Tag Archives: lingerie

Now is probably as good a time as any to remind my readers that the opinions expressed in my posts are entirely my own. I evaluate each MetArt erotic photo series based on my visceral reactions to it, my personal aesthetic preferences, and my taste, mood, and temperament at the time of writing. All of this is to say I strive to give an honest evaluation of a set based on my personal observations and opinion. You may disagree — that’s sort of the whole point. I welcome any and all opinions, whether they correspond with mine or not.

So, knowing full well that countless MetArt members may consider Nella A to be a sweet angel, I find her predominant trait to be quite devilish. While she can undeniably project sweetness, this is not her natural state. In this pictorial she radiates raw sexuality. She may be wearing lingerie in a virginal shade of white, but there is nothing at all virginal about her presentation or attitude in these photos.

I’m tempted to use words like “hard” or “severe” to describe Nella A. She definitely has a frank, animal appeal. And I also think her overtly sexual, provocative attitude here is underscored by her hairstyle, which brings to mind (to my mind, anyway) Bettie Page. Her piercings — tongue and navel — do nothing to soften her image. And the way she’s styled her eyebrows also contributes something sultry and suggestive. While some models put one in a romantic mood, Nella brings to mind nothing short of raw lust.

As a result, my favorite shots in “Opus” are the unashamedly explicit, blatantly sexual, and completely uninhibited images, and there are many to be found among the 164 photos Tim Fox has provided. In #087, although her face is in soft focus in the background, the flesh in the foreground ensures that Nella’s message comes across lusty, loudly, and clearly.

There are times in “Opus” when things go a bit too far. Things get a touch too dramatic in #072 as she faux-struggles with her panties, for example. And the panty-chewing in #077 seems similarly over the top. She’s certainly cute in #151, but I much prefer what she’s offering in #107: raw sex and a lewd attitude.

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.

The model’s costume in the MetArt erotic photo gallery titled “Farfallino” is both pleasing and somewhat distracting. The sheer black body suit with opaque, built-in bra and panties, and decorated with diagonal stripes, along with matching stockings, is certainly sexy and flattering, but it is also so visually “busy” that it dominates many images and diverts one’s attention from a very lovely girl.

But once I got into the rhythm of the set, and when I had a less obstructed view of Katy D. — particularly after she’d disrobed — I discovered a model with genuine beauty and skill. Katy has a very adaptable appearance. Compare the wide-eyed, innocent look in #082 with the sultry vixenish expression she projects in #085. The same girl, but those two shots are entirely, and delightfully, different.

The zigzag pattern of Katy’s outfit, and her thoughtful, creative, poses result in several very nice pin-up style shots (#032 is probably my favorite). And the novelty of an image like #093, in which the model appears to be forcefully twisting herself like a sculptor with a piece of clay, is certainly intriguing.

The set takes place on a vanity table in a narrow, wood-paneled, niche. This might lead to a boxed in or claustrophobic effect, but Sergey Akion uses the setting to his advantage. In #097 the wood tones and strong vertical elements contrast nicely with the long-legged model’s pale skin and stylized pose.

Three of my favorites fall towards the end of the set. In #120 Akion moves in extra-close to capture the lower half of Katy’s face and those plump, luscious lips. #122 is a candid, flash-lit headshot with a documentary flavor. And #124, a head-on, from the waist-up portrait of a smiling girl is simple, direct, and beautiful.

When I first experienced this model I was impressed. And not simply by her beauty, her toned, tanned body, or her strong and shapely glutei. I noted a polished professionalism in her presentation. And, naturally, I am eager to see if my favorable first impressions still apply for our second go-’round.

Unfortunately “Casetta” is a bit of a disappointment. Oddly enough, a portion of the blame can be assigned to the same professionalism I noted earlier. Here Carina A. seems to be trying a bit too hard. Some of her poses, and many of her facial expressions are forced and exaggerated. She is trying to look sexy, rather than simply being sexy. And this girl should have no problem being sexy — she is built for it, there can be no doubt. That’s why the finger-sucking and feigned ecstasy rings so false in many of these images.

In Carina’s defense, it is fair to assume she is merely following direction. And that direction can only be coming from photographer Tim Fox. In addition to giving his subject some questionable cues, he’s also made some missteps in styling the set. With her bronze skin, dark blonde hair, and brown eyes, Carina A. has the gold and brown section of the spectrum well represented. Unfortunately, the series takes place on a bed dressed in brown and gold print fabric, creating an overabundance of earth tones, or a least a touch too much, in my estimation. Against a crisp white backdrop Carina’s coloring would be warm and welcoming, here it tends to blend in with the background.

This is a large set, however, with just shy of 200 erotic images, so a bit of editing helps the viewer stay focused on the pictorial’s strengths. Carina A.’s greatest asset is her toned and curvy body, and Tim Fox provides ample views of that athletic shape — along with lots of explicit poses and close-ups. I like this model, and I’ve enjoyed other MetArt galleries by this photographer, but I’ve seen both be better than in “Casetta.”

