Tag Archives: natural

Two of my favorite shots in “Volere” are from the very end of the series. In #117 Caprice A and Indiana A, both totally nude, stand on a sun-dappled lawn, holding hands. The beauty of their nude and unadorned bodies (no jewelry, no nothing) is on full display and their faces are relaxed and natural. In #120, the very last shot in the set, they’re now walking away from the camera. Caprice shoots the lens a winning smile and Indiana raises her hand and waves. Two simple, pleasing photographs of two very beautiful models.

There’s no questioning the quality of these two delightful subjects. As I write, Caprice A is at the very top of Top Models, reigning supreme at #1. Indiana A’s rank isn’t quite as impressive, but her petite stature and perfect proportions are an excellent fit in this exceedingly pretty pairing.

So, two gorgeous girls, together, in a MetArt erotic pictorial — “Volere” certainly boasts fine ingredients. And yet something is missing. That something is connection. No matter how they position themselves, no matter how hard they try to feign meaningful glances, there’s nothing linking these two girls to each other. They could have been shot individually on the same “set” and created more compelling erotic art. Of course, these are beautiful girls, and I welcome the chance to savor the sight of them, but the lack of connection blunts the effect of the series in my estimation.

Despite the pastoral setting, Luca Helios has chosen a somewhat challenging location. The grass and greenery are appealing, but the light streaming through the trees creates hot spots and there’s no way to work around them. He’s also given each model a large necklace, perhaps for the color they provide, but they seem out of place and the girls look better without them. As for favorites, I love it when Indiana A drops the Sapphic façade and grins broadly in #026. And #048, a double headshot, provides a fine opportunity to compare two different, but extremely beautiful faces. A smattering of explicit shots spice things up, but the heat generated by even a pretend connection is missing from “Volere,” so enjoy it for what it is: pretty pictures of two pretty girls together.

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?

Feminine beauty, even though we recognize it instantly, is extremely difficult to quantify. Make a list of ten physical attributes that define beauty for you and compare it with a friend’s list. Chances are there would be some overlap, but it’s highly unlikely the lists would match. Everybody is different, and everybody has different tastes. And if we move away from the general topic of beauty to attempt and describe what constitutes a sub-category, in this case cuteness, the task becomes even more difficult. Like beauty, cuteness is something far greater than a combination of physical traits. It’s a spirit, an energy, personality, and other appealing intangibles.

But when I opened this debut MetArt erotic gallery I didn’t have to consult my notes or review any lists — Melena A is the very embodiment of cuteness. She’s quite beautiful, strikingly so, but I find her cuteness to be the overriding quality. The sparkle in those dark brown eyes, the smile that so often graces those ripe lips, the slightly mussed hair, and her carefree attitude all express a tempting cuteness I have difficulty resisting. Melena A is so cute, in fact, that I was almost surprised to learn that she’s a 22-year-old — to my eyes her cuteness subtracts 3 or 4 years from that figure.

And while we’re speaking of figures, Melena A happens to be blessed with a particularly fine one. She’s got long, graceful limbs, petite, dark-nippled breasts, exceptionally delicate details, and she’s got a slim waist and full, yet perfectly proportioned, hips. When you combine her physical beauty with her undeniable cuteness the effect is particularly pleasing.

Alex Sironi has a good grasp of Melena’s attributes and potential, and he’s styled the set and dressed her in a way that flatters her while also conveying a bit of her casual charm. She’s barefoot, wearing a sheer blouse, a bracelet and a necklace, and her makeup is subtle and natural. She’s seated on a small wrought iron bench draped with a piece of sheer yellow fabric, and that’s it. This simple arrangement allows the first time MetArt model’s beauty and cuteness to blossom for the lens in “Presenting” Melena A.

I didn’t recall ever seeing Aprilia A prior to viewing this set, and a quick glance at her model gallery explained why. In the first seven MetArt erotic photo sets she appeared in her hair was a deep, dark brown, almost black. And, yes, I had seen her before and was quite struck by her dark-haired, blue-eyed beauty, which I discussed at some length in my critique.

But here, in her eighth series, Aprilia A‘s hair is beautifully, naturally (or so it seems), blonde. While her previous look was indeed striking, I suspect blonde is her natural hair color, and it’s certainly appealing in these photos.

While the model wasn’t immediately familiar, the setting Koenart employs here was. It was shot just outside the front door of a clean-lined house in the contemporary style — the same location Koenart employed to excellent effect in his MetArt HD erotic movie “Invito,” starring Mia Sollis, which I particularly enjoyed.

The “narrative” of “Poteh” is somewhat similar to “Invito,” as well. Aprilia A emerges from the house, a plush blanket wrapped around her body. There’s a morning feel to the set, as there was in “Invito,” and it adds a pleasant, intriguing dimension.

Koenart takes full advantage of the setting and his model. We’re treated to a wide variety of compositions, including lovely headshots (#067), stylish pin-ups (#046), as well as a comprehensive collection of artful detail shots of Aprilia’s butt (#037), her breasts (#028), and her pedal extremities (#095). Explicit anatomical shots are also abundant. To wrap it up we get a handful of shots of Aprilia A, on the street, in casual clothes, and minimal makeup, making “Poteh” as pleasant as it is potent.

It seems like only yesterday — well, it actually was only yesterday — that I discussed a MetArt erotic pictorial that was shot in an absolutely breathtaking location. My assignment for today is to evaluate a set that was photographed in an entirely different outdoor location, with an entirely different result.

From yesterday’s soaring mountaintop with the deep blue sea as backdrop, we’ve descended to the weathered wooden planks of a rustic pier at the edge of a large, muddy pond — or is that small, muddy lake? The sky is slightly overcast and the light somewhat muted. Voluptuous Veronika I, in a not entirely flattering green dress, appears eager and ready to make the most of the location in the first shot, and in the second she gleefully sheds the dress — a significant improvement.

Veronika I, plush and busty in the body, and pretty and cheerful in the face, appears at ease and comfortable as she follows the photographer’s instructions. Not all of Egon Schneider‘s instructions result in superior photos, however. In #029, for example, he has her strike what I imagine he considered an artistic, impressionistic pose, but the result is contrived, even if the model’s body is undeniably beautiful. The two shabby boats in the background also prove irresistible, and having Veronika sit in one of them and play at pulling at a length of rusty chain (#085) is another odd choice.

But Veronika I is more than capable of rising above the less that ideal setting. Indeed, the very best shots in this collection are those in which she reveals her natural, spontaneous side. Whether she’s casually gazing off-camera in #003, jumping for joy in #005, or standing on the prow of a dilