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It has been some time since I critiqued a set by this photographer of this particular model. At that time I was quite familiar with the work of photographer Catherine, but it was my first time seeing Vanda B. Although my comments were somewhat brief — the blog has grown and evolved since the post appeared in early 2011 — my enthusiasm for the pictorial was abundant. Now, two-and-a-half years later, I sit down with another gallery by the same collaborative team.

After viewing only a handful of images in “Anastoli” I can only describe my impressions as somewhat muted. Vanda B is as beautiful as ever, and her body is still as enticing as the first time I saw it. But there’s a certain stiffness in some of her posing and a slightly fixed look to her facial expression — the latter may have something to do with her styling and make-up which is not nearly as warm and vibrant as the first time around.

Vanda B starts out in a colorful sweater and a pair of teal panties. A slightly odd choice, I think. What is odder, still, is that Catherine has placed a mirror — a large, rectangular, frameless mirror — on the bed with her subject. Frankly, this makes little sense. Model and artist do their best to create artistic images with this combination but it never completely gels.

There are certainly appealing images in the first portion of “Anastoli,” but it’s only latter in the set, beginning with #106 and continuing to the end, that the series reaches its full potential. Here the sweater, the panties, the mirror, and even the background walls and furnishings are gone. Vanda B is totally nude, sprawling on the pleasingly rumpled white sheets of the bed, and delivers one splendid pin-up pose after the other. In these images a beautiful model and a talented photographer work together to create stylish, engaging erotic art. A problematic series, in some respects, but when it all finally comes together it’s very nearly perfect.

When I sit down to review a MetArt erotic photo series I strive to remain objective and arrive at an honest opinion based on what I see in the photos. I never review a pictorial’s rating before I’ve looked at it, I don’t peruse the various descriptive tags MetArt members have given a set or a model, and I don’t look at member comments or e-mails regarding a set before I write my review.

But, even though this is Ashley Doll‘s first appearance at MetArt, and my first time seeing her, I couldn’t help but make the smallest of prejudgments before opening the set. And that prejudgment is based on her name. While it isn’t always the case, when a MetArt model uses a first and last name it implies two things: she is likely, but not necessarily, an American; and it is also likely that she has embarked on, or is considering a career in other forms of erotic entertainment. I don’t know if Ashley Doll is going to follow a career path similar to Malena Morgan or Rilee Marks, but if she does, she certainly has the beauty — and the name — for it!

A petite and exotic brunette, Ashley Doll receives a extensive and stylish introduction in this John Emslie pictorial. The set is big — it contains a bumper crop of 185 images. And the set is, on the whole, very nicely executed. The lighting is natural and flattering, and the colors of the set are particularly complimentary to Doll’s complexion and coloring. My only gripe with Emslie’s work here is a tendency to tilt the camera for no obvious reason. When he’s framing his subject tightly it’s hardly noticeable, but when he pulls back it can be distracting.

My gripe aside, there is much to like and a lot of variety to be found here. The lighting, wardrobe, poses and Doll’s subtly steamy attitude make even a clothed shot like #014 sizzle. There’s an almost retro/Playboy magazine quality to #067, a pretty prone pose. Of the many explicit shots #157 is both moody and inviting. And, as “Presenting” winds down, #177 and #181 are two finely rendered standing body shots of this beautiful and promising newcomer.

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.

MetArt members know better than to expect car chases, explosions, and other such dramatics from the site’s catalog of HD movies. That’s not to say that erotic fireworks, sexual tension, and pulse-pounding passion are not to be found in abundance — I’m simply pointing out that these movies tend to be far more subtle, nuanced, and sophisticated than an audience raised on Hollywood blockbusters, video games, and mainstream “adult entertainment” may be accustomed to.

“Acusado” directed by Fenix, is a perfect example of this understated, measured, almost minimalist style of erotica. We have but two locations — one, beside a small lake, the other a field of tall grass (if that’s actually wheat, I hope you can forgive this lifelong city dweller’s ignorance).

And, of course, we have a girl. Leka C. is bosomy and curvaceous, a fact that is equally obvious whether she’s clothed, or when she’s totally nude. This model has a subtle sort of expressiveness. While she never resorts to facial dramatics, she does have a sly little semi-smile that is quite alluring.

But, as I began, don’t expect much in the way of action or theatrics. Leka teases a bit before dispensing with her clothes. Then she walks around, towards and away from the camera. After a session by the lake she moves into the meadow and does more to and fro strolling. The most engaging section of the production takes place towards the end when, totally nude, she goes down on all fours and crawls through the tall grass. Here she has a seductive, elemental, almost animal appeal, and it’s all to easy to imagine joining her for an al fresco frolic. I’d have to call that a special effect.

“Timilis” starts on a distinctly curious note. A beautiful, raven-haired model, wearing a risqué black outfit, is seated in a kitchen, pretending to stir the invisible contents of a frying pan with a wooden spatula. She smiles warmly and looks directly at the camera. The lighting suggests it is late at night – it is hard to image that the subject, styled and dressed as she is, has risen in the pre-dawn hours to prepare herself an imaginary omelet for breakfast.

There are certain glaring incongruities present in that first image, but as the set progresses they are not diminished or resolved. Why is Dana E. dressed in an outfit more appropriate for a stripper or porn star? And even if we can accommodate the outfit, what is she doing in a kitchen? And who’s idea was it to mime the act of cooking invisible food? Is there a less erotically appealing prop than a shopworn spatula (see #112)? We may find our answers to those three questions in #115 – it’s possible something is getting lost in translation from Dana’s native Hungarian, but the smirk she is wearing in this image speaks volumes. And what it says is: “This spatula is a pretty lame prop.”

