious, delightful individuals. Irina J has received the most extensive blog coverage, here, here, and here. But Paloma B and Liv A, have also earned favorable notices, there, and over there.

But when frequent and talented contributing visual artist Rylsky takes on the triumvirate he may have bitten off more than he can successfully masticate. And when intimate sexual contact is not permissible his hands are tied. So he tries a variety of approaches, some are more successful than others. But the overall effect is a bit of a jumble and doesn’t come close to matching the potential these models present.

There are odd bits. Several images of Paloma B, fully dressed, are included in the series, for no discernable reason. There are a few outdoor, fully dressed shots of Irina J and Liv A, but there is no logic to their inclusion here.

The bulk of “Coresmos” finds the trio posing and preening in geometric and faux-erotic tableaux. Not a lot of this makes much sense. Individual bodies and faces are appealing, and there are pleasing images sprinkled here and there, but nothing truly compelling. My favorite shots are probably those that present the threesome seated at a coffee table, topless, like three giddy girlfriends staging a sexy tea party (see #021 through #025). Cute? Oh, yes! Erotic? Not so much. Have I missed something? Please enlighten me, in the comments, below.

The MetArt erotic photo galleries that feature two models present certain challenges to all concerned. The rules of engagement specify that no overt sexual contact may be depicted, and this challenges the models to — if they choose — create the illusion of mutual erotic attraction and arousal. The photographer must deal with this issue, as well — in addition to the extra effort required when dealing with two separate subjects working together. And the viewer, who may be aware of these various challenges, must also make adjustments in his expectations. He knows he won’t see any explicit sexuality, but with some imagination it is sometimes possible for an engaged viewer to “fill in the blanks.”

“Oxido,” however, is what I think of as a photo set that happens to have two models in it. They pose together, they certainly interact, but there isn’t much at all in the way of sexual chemistry between the two. The set is at its best when the girls simply relax and present themselves in a natural, spontaneous manner (#058, almost a candid, captures some of this casual energy, and #113 does, as well). The harder they work at looking “sexy” and “into it,” the more strained and stilted they become.

Both girls are certainly attractive, and they do, at times, seem to be having a pleasant session. The set decoration, a mix of interesting textures and colors, also offers fine potential. But when photographer Ingret attempts to inject some visual interest by suggesting awkward or insincere poses, and then compounds the damage by framing his subjects at off-kilter angles, the result is something of a hodgepodge.

Henessy A. and Rosa A., as individuals, are charming and pleasing to look at, and fans of either, or both, will certainly find satisfying images here, but those who expect Sapphic sparks may be disappointed.

When I use the term “highly stylized” while discussing “Vortice” I’m not referring to the art direction, the set decoration, the lighting, or the technical aspects of the photography. Here the stylization applies to the models, specifically their interaction with on another.

In a MetArt gallery featuring a pair of women, any sexual link between them must be implied, and explicit contact is obviously not on the menu. Sometimes the two models have a genuine spark, that intangible something that creates a sense of sexual desire and pleasure. And sometimes that spark is missing, and the series derives it’s value from the beauty of each individual and the compositional and graphical potential of two bodies in the same frame.

The latter is very much the case here. Others may certainly disagree, but I don’t sense much sexual tension or interest between Luiza A. and Penelope D. Both models are pleasing to the eye, however, even if they don’t appeal to one another, and they do make an appealing pairing.

Photographer Catherine makes the most of this, and creates many highly stylized, extremely formal compositions as “Vortice” unfolds.

Luiza A., the darker and leaner of the two, and the more experienced model, is cast in the dominant role in this faux seduction. There is a sequence of shots, as Luiza removes Penelope’s bra — from #023 through #028 — in which Luiza looks directly at the camera to amusing effect. And in #037 that same effect is truly beautiful. The two-head headshots are also very nice, and images like #015 and #016 capture the refined features of these two beauties in a pleasingly stylish manner, even if it is somewhat lacking in steamy sexuality.

This MetArt gallery opens with a light-hearted and quite unexpected series of images. You have probably seen this type of thing at a fair or carnival. Characters in some fanciful scene are painted on a board or canvas. Holes have been cut in the painting, and individuals place their faces in the openings to have their photos taken with humorous results. That is certainly the case here. The cartoonish painting in this case is a scene of Russian domestic life: a woman presents a samovar to a bald-headed old man playing a balalaika. Irina J. is the woman, and Virginia Sun is the old man. And you will be amused.

After this comic introduction things move rapidly in a much more serious direction. The girls, both in fetching summer dresses, wander the grounds and pose in the rustic setting. There is flirtation, there are physical revelations. Next the girls are in some sort of stone room equipped with a tile-lined spa or bath. Totally nude, the twosome spend some time immersed in the water as they caress and explore one another. Of these shots, I think #071 is among the most effective. Not simply in terms of composition and framing, but for the erotic energy it captures.

The pairing of these particular models is quite effective. They are of distinctly different types, particularly in terms of coloring. Irina J. is dark, and Virginia Sun, a Swede by birth, has a pleasingly pale complexion. When Rylsky captures them side by side, as in a below the waist portrait like #067, the result is eye-pleasing and offers a chance to compare and contrast.

