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I loved Nichole A from the very first image in her very first MetArt erotic photo series. Of course love at first sight can be fleeting and temporary, but my initial impression and affection was only reinforced in the second and third Nichole A galleries I’ve evaluated.

The dark-eyed beauty with the warm, natural smile returns in “Fanari,” once again partnered with photographer Arkisi, and my expectations are justifiably high.

While Nichole’s beauty and charm are abundant and consistent in this set and the other three I’ve commented on, all four galleries are distinctly different, and Arkisi deserves credit for experimenting and exploring varied approaches to the same model. The last Nichole A series I blogged about was an outdoor set on a picturesque mountaintop. In “Fanari” she’s far, far away from nature, on a vivid purple seamless background in a controlled studio setting. The furnishings and extras are few. There’s a white chair and a table topped with a couple of tchotchkes, and the model’s costume consists of a pair of stiletto pumps and a frilly, coral-colored bra and panties set. The colors really “pop” and the simplicity of the design lets Nichole A‘s beauty shine.

This long-legged brunette exudes a rare, irresistible warmth. She’s almost always smiling, but it feels entirely natural and genuine. Whether she’s standing tall, hands on her hips, in the introductory shots (#001 and #004 are two favorites), or when she’s totally exposed in any of the numerous explicit poses, Nichole is cheerful and completely at ease. Nichole A’s personality really comes across in these photos, and it’s every bit as attractive as her physical attributes. If you’ve yet to experience this beguiling beauty, “Fanari” may well make you a fan of Nichole A.

Evaluating this MetArt nude gallery was an interesting experience. I’d seen the model once previously, in her second MetArt pictorial, so I had those initial impressions in mind. As I looked through the series I found myself pulled in two directions. There was something about the styling, and to a lesser extent the model’s performance, that I wasn’t quite sure of. But after her outfit came off and I got a better look at the model minus her costume, I found myself liking her, and the set, much more. The “key” that unlocked the set and finally won me over to Tracy A came in the final ten shots in the collection. Here I could finally see the “real” model, and it helped me understand and appreciate the “ideal” model that had been presented in the pictorial.

What was this “key”? The last ten shots in “Poza” present Tracy A in public, wearing jeans and a t-shirt. Her hair is pulled up in a scrunchie, and her makeup, like her hair, is casual and natural. In the main section of the set Tracy is elaborately styled, hair, makeup, outfit — and she’s also “styled” in her presentation. She’s modeling in those pictures. In the final ten, however, her presentation is much more natural, much more genuine, much more real.

Now, the Tracy A in the nude section of Koenart‘s creation is very appealing. She’s slender, elegantly proportioned, and whether she’s captured in a full body shot like #071, or in an explicit close-up like #075 it’s impossible to find a flaw. Although I find glimpses and glimmers of Tracy A’s casual, public personality throughout the nude section of the set, there’s just not enough of that bright and bubbly spirit here, and I think they — artist and model — have put just a bit too much emphasis in an idealized style rather than the model’s abundant natural attributes and attitude. There’s much to enjoy in “Poza,” let me be quite clear about that. But to see more of the real Tracy A in future galleries would truly be ideal!

MetArt erotic photographer Luca Helios is something of a seaside specialist — I wouldn’t be surprised if his ratio of beach to non-beach galleries was substantially higher than the majority of his fellow contributors. The location he employs here, a sandy stone staircase, a patch of strand, and a rock just off shore, is undeniably scenic and intriguing — one of the “highs” I allude to in the title of this post.

Chiara A is another one of these highs. This is a beautiful, stylish model, and she’s confident and at ease despite the fact that her “costume” here consists only of jewelry and a pair of sandals. When she smiles — as she does in #005, a standing, full-body shot, or in #043, a beautiful and energetic headshot — she exerts an almost magnetic attraction on the viewer.

I’ve critiqued another Chiara A set, also shot by Helios, and it employs a similar style as well as a similar location. Some of the weaknesses I found in that set can also be found in “Chrisos.” One of these “lows” is the complete absence of explicit shots. While Chiara A is nude for the entire set she never offers us a meaningful glimpse of her intimate attributes. When a model is this pretty I feel cheated if she holds back like this, and I very much doubt I’m the only one who feels this way.