Dana E. is, without question, a very beautiful young woman. And Majoly does capture her in a range of poses. While there is nothing too terribly explicit here, we do get to see much of Dana’s shapely body in some detail. She never completely removes her garment, however, it’s always wrapped around her mid-section. Was this an aesthetic/artistic choice, or is something being deliberately concealed?

Distractions aside, Dana E. is intriguing and appealing, and I look forward to exploring her other MetArt galleries. But, at least to my sensibilities, “Timilis” is a curious creation.

My practice is to view a set in numerical order – I start at the beginning, and look at each image in sequence. For reasons that may never be known, the contents of the “Attimi” folder were, it appears, not numbered in sequence. The model is totally nude, but for a pair of stiletto sandals, when the series opens, and appears fully dressed several dozen shots later. A simple error, but it did have an effect on my reaction to the pictorial.

If I rearrange the series, going from fully clothed to totally nude, I think it is much more effective. I have a chance to see Sandy Summers for the first time, as she’d appear on the street – or, in this case, perhaps at a party – and she has the opportunity to demonstrate her stripping and teasing abilities.

Because I had been “cheated” of the opportunity to be introduced to Sandy in “proper” fashion, my initial reaction to this set was somewhat muted. Even after compensating for the error, which was certainly not her fault, I think I can honestly say that her range is somewhat limited. This is exacerbated by the somewhat static nature of Jason Self‘s framing and composition. There is a certain blandness to a shot like #019, for example. Compare that to #021. The poses are similar, but a simple deviation in the oft repeated pose (moving her hands), and getting a little light to bring out the shape of her face results in a much more pleasing shot. In fact, one of the better images here, #043, is technically “flawed” by the presence of a lens flare, but the technical glitch does add a bit of spice.

I’m in the habit of reading a model’s bio after I’ve viewed her series. I like to form as “pure” a reaction as possible, uninfluenced by her statement, or by member comments, tags, etc. And when I read Karolina A.’s bio, after viewing “Academy,” I had a bit of an “ah-ha!” moment.

Throughout the set I found Karolina employing a particular facial expression. There’s a certain set to her lips, the hint of an arch to an eyebrow, and a look in her eyes. And the expression is so distinct, and changes so little, it’s almost like a mask. It is not unpleasant. But that “look” crops up so frequently in “Academy” that those images where she varies from it – either by closing her eyes, opening her mouth, shifting her head, etc. – really stand out. #0103, for example, is quite attention-getting. #0058 is another example. Her face is more relaxed, and the result is a beautiful image of a beautiful model.

In her bio Karolina reveals that she’s an actress. There was my “ah- ha!” Yes, the expression that kept cropping up in the series is very “actressy,” not unappealing, but somewhat less than relaxed and natural.

In her first MetArt series, a stylish confection created in the studio, Daria D. made a powerful and impressive debut. For her follow-up offering, Goncharov has chosen a somewhat gritty, somewhat unlikely location – a rehearsal space cluttered with musical instruments and equipment. Wearing a skintight mini-dress, with a bass guitar slung around her neck, Daria strikes a rock star pose. A tasty beginning.

Daria D. is an exceptionally striking beauty. She’s got full, ripe lips, cheekbones for days, pleasing symmetry, and an altogether exotic type of glamour. Oh, and she’s got a knock-out, bombshell body. Breast fetishists will bow down in reverence to her wonderfully outsized orbs.

She appears with two bass guitars and wearing two different dresses. To my mind, this is the source of a certain weakness. She never, not once, puts the instrument down. And she never appears totally nude. Oh, she’s totally exposed, but never undressed. Perhaps they were rushed for time and had to let the band begin their rehearsal. That might also explain the relative brevity of the series, as it only includes 76 images.

Gripes aside, like a song one can’t get out of one’s mind, Daria D. has completely captured my imagination and I can’t wait for an encore performance!

There is a nearly palpable sense of Latin heat to the star of Leonardo’s “Aventia,” Belinda A. But the model’s ethnic extraction is immaterial to this discussion — we have these photos to evaluate, and the smoke and steam this dark-eyed, bronze-skinned, vixen radiates is undeniably potent.

The “set” consists of a bright yellow seamless backdrop — a color which both flatters the model’s skin tones, while also offering a pleasing contrast to her eyes, hair, sky-high stiletto pumps, and black lingerie. In many of the images Belinda is seated or leaning against a stylish bar stool. With her feet on the floor, or high in the air, the prop supplies a multitude of posing options, and Belinda clearly enjoys experimenting with them.

For pure visual, erotic, and artistic impact, however, I tend to prefer the photos in this series from which the bar stool is absent, leaving the totally nude model to her own impressive devices on the glossy floor. Photo #0099 illustrates my point. Is it my imagination, or is there steam rising from the beautiful body in that relaxed and revealing pose?

MetArt members who are mesmerized by the magic exerted by a pair of magnificently massive mammaries will find a double dose of delight in “Valias,” starring the stupendously shapely Veronika I. This voluptuous lass has body that might just boggle your mind. The fact that she is also extremely fair of face just makes her presentation all the more impressive.

There are a handful of shots in the series that show the model dressed — she appears in the forest, for example, and also in a restaurant. Then she retires to a private parlor and things get markedly more interesting.

The light is soft and indirect here, and the color palate of the set is rich and dark. In this setting Veronica’s amazingly ample curves are showcased to perfection. Many of the images have a vaguely “old time” feel, a vintage pin-up flavor, that is extremely pleasing — #0004 is a good example, and so is #0123. Quantity and quality — beautiful.