I have reviewed countless MetArt photo galleries in which one or more of my favorite images were headshots. But I can never recall a series that featured eye-catching headshots in such abundance. This is by no means a complaint, and when one considers the head being shot, it’s quite understandable. Fergie A. has exceptionally fine features, and all the separate elements — nose, lips, eyes (oh, those eyes!), cheekbones, hair — are proportioned and placed with something approaching perfection. Really, hers is a face that fascinates, beguiles, beckons, and bewitches!

So it’s not at all surprising that Dolce‘s lens would be drawn in the direction of Fergie A.’s face. The first image that I made note of was #008. The set has barely begun, the model is still clothed. She tilts her head, parts her plump and luscious lips, and looks right into the lens. It’s difficult to look away. I get to #012, a different composition, but still delightful. #036, a completely different take, her eyes looking off-camera, her hair wrapping over, wave-like, framing that face exquisitely. Quite simply, there are too many fine headshots in “Non Detto” to mention and describe. But I can’t resist mentioning #093 and #096. In the first she seems slightly more relaxed, just a shade more natural. That ease is present in the second image, as well, and it’s effect on me is hypnotic.

Lest you decide that Fergie A. has mesmerized me and transformed me into a toothless, fawning worshipper, I must say I do have a couple of problems with the set. As I hint at above, sometimes I feel that Fergie A. is trying a little too hard, and some of her expressions seem slightly forced. And what is the logic or purpose of that antique telephone Dolce has Fergie pantomime with? This is one of the dumber props of recent memory, a opinion Fergie, herself, seems to share in #016.

Although the set has a pleasant bias to above-the-neck shots, Fergie’s body does receive ample exposure. #081 has a candid quality and captures her at full length. And #109, as she bites her lower lip and parts her thighs, boasts a jolt of animal eroticism.

I enjoyed this model’s first MetArt gallery, and I’m pleased to report that her second offering confirms my initial reaction. And, while her debut series was created by Koenart, this one was lensed by a different photographer, so it has a distinctly different visual flavor.

To my eyes, Mia Sollis has a sweet demeanor, but her costume here adds a pleasing bit of steamy sexuality. She starts out in black high heels that tie in a bow around her pale ankles, black panties, and a sheer, black lace blouse. The sweetness of this model’s gentle smile sets up a nice bit of tension with her overtly erotic outfit.

The most outstanding aspect of Peter Guzman‘s approach in “Puella” is most certainly his lighting. I can’t claim to understand what techniques he has employed, but he’s managed to light the background in such a way that it is in softly, subtly diffused shadow, and it is imbued with a hint of saffron-tinted color in a way that is particularly flattering to the model’s hair and complexion. It isn’t exactly easy to describe, but it’s immediately obvious when viewing the series, and on those few occasions where the lighting deviates, it certainly captures one’s attention.

The second image in the set is a gem. #002 is a clothed headshot. The lighting I mentioned above is readily apparent. Mia’s lips are barely parted, and her face is relaxed and natural, as well as particularly pretty. A similar shot, #010, pegs my personal cutie-meter. Image #0046, a headshot with breasts revealed, is moody, evocative, and painterly. And #087, one of the shots in which the lighting is somewhat different, is a lovely figure study, as is #124.

By doubling the size of her MetArt portfolio, Mia Sollis, with gifted support from Peter Guzman, has proved that twice is, indeed, nice.

I enjoy those times when I’m able to decode and understand the sometimes obscure titles of MetArt galleries. In this case, because the model’s black fishnet stockings remain in place on her shapely legs for the entire set, I think it’s safe to say that “Netto” is a shortened, stylized version of “Fishnets.” And I will go further and give the title my full endorsement. Somehow “Fishnetto” doesn’t sound terribly appealing.

Betty C. is certainly appealing, however. In two previous posts (here and here) I’ve been pleased by what I’ve seen, and “Netto” extends the model’s run. Betty C. is a bit more glossy and glamorous in her presentation than many other MetArt models. This must surely have something to do with her day job — she’s a make-up artist, as I’ve previously noted.

“Netto” may be the third set I’ve seen from this model, but each one has been shot by a different photographer, and each one has its unique virtues. While it’s not immediately apparent, the setting Majoly has chosen is a luxurious bathroom with travertine tiles and a dramatic, abstract paint scheme. In addition to her fishnets, Betty is wearing a stylish bustier with matching panties, and stiletto heeled sandals. While much time is devoted to getting her out of her costume, once she’s nude (but still wearing her shoes and stockings) the set takes a not entirely expected turn toward the explicit.

While I have noted something mysterious and brooding in Betty’s demeanor in the past, here she’s generally bright and sunny, a smile never far from her beautiful lips. And the combination of that cheerful spirit with the more blatant poses and exposures blends happiness with heat in a most engaging manner.

