Tag Archives: lips

Kristel A is a living doll. That was the impression I got when she appeared in her first MetArt erotic photo gallery, and it was confirmed when I viewed two additional sets (this one and this one). But the more I saw of this model, the more I realized that there’s a singular weakness in her presentation, and this gives her a mask-like quality that makes her look more like an actual doll than a living one.

I’m referring to her mouth specifically, and to her general expressiveness (or lack of same). Kristel A is a very cute girl! Let me make that as clear as possible. At a distance or up close and in explicit detail, she’s a facial and physical confection. I like her very much, and it doesn’t seem to matter who is photographing her — she’s always pretty and appealing.

Unfortunately, as I realized while writing my second critique of a Kristel A gallery, she has an unfortunate, and seemingly intractable, habit of holding her mouth and face in one fixed expression. And this expression only varies in the most minute increments when she chooses to vary it. Can she smile? I’ve seen hints (you’ll find one in #044), but no conclusive proof. Does she have teeth? I can only assume so, but, again, I’ve never seen them so I can’t say with any certainty. But in face and body, she’s cute!

And yet this cutie strikes pose after pose, moving this way and that, all the while never changing the look on her (cute, pretty) face.

So, I will leave the mystery of the motionless mouth unsolved and call out a few of the finer images in “Aprire.” #027 displays the beauty of her standing body quite skillfully, as well as her waist-length hair. She’s as pretty as a picture, her face in profile, in #071, a stylish figure study. And #106, eyes closed, lips almost parted, Kristel A allows Alex Sironi to create one of the finest images in the set.

Oh, and in #075 Kristel A raises a single finger to her closed lips as if to say “Hush, no more complaining.” Should I obey her request? Am I out of line? Perhaps a reader will share some insight?

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.

It’s easy — as well as rewarding — to become distracted, even obsessed, with the virtually endless parade of beautiful bodies on display in the MetArt galleries. Fergie A, from the neck down, has a particularly fetching physique. And Fergie’s body isn’t just beautifully shaped and proportioned, she’s also blessed with the flexibility of a trained dancer, as she demonstrates with eye-popping ease in #055, a standing vertical split. And in #073, a somewhat “posey” shot, the sculptural delights of her build are expertly captured.

Yes, Fergie A. has a beautiful body. But take even a quick glance at her face, and you may forget she even has a body. This beguiling brunette has blue eyes that entice, entrance, and delight. And she has plump, full, luscious lips that are irresistibly alluring. Dolce has done a brilliant job of capturing the glory of Fergie’s facial features here, and towards the end of the series, when I opened #140, I was rendered speechless. That is one beautiful headshot of one seriously beautiful head!

The set takes place in front of a make-up mirror with a couple of curious decorative touches – the carnival mask and mirrored disco ball seem extraneous, but they are far from major distractions. I very much enjoyed those images, early on, in which the model is captured putting the final touches on her make-up. And #007, a shot of Fergie in profile, as she applies hairspray, is an intriguing, stylish, artful image, no mere behind-the-scenes snapshot.

In addition to the style, artistry, and beauty of the set and the model, there’s a sense of fun and enjoyable energy throughout. Whether you’re drawn to her body or captivated by Fergie’s face, “Sure” is certain to satisfy.

What makes a particular woman attractive to an individual is a complex and endlessly mysterious equation. And it’s constantly changing, developing, and evolving as we, ourselves, do the same. The combination of physical characteristics, the personality, the spirit, the situation, these all effect what we’re drawn to.

In the case of Natalia A., as I see her, it all comes down to the face. Oh, she has a splendid body, and her physical charms are many. But there is something about the shape of her face, the seductive twinkle in her deep, green eyes, the delicate shape of her nose, the line of her jaw, the luscious fullness of her lips, the faint dusting of freckles, all of this framed by her scarlet mane — Natalia’s is a face that is simply a joy to behold.

My fascination with the model’s face doesn’t, however, blind me to her other assets. And, thanks to learned lensman Leonardo, I have ample opportunity to explore her cream-skinned physique.

After all that, my favorite shots here are not facial close-ups or headshots. The coquettish allure of #0109 is undeniable, and both the pose and attitude of #0111 are irresistible.

Here is a set that is filled with subtle nuance. And here is a set that is, at the same time, filled with blunt and forceful impact. It ranges from kittenish softness to clinical exposition. There are images that inspire a sigh of mellow appreciation. And there are images that elicit a gasp of lusty surprise.

Who is responsible for such a rich series? Photographer Tony Murano is almost shockingly adept at his craft. From full-body images to extreme close-ups he is simultaneously a gifted artist and an impressive technician. And his model, the exotic and shapely Rachel B., gives Murano much to work with. But neither of the two — photographer or model — can claim dominance or sole ownership of “Ammix.” It is a collaboration, two talented individuals striving, together, to create erotic art. And this collaboration is an undeniable success.

Rachel is gifted with almond eyes, pale-nippled and generously proportioned breasts, and feminine amenities that must be seen to be properly comprehended. Murano devotes much time and talent to revealing these gifts, and he extracts maximum dazzle from each and every one of the 22 megapixels at his disposal. “Ammix” is never less than amazing!

My challenge, the challenge I face every time I sit down to write another post for the MetArt blog, is to find something noteworthy about the set at hand, to provide insight to the reading membership, and to suggest approaches to MetArt that enrich the experience. I’m always looking for a “hook” to pull the reader in.

Before I’d even glanced at this set I thought I had a hook. The cover image was dark, the model’s name was Night, it seemed an angle worth exploring. Light and shadow, the romance and mystery of darkness, waking life versus the dream state — and then I looked at the set.

Wow. Pure sex. Hot, radiant, moist — make that wet — sex. All my narrative devices and cold, analytic detachment was blow away by the raw power of Night’s unabashed sexuality. There are quiet moments here, there is sweetness. But it’s the sex that makes this “Night” so unforgettable.

I know what my favorite shots in this collection are — what are yours? And why?