Another low is simply the quantity of images here — a rather scant 59 photos. Perhaps a memory card with the remainder of the set was accidentally dropped in the sea? Perhaps the explicit shots from this session were on the ruined card? Idle speculation, at best.

But despite its liabilities, and because of its assets, “Chrisos” leaves me wanting to see more of Chiara A — and not simply more images, but more images of everything this beautiful woman has to offer.

Liza B became an instant favorite of mine the day, nearly two years ago, when I first wrote a post about one of her MetArt erotic galleries. The series I reviewed was shot in full sunlight, artfully augmented by artificial light sources. Those beautiful photos of a beautiful model were executed by Leonardo, who happens to have crafted the MetArt HD erotic movie I’ve just viewed.

Liza B, not surprisingly, is as beautiful as ever. But Leonardo’s styling and design of “Yperogi” are entirely different than that first set I mentioned. Here it’s late at night in a garden cloaked in inky shadows. Liza B is seated on a chair and a circle of light illuminates her and the wall in the background. Juggling the balance of light and dark is a challenge, but the result is a mysterious and evocative atmosphere. While there is little in the way of boldly explicit imagery in the production, critical details are still quite visible — Liza B’s piercing (the one south of the border) can be clearly observed in several shots.

I do think Leonardo hangs back a bit too far at times. The effect is aesthetically interesting as foliage in the foreground and the aforementioned shadows crowd the frame, but I’d much rather he’d gotten up close and personal with this particular model.

Whether she’s revealing her beautiful bosom, a mere 29 seconds into the film, or exposing her beautifully groomed goods a mere nine seconds later, Liza B is an erotic delicacy. And when she’s totally nude and we have the opportunity to view her magnificent body in motion it’s a genuine treat. Once more, closer views, and not just more explicit ones, would have enhanced my enjoyment of “Yperogi,” but what is here is certainly enjoyable in its own right. One brief sequence (right around the 5:50 mark) captures Liza’s striking face as she raises her hands above her head throwing shadows on her body in the process — it only lasts a few seconds, but it’s truly beautiful.

Don’t allow the title of this post cause you to jump to any conclusions about the model’s state of mind. Based solely on this set I can say that Kira J has a lively, warm, and engaging personality and I have no doubt it’s a delight to spend time in her company. Rather, the “split personality” I’m referring to is the nature of the erotic pictorial itself.

“Krinos” falls into two distinct parts. In the first 31 images we’re outdoors, on the street with cars passing by, and in a green, leafy park. In this section Kira J is wearing a short, figure-flattering dress in a vivid shade of French blue. She’s also wearing a necklace and a pair of black, open-toed, stiletto-heeled pumps. And we soon learn, thanks to a handful of up-skirt shots, that her outfit does not include panties.

While several shots in this first section don’t include any nudity, they are still extremely sexy and enjoyable. I get a real sense of how exciting it must have been — for both photographer Rylsky and his subject — to be shooting these erotic images “on the fly” and right out in the public eye. Non-nude favorites include #002 for Kira’s legs, ass and spontaneous smile; #010, a real traffic-stopper; #007, a playful breast-flash; and #026, an up-skirt shot, that’s beautifully lit, framed, posed, and which is brimming with the model’s sunny spirit.

The remainder of “Krinos” takes place indoors. Here the clothing, color scheme, and style are entirely different. While Kira J’s personality successfully makes the transition, these photos are far more “posey” than those in the opening group. They are, thanks to the privacy of the setting, considerable more explicit, as well. Lucky passersby on the street could only dream of getting a glimpse like those provided in #074 and #083 from the indoor session, for example.

Favorites from “Part 2″ of “Krinos” include #044 and #045, rear and front views of Kira J’s lean, toned, and shapely physique; #085, eyes closed and thinking happy thoughts; and #109, posed, yes, and somewhat formal, but very pretty nonetheless. What part of this gallery’s “split personality” to you prefer? Share your thoughts in the comments, below.

While this is the first appearance at MetArt by Charlotte Stokely, she’s no stranger to the MetArt Network. She’s been a headline attraction at SexArt essentially from that site’s inception, and I reviewed one of her solo motion picture productions some four months ago for the SexArt blog — you’ll find my comments here.