I reviewed photographer Alex Sironi’s first contribution to MetArt, and I’ve had the pleasure of viewing and commenting several more of his sets since then. While no two of his pictorials are alike, the technical skills and effortless artistry that so impressed me at first have remained both consistent and impressive.

“Rendezvous,” I’m pleased to say, is a worthy addition to Sironi‘s portfolio. Art direction and styling are both simple, minimal, and effective. Here the back wall of the studio has been painted a shocking shade of pink. The color might easily overwhelm, but Sironi takes pains to keep the background out of focus adding just enough diffusion to “dial back” the impact of the color. A collateral benefit of this technique is to put the emphasis on his subject. And what a fine subject she is!

Elina B. has a slender, long limbed, delicate, and completely eye-pleasing body. And her beautiful face is framed by a lush, slightly wild, head of auburn hair. Posing on a pleasantly rumpled bed with a white wrought iron headboard in the otherwise empty room, there’s more than a suggestion of a “Rendezvous” that is about to occur, or which may have recently ended, or which may have reached an “intermission.” No matter what the scenario, whether she’s seated, sprawling, lolling, or striking a wide variety of poses, Elina is a treat.

My favorites here vary considerably in style and flavor, a tribute both to the artist and his model. #012 and #013 are dramatic, theatrical images, and #087 is a more romantic, fully nude, variation on that theme. Another pair, #094 and #100, are refined, stylish, and painterly images that are, as they say, “suitable for framing.” And #132, ends the collection on an exquisitely beautiful note.

The MetArt erotic movie titled “Verdure” opens with a slideshow. Punctuated by the sound of a camera’s shutter being tripped, we are treated to a selection of enticing images from the still series of the same name. I’d never seen the model before, and I found this to be a particularly effective introduction.

As the actual motion picture portion of the production begins we see Bijou A., in the nude, rummaging through her suitcase in search of lingerie. She finds a bustier and a very scant pair of panties, dresses, and proceeds to pose for a still shoot. This is reasonably typical behind-the-scenes material. The still photographer and movie producer, Tim Fox, clowns with the videographer briefly; we see assistants amidst the lighting gear, an assistant is at work on a laptop, and the stylist adds some finishing cosmetic touches to the model.

Bijou A. is a very animated, energetic, and lively model. She has a ready smile and, apparently, an equally ready laugh. I use the word “apparently” because I have never heard her laughter, I have only seen her laughing. Although many MetArt movies have a musical soundtrack and no live sound, and do quite well without it, the absence of on-the-set audio is a particularly vexing omission here. Of course, I might not understand a word of what’s being said that earns so many broad grins and bursts of laughter from Bijou. And I might not understand her spoken retorts, either. But there’s a lot of banter taking place during this session, and I only wish I could have heard some of it!

One bit of still photo technique captured here quite surprised me. At one point Tim Fox has his lens perhaps a foot, perhaps less, from Bijou’s face. I was struck by that close proximity. And I was impressed how easily the model adapted her pose and maintained her composure during this segment. Those close-ups are highlights of “Verdure,” the still series. Similar close ups, below the neck, are missing from “Verdure,” the movie, but the pictorial more than makes up for this with some breathtaking explicit images. The series and the movie make a fine pair — and, yes, I’m making a none too subtle reference to Bijou’s breasts. I suggest you check them out — in her photos and HD video.

When I critique a MetArt photo gallery, I generally read the model’s bio after I’ve had an opportunity examine all the images. When I read Nata F.’s bio I had to chuckle. What inspired my laughter was this quote: ” I am definitely a very sociable and kind girl.” I don’t doubt that this is a statement of unquestionable fact. But I believe Nata omitted one obvious and overwhelming adjective: “seductive.”

Nata F. has a warmth and sweetness that is readily obvious in this series, but it’s her steamy, seductive bearing and expression that readily and completely captures my attention. I can only imagine the effect she has on the men she comes in contact with during a typical day. There’s nothing insincere or forced about it – when Nata treats Leonardo‘s lens to a seductive facial expression — which she does nearly constantly throughout the series — it has an undeniable and irresistible effect on the viewer.

Wearing one of the sexiest and most flattering black lace camisoles ever made, the model is seated on a white, padded platform of some indecipherable sort. Behind her is a curtain of cream fringe, behind that clothing hangs on a chromium rack — a stylized dressing room. While I sometimes grow impatient with models who remained dressed, however scantily, for too long, here I savor every moment. Nata’s style — the voluptuous curves of her body, her long, auburn hair, and that seductive face — conveys pure, sultry eroticism whether she’s clothed or exposed. I certainly would have enjoyed a selection of more intimate close-ups, but this is a young woman who could radiate magnetic sexual charm wearing an overcoat. Thankfully, she isn’t wearing one here, and I don’t see one hanging in her improvised “Armario,” either.