Tag Archives: glamour

The vast majority of MetArt‘s erotic photographers are male. This makes perfect sense, given the subject matter. But one need not be male to be drawn to the nude female form, and several of our contributing artists are, themselves, women. Of these, Catherine is certainly among the most prolific.

Her latest subject, and a first-time MetArt model, is Kate E. Based on the first shot in the series, I can easily see much potential. Kate’s face is particularly pretty, her lips full, her eyes a deep blue, and all this framed by long, wavy brown hair. In the second shot, although I do not yet realize it, she exhibits one of the telltale errors made by inexperienced models. Her hands — one held above her head, and one down at her side — are stiff and self-consciously “posed.” Indeed, there are few images in the set in which this isn’t the case. Now, I admit, the style and placement of her hands may well have been at her photographer’s request or direction. But, no matter the origin or motive, these rigid hands impart a stiff, artificial feel to the set.

And, for the second post in a row, I must grumble about two other factors here, both of them chosen by the artist. There is a light in an adjoining room that casts a coppery glow on the subject. In certain compositions, headshots in particular, the effect is flattering. But when there is more skin on display it skews the flesh tones in an unfortunate direction. Catherine also throws in a selection of oddly tilted frames. Between the light and the illogical tilt, I can now say I’ve had the opportunity to voice my two current pet peeves.

Because Kate E. has a “go-to expression” (lips neutral to almost pouty, head turned slightly to her right), the best shots are where she strikes an unusual or surprising pose. In #016, leaning against a large wardrobe, her costar in the set, she’s on her knees, with her feet raised, toes pointing skyward, and regarding the camera over her left shoulder. In #038, a stylish figure study, captures Kate from the rear, her face in thoughtful repose. And, for sheer, what-the-hell, variety, #084 provided a spontaneous laugh. Here Kate performs a graceful handstand and provides an unusual and eye-catching view of her body. Similar displays of spontaneity and athleticism will prove valuable in future sets.

MetArt erotic art photography — indeed, all erotic art photography — is a rich, complex subject. Even at its most basic — a nude or nearly nude model and a photographer to capture her image — things are never simple. Add props, costumes, cosmetics, lighting, sets, and we see how the complexity increases with incredible speed. And these are all tangible, concrete, palpable aspects! When the personality of the model, the chemistry between her and the photographer, their moods at the moment of creation, and countless other intangible but important variables are added to the mix we can easily comprehend how intricate the art form is. And this is why when we find a photo set that perfectly matches our personal tastes, aesthetics, and desires — three more complicating factors! — we find the experience so satisfying.

In considering “Virtue,” we find a beautiful, charming model, with quite a wonderful body. In Rylsky we have a proven talent with an expansive portfolio. And the styling here, the model’s scarlet lingerie, the rich furnishings and fabrics, the diaphanous gold of the canopy surrounding the bed. All these things are ripe with potential. And when they all come together the result is beautiful erotic photo art. Is it asking too much that all these elements combine seamlessly and consistently throughout the entire set? In this case, the answer is “yes.”

I hesitate to blame Ilze A. for what weaknesses I find here — I’d hate to blame her for anything! But some of the posing here, particularly (and repeatedly) of the hands, is stiff an artificial. I love her looks, but in shots like #014, #016, and #027 I wonder what model and artist were striving for. I’m not suggesting that every shot should be natural and spontaneous — #046 is hardly a candid snapshot, but here the model’s beauty commands the image, not her hands or her pose. And in #082, the entire pose, including the hands, creates a wonderful totally nude pin-up style portrait.

Some of the poses may be contrived, some may be stiff, but the set winds up more than compensating for these weaknesses. There are many explicit images that are nicely tempered by Ilze’s engaging attitude, and in a trio of artfully torrid shots — 129, 130, and 131 — the stiffness of the model’s hands will be the last thing on the viewer’s mind.

The star of “Influer” never once completely removes her costume for the entirety of the pictorial. True, that costume consists only of a pair of black stiletto sandals and a knit mini dress that is more “mini” than “dress,” but the fact remains: Liza B. never strips in this MetArt gallery.