For her MetArt debut Ms. Stokely has been teamed with prolific MetArt lensman Luca Helios. It’s a bright, sunny day, the vegetation suggests a Mediterranean location, and a swimming pool and fountain — complete with incontinent cherub statue — occupies the background. The model, in the foreground, is dressed for the balmy weather, and her costume consists of a short, stylish dress in a flattering shade of red and a pair of very high heeled platform sandals — a sexy and pleasingly minimal outfit.

Charlotte’s make-up is also pleasingly minimal, and very much in the MetArt style. In the SexArt movie I reviewed her eyes, in particular, reflected time spent in the stylist’s chair. Here her styling is much more natural — seldom a bad thing for a naturally beautiful girl. #014, an informal headshot, is one alluring example of this natural presentation.

With a total of 75 images, the gallery itself is somewhat brief, or perhaps compact is a better word. But, in terms of both poses and compositions,  the model and photographer do provide a variety of shots in the collection. It’s difficult to resist the flirty pose and big smile in #005; her petite, stiff-nippled, bosom, shapely posterior, and long blonde hair (along with an intriguing facial expression) add obvious interest to #034; and explicit shots are plentiful — #044 and #058 are two favorites, the first captured from behind, the second a fetching full-frontal view.

If you only know Charlotte Stokely from her work at SexArt, “Presenting” gives you an opportunity to discover different aspects of her beauty and personality. And if this is your introduction to the model I can predict with some confidence that you’ll find her a welcome addition to the MetArt model roster.

Take a look at the very first photograph in this MetArt erotic gallery. That too-short little black slip provides a tantalizing glimpse. The stiletto-heeled sandals add a sexy and leg-lengthening accent. The upright pose, hands tugging at her shoulder straps, emphasizes a strong and confident presence. And that face, framed by long, dark, wavy hair is undeniably alluring. The setting itself is pleasing, another view of a location the photographer has used many times before. And the colors — landscaping, architecture, sea, and sky — are particularly harmonious.

And yet I still find a little something missing. After working my way through the set I think it has something to do with Helen H‘s emotional range. She is a beautiful, sexy girl, but she tends to operate in a very narrow span of expression. She parts her ripe lips in something short of a smile revealing beautifully white teeth in the process, and she arches her right eyebrow. I imagine this is supposed to be a provocative, teasing look, but shot after shot it becomes a bit repetitious. In a shot like #029 that facial expression is the only thing that diminishes an otherwise pleasing photograph. It’s sexy, to a degree, but it also feels somehow put on.

This isn’t one of photographer Leonardo‘s flashier sets (no pun intended). The seasoned image maker puts his subject through a respectable variety of poses and, as mentioned, the setting is so pleasing in its own right that when everything comes together the results are truly fine. A shot like #018, is a beautifully balanced composition, and I particularly like how Helen’s upright body obscures and replaces the column behind her as the predominant vertical element in the frame.

Yes, there are some odd moments, particularly those where the model is standing in direct sunlight. And that ice bucket seems a touch too contrived when it appears late in the set. “Aegean” does end on a high note, however (see #111). Here Helen H reclines, totally nude and barefoot, on a chair. Her pose and the lighting brings out the natural beauty of her body. And, most importantly, her face, viewed in partial profile, is relaxed. No arched eyebrow, no toothy smile, just a beautiful woman in appealing repose. That’s more like it.

He could have traveled to a dramatic location — a mysterious forest, a wave-lashed beach, a craggy mountain top. He might also have painstakingly constructed an elaborate set and decorated his studio with a profusion of props, furnishings and fabrics. And Rylsky, an experienced photographic artist if ever there was one, could have crafted this set in a palatial private residence, positioning his subject against a backdrop of plush, ornate, elegance.

No, no, and no! Here the artist strips things down to the very basics and achieves excellence through sheer simplicity leavened with skilled creativity. “Violett” may not have much in the way of fancy, fussy art direction — the lighting is direct, flattering, and effective, but far from dramatic. And he hasn’t resorted to visual tricks or technical gimmickry. Rylsky has worked erotic photographic magic here by including one special ingredient — and it’s known as Chantelle A.

I’ve reviewed three of Chantelle’s galleries (count ‘em: one, two, and three), and she has impressed me mightily in every one of them. This model is physically delightful, that much is plain. But she radiates such a bright, beautiful, beguiling personality that it’s almost overwhelming. And here, on Rylsky’s simple light purple seamless backdrop, there’s nothing to distract from her perfect beauty and powerfully disarming persona.