Another unexpected twist occurs towards the end of the series. Here the twosome are wearing entirely different dresses as they admire the goods offered by vendors at some open air venue. In #122 the last shot, the peripatetic honeys hug and smile, a happy end to an enjoyable day.

Based simply on a list of the participants, this series has all the makings of a winner. But even being well acquainted with the principals – Liza B., Sharon E., and Leonardo – didn’t quite prepare me for the entertaining and erotic excellence that is “Athenias.”

The models are similar enough in structure to complement each other, and just different enough in coloring to provide the idea amount of contrast. Shot between two towering columns of a portico, the natural light is skillfully augmented and the architecture of those two elegant bodies is thrown into bold, beautiful relief.

As the set opens both women are holding glasses of wine, and I can only imagine that a sip or two may have served to enhance the afternoon’s efforts. There is certainly an energy between Liza and Sharon, and it is a rare treat to watch them work together.

Many of the poses are stylized and “posey,” but there are numerous flashes of spontaneity — the smirk on Liza’s face in #0079, and Sharon’s smile as Liza gropes her in #0144. And there are moments of smoldering sensuality and passion, as well. The sequence beginning at #0124 through #0133 includes some vigorous and graphic French kissing, for example. You’ll find another memorable kiss in #0155 — and a whole lot more!

This movie, before I even press “play,” has a leg up on the competition — four of them, in fact. Those shapely stems belong to Caprice A. and Melisa A., two highly rated MetArt models, both of whom are personal favorites of mine.

With two stars of this high caliber, director Luca Helios doesn’t need to resort to elaborate set decoration or editing room hijinks to enhance this offering. The action, such as it is, takes place next to (and in) a backyard swimming pool. The girls tease each other out of their bikinis, savor a sip or two of white wine, and enjoy a leisurely and lighthearted bit of time together.

There is not much in the way of sexual tension between this pretty pair, but the fact that they are both so individually beautiful makes watching them interact enjoyable nonetheless.

And, as a bonus, if watching “More” leaves you wanting more, you can find exactly that in the still photo collection titled “More,” which was shot in the same location, with the same models, by the same photographer. What more could one ask for?

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?

I set my self up for a bit of a surprise when I sat down to review Leonardo’s “Olympus.” I didn’t bother to read the “fine print,” I simply glanced at the cover image (see above) before I clicked “play.” Based on that sunny and stylish photo of Laila A., I expected a motion picture that continued from that single image. It does, but not in any way I was prepared for!

It is nighttime, to begin with. And Laila is not alone. No, indeed! Olga M. is her companion for the interlude that unfolds, and this was far, far more than I’d imagined I’d be seeing.

The two models are similar in general physical characteristics, but different enough to set up eye-pleasing contrasts. And they are together, interacting, enjoying each other, even as they follow unheard direction and move from pose to pose, and position to position. They kiss, they caress, they tease one another. But they also, quite seamlessly, tease the viewer, directly. I’m thinking of several moments where they turn their gaze directly at the viewer, and draw him even deeper into the moment.

The movie is “tame” in the sense that the two beauties don’t take their panties off until well past the half-way point, and there is not much in the way of close-up or explicit imagery. But this is a case where what is not shown creates a fertile environment in which the viewer’s own fantasies can flourish. The roaring fire, the heat of that night, the awesome beauty, the overwhelming desire — it’s all artfully captured in “Olympus.”

I may have mentioned my “if one beautiful nude girl is good, two beautiful nude girls is better” theory of girl-girl pictorials in an earlier post. “Kisses,” starring Liv A. and Kira J. is a perfect illustration of this thesis.

As individuals, the two models have numerous virtues, both in the tangible, physical realm, and in the hard to define area of “spirit” or personality. If Rylsky were to employ the same set to shoot either one of them individually, I have no doubt that it would result in an exemplary series.

When they’re together, however, the fine qualities of each merge to create an essay with doubled impact. Two shots, while not at all subtle, bolster my contention: have a look at #0118 and #0125 and see if you don’t agree with me.

This is a stylized, somewhat formal set. It does have moments of levity and a flicker or two of drama, but it is, more than anything else, pretty pictures of two very pretty girls. Is that ever a bad thing?

The location is certainly unusual. I am unaware of the precise locale, but it is near the sea. The stone walls are rough, the floor sandy, the tonal palate ranging from ocher to pale cream. And in this protected, natural setting, we have two particularly fine specimens of youthful femininity. Milena D. has a luscious pout and long, blonde hair that reaches past her waist. Agni A. wears her dark hair back and boasts wonderfully round bosoms. Physically, they are of different types, but they do make a delicious team.

But keep your expectations somewhat in check. If you are anticipating a robust exploration of sapphic attraction and same-sex eroticism, you may find yourself somewhat disappointed. This series is, I think, more about playful friendship. It certainly celebrates youthful beauty, and the physical charms of these delightful nubiles are fully revealed and explored. These images will inspire much lustful hunger, but that will be between the viewer and the photos, not between the two models.

I found the series completely enjoyable, despite the absence of sexual “Relations” between the subjects. What was your reaction?