Liza B. does, however, completely expose every luscious inch of her exquisite anatomy, and she does it with beauty, style, and tons of tantalizing tease. Liza may know she is beautiful — I certainly know she’s beautiful, as would any man with at least one functioning eyeball — but she doesn’t use this knowledge as a weapon, she uses it as a powerful instrument of seduction. A subtly arched eyebrow, a glint in the eyes, a pout on the lips — Liza is a master of enticement. And this lively, lusty spirit makes an already appealing physical package completely irresistible.

Frequent MetArt contributing photographer Leonardo has created a particularly flattering set for this starlet. Shot mainly against a railing overlooking a lush garden, the artist has placed a bright light source just above the top, right-hand corner of the frame (a bit of the reflector is visible in a few shots, but this is hardly worth mentioning). The result is an intense, bright, “enhanced” sunlight that imparts a vibrancy to the canopy of foliage, brings out the curves and angles of his model, and adds a golden spark to her hair and a glow to her skin (see #012 for example).

I’m always pleased when a set contains too many fine images to list, and that’s certainly that case here. I will, however, call out a selection of highlights. I’ll start with #001, a frank, straight-to-the-lens portrait — I can’t recall ever seeing a similar shot of Liza B., and I find it striking. I love her teasing smile and energy in #006. I can’t resist the bold, fists-on-hips attitude in #036 (not to mention the eye-catching genital embellishment). For a mix artful and explicit I must mention #045. And I’ll close with #120 and #123, two entirely different images of one completely beautiful model.

Last week, on the recommendation of a MetArt member, I reviewed a MetArt HD movie from the archives. I was so impressed by the video and pleased with the experiment, I’ve decided to try it again this week.

Based on the suggestion of MetArt member Paul B., I just watched “Zilian,” starring Jenya D. My comments follow.

First let me offer a confession and apology. This is only the second time I’ve written about magnificent MetArt model Jenya D (here’s the first). I knew of her, even before I signed on here at MetArt. And with 100 galleries and 8 movies in her MetArt portfolio, one would assume she’d be more frequently featured on this blog. Let this be the first step, hopefully of many, to remedy this shameful lapse!

I did have a bit of difficulty watching “Zilian.” But not because of any faults or flaws — far from it! There are so many stunning images, so many entrancing bits of action, and so many memorable moments that I found my self repeatedly pausing, making notes, rewinding, and re-watching Voronin‘s energetically arty offering.

With the swooping, tilting camera, the strong soundtrack, and a variety of creative special effects, “Zilian” has a high fashion flavor with a classic rock video feel. Of course, Jenya D. is the most special effect of them all, and she is pure female magic here. Check out how she starts, smiles, then laughs when a female photo assistant hits her with the feathery spray from a garden hose at the 00:48 mark and you’ll know what I mean.

The pacing here is brisk, the movement nearly constant, the editing quick. Jenya’s posing is dynamic, energetic, but always sensuous. Water figures prominently. It soaks the model’s hair and gleams on her voluptuous body; airborne droplets form a glittering scrim in the sunlight, and a glossy surface on the floor.

Can a video with a total run time of just over seven minutes contain too many notable moments to mention? Voronin’s “Zilian” starring Jenya D. does!

Thanks, again, to Paul B. for the recommendation. Readers are encouraged to suggest their favorite MetArt movies (or still photo sets, for that matter) in the comments below.

While it’s extremely easy — and extremely enjoyable — to examine and investigate every aspect of a beautiful woman’s physical body, the tangible components are not the only ingredients needed to generate attraction. A woman who would be considered beautiful strictly on her physical attributes, can be rendered ugly if she has an unappealing personality. And, conversely, a woman who is only “so-so” can raise her I.I.D. — that’s Intangible Index of Desirability, for those unfamiliar with the term — by possessing a warm and inviting personality.

There are those times, thankfully, when a woman is not only physically beautiful, but also in possession of certain enticing intangible traits. In “Confiance,” Leka C. proves to be in possession of both. She is a striking beauty, in both face and body, that is immediately obvious. But what is even more striking is the engaging confidence she projects in this MetArt erotic photo series.