As you might imagine, trying to pick favorites out of a pictorial like “Violett” isn’t easy. It’s a big set, for one thing. And it contains a lot of variety. In the vast bulk of the collection Chantelle A is completely nude, although she does appear in a rather modest bikini in a handful of shots at the end of the series. And her moods are every bit as varied as her poses — and her poses are extremely varied! She’s giddy, she’s serious, she’s silly, she’s sultry. She’s relaxed, intense, thoughtful, playful, impulsive, and composed. I’m going to limit myself to three images. #011, nothing fancy here, just a perfectly beautiful girl, with a splendid body, in a fine photo. #075, those eyes, that face, that hair. #041, that stellar body, arched into an awesome and impressive full bridge revealing her physique to stunning effect. “Violett” overflows with wonderful images of a remarkably beautiful and appealing model. Who could possibly resist all that?

With hair that hangs nearly to her waist, a trim and long-limbed physique, and a flawless complexion, Kristel A is certainly a pretty girl. I said as much when I commented on her MetArt debut. But the second time I critiqued one of her pictorials I was disappointed. She was (and is) still quite pretty, but the flaw that marred her performance remains firmly in place in her most recent erotic gallery.

Those first two pictorials were both lensed by Rylsky, and even though they were quite different in style and approach, they were both beautifully executed. “Corasida,” however, places Kristel A in the able hands of Alex Sironi. I am on the record as an admirer of his work, and I’m hopeful he can bring out the best in this model.

Well, he certainly makes a valiant effort! He shoots her clothed, he shoots her nude, he shoots her standing, climbing on the single piece of furniture, and spread out on the floor. Sironi moves in close for delicious explicit close-ups, he throws in shots of fingers, feet, and toes, a headshot here, a portrait there. He puts his camera right down on the floor, he cajoles and coaxes his subject into intricate and abstract poses. But no matter what he does, Kristel A can’t seem to change her facial expression.

It really is vexing. The pretty lips of that pretty mouth seem to be cemented together and locked into a benign semi-smile. After a while it takes on a mask-like quality. So tightly and relentlessly clenched are those lips that I’d bet cash money that she’s struggling to hide a mouthful of orthodontic appliances. Whatever the reason, I only wish Kristel A would grin, frown, stick out her tongue, blow a raspberry — offer something, anything, in the way of an alternative facial expression.

As mentioned, Sironi works considerable stylistic and technical magic with this model. And, despite the mouth thing, Kristel A delivers some particularly interesting poses. Numbers 076, 078, and 079 are variations on one unusual, almost abstract composition. #009 is a classical, painterly topless still life. #126, eyes closed, is a fine, floor-level figure study. There’s some truly skilled modeling on display in “Corasida,” but much of it is marred by the locked look of the model’s lips.

The arrival of new models at MetArt is a frequent and most welcome occurrence, and when Katherine A made her debut on the site several months ago she made an extremely positive impression on me (which you can read here).

The pleasure of discovering a fresh talent is easily matched by watching that talent grow and gain experience, and all the charms that Katherine A displayed in her debut are present in “The Offer.”

Alex Sironi photographed Katherine’s MetArt debut, and he’s behind the camera for this effort, as well. And that is a good thing. This photographer has a light touch and a less-is-more aesthetic that is consistently effective, as it very much is here.

Wearing an extremely elegant haute couture dress with a sheer bodice, Katherine A reclines on an antique sofa. True to form, Sironi has dressed his model and his set in subtle, muted, flattering tones. As beautiful as she is dressed in #001, we can’t wait for that stylish costume to make a stylish exit. But the sheer fabric — see 008, 009, and 010 — makes the wait for nudity entirely tolerable!

When Katherine A raises the hem of her skirts she reveals pristine perfection, and when she stands and lets the dress pool around her knees, that lithe, exceptionally graceful shape is wonderfully presented (see #037).

“The Offer” offers a complete range of poses and compositions. Detailed close-ups are plentiful, devoting attention to breasts, hands, feet, and delicate intimacies. The long, elegant lines of the model’s body are the subject of several wonderful figure studies — 076, 089, 095, and 116 are some of my favorites. And for radiant, youthful, blue-eyed beauty it’s impossible to resist a headshot like #107. I expect that lovers of nubile beauty and deft photographic artistry will eagerly accept “The Offer.”