Wearing a particularly sexy matching lace bra and panties set, Leka C. poses on a elegant portico. There is nothing too studied or calculated in Leonardo‘s design or execution of the set. It’s not difficult to imagine that Leka has wandered outside to enjoy the view on a beautiful summer afternoon. While the setting has a certain formality, and Leka has an undeniable elegance in her bearing, the feeling here is relaxed and enjoyable — a feeling enhanced by the model’s assured and confident appearance and performance. That confidence is very much on display in the explicit poses provided here, but it’s also present in far more demure images. In #027, for example, still “fully dressed” she shares a warm and lively smile (along with a firm, ripe rump). In #039, with her ample breasts revealed, her expression sultry, intriguing, and self-assured. And in #108, totally nude, she’s both comely and confident, a very appealing combination.

Veronika F. is blessed with beauty and attitude, in ample portions. Even in this simple setting — a balcony with its vine-covered railing — and wearing nothing but a pretty pair of panties, she radiates polished, high fashion glamour. The styling amplifies this effect – with her hair pulled back tight into a single braid, there is nothing to conceal her refined and elegant facial features.

And Veronika’s body is equally refined and elegant. Long, lean, and toned, hers is a body that would be as at home on the catwalk as it would be on the athletic field. This is not a body that is only for display, one gets a very real sense that it is built for action, and the set’s title, “Heat,” seems particularly appropriate.

If Veronika F. has a single physical flaw, I cannot find it – and I looked particularly closely. The only criticism I might voice is that she does tend to try a bit too hard at times. Some of her expressions are a bit too dramatic, a touch too theatrical for the setting. When she relaxes and lets her beauty and body do the talking the communication is clear, direct, and extremely engaging.

Leonardo‘s approach to the set is subtle and unobtrusive. He captures his subject in a wide range of poses, some of which are particularly inventive, but attention is always on the model, not on the photographic technique. I would hate to pick a single favorite, but #010 is a real contender, brimming with that beauty and attitude I mentioned at the opening of this critique. Numbers 014, 015, and 016, a series of butt-shots, are stylish, indeed. #047 captures Veronika’s lean and sculpted body quite nicely. And in #162 her relaxed expression remains as intriguing as her body is beautiful, which is to say: very.

Determining a model’s personality simply by looking at her photographs is an extremely inexact science. It is very difficult to say what, exactly, conveys an individual’s spirit, but there can be no question that we all come to our one personal assessments of a given model’s nature. Sofi A. has a playful, friendly quality. Anna AJ seems a bit more restrained, cool, and aloof. Some models project a down to earth, girl next door quality, while others suggest glamour and sophistication. The star of “Lotura” has a brand of erotic intensity that is completely her own, and it is powerful.

The first time I discussed a series starring Alina H. I was impressed. I was struck not only by her facial and bodily beauty, but also by the attitude she powerfully projected in her photos. The second series I evaluated confirmed the conclusions I’d come to about Alina H. This is a complex and unusual woman, and she is strong, self-possessed, and extremely confident in her sexuality.

Leonardo‘s “Lotura” does a wonderful job of showcasing this formidable talent. I don’t have any idea of how the photographer and this model get along off camera, but when they work together (he shot all three of Alina’s sets I’ve written about) there’s a real sense of collaboration. The set design is simple, clean, and direct. Compositions tend to be bold and direct. Costuming and styling is simple, but designed for maximum erotic impact. And the posing is stylish, frank, explicit, and smoldering with the Alina H.’s signature sexual intensity.

Notice how Alina‘s long fingernails grip the cheeks of her ass in #053. There is an “attitude” in that gesture that is both undeniable and irresistible. From that explicit image turn to #012, a fully clothed shot framed from mid-body. Enjoy the symmetry of that face, the refinement of that jaw line. But note the look in her eyes. There’s real depth there, complexity, and genuine intensity. As with the rest of “Lotura,” I find it nearly impossible to look away.

An imposing wrought iron portal provides this MetArt gallery with both its title and location. Outside the gates we see what appears to be a lightly traveled country road and a lush green landscape. The gate itself is framed with climbing vines. In the shaded area inside the gates we find Chantelle A. And it is not at all difficult to find her — the pink and white bikini she is wearing stands in strong contrast to the setting, and the model’s long-haired, long-limbed beauty attracts the eye with a powerful magnetism.

The costume – which is completed with a bulky necklace, a pair of black stilettos, and a sheer pink shawl with odd, worm-like embellishments – doesn’t seem completely (or even partially) in place here. Has Chantelle A. wandered onto the grounds of a country estate in search of a pool party? But, while the logic of the series may be elusive, the photos themselves are readily accessible.

I am glad when Chantelle dispenses with the scarf, it adds little to the set, and functions best as a bit of ground cover for the model to spread out on later in the series. Indeed, images numbered 104 and 105, in which Chantelle reclines on the scarf, are two of this gallery’s finest images.

I have one slight quibble with “Gates.” Luca Helios uses the rigid vertical and horizontal bars of the gate as a visual element in many shots, and they contrast nicely with the model’s lithe curves (see #036 or #052). But he also tilts the camera in many shots. I love Chantelle’s genuine smile and stance in #035, but the tilted composition doesn’t make aesthetic sense to me. I do quite like #061, however, and here the tilt seems to work well to balance out the model’s striking, backward arch.

Technical points aside, when Chantelle A. drops her professional pout in favor of a sincere smile – as she does in #026 or #050 – I cannot find fault with this gorgeous keeper of the “Gates.”

It didn’t take me much time at all to fall in love with this model and this MetArt erotic photo series. Indeed, by the time I’d reached image #006 I was well and truly hooked. That photograph — a headshot in which Emilia A. looks directly at the camera — is a gem. That hair, those luscious lips, those eyes — that face! All that feminine beauty, front and center, against a rich, red background, it’s really quite striking. And my initial affection for the set only grew as I continued to examine it.

Dolce‘s series has a simple, logical progression. The barefoot beauty appears at first wearing a white top and a pair of white panties. The set decoration is simple and uncluttered but strong colors, bold lines, and a bit of foliage create a pleasing but unobtrusive setting. It does take Emilia quite some time to disrobe, but her great beauty and subtly engaging personality make the process extremely enjoyable.

From the tips of her toes to the ever-erect nipples of her pert breasts, Emilia A.’s body is a delight. Although we’re never provided with absolutely explicit anatomical views, Dolce does move in for some revealing extreme close-ups. Stepping back, and with Emilia standing up, her shape is stunningly captured in #129 and the exceptionally fine #131.

Emilia has beautiful long hair, and Dolce devotes several images only to those flowing locks. But when the model turns to face the camera my very favorite images in the collection are created. A head that beautiful deserves beautiful headshots, and there are many here to be enjoyed. Here’s a selection of my favorites: #038 (with a single nipple to sweeten the deal); #058; and #061 and #062- profile shots of an exceptionally refined profile.

Model Lucy B. has a particularly pretty face. In an image like #100 in this MetArt gallery — a ribs-up headshot, with one petite breast exposed — it’s difficult to resist her brown eyed beauty. And that face isn’t simply beautiful, it’s also remarkably changeable and expressive. Lucy can project a kittenish cuteness that is almost cloyingly sweet – and with a flip of her long, flowing hair and an adjustment of her attitude she can instantly transform herself into a sultry vixen.

Her style of posing is varied, as well. She seems to delight in striking stylized, glamorous, pin-up poses. But she’s also utterly convincing in spontaneous, natural, and far more earthy postures. And she has a way of skillfully employing that long hair almost as a prop or decorative bit of costuming to add additional variety and expressive style to her performance.

Working with such an engaging and eye-pleasing model has to make the photographer’s task both easy and enjoyable, but Leonardo doesn’t take the easy route here. He matches Lucy’s range by mixing things up and throwing in some surprising angles. Compare #020, a basic (and beautiful) three-quarter standing rear view, with #136, a dreamy, erotic abstraction.

Whether she’s being cute or being carnal, and whether she’s in a glamorous stance, or something far more animalistic (see #055 for an apt example), Lucy B. in Leonardo’s “Terrace” is truly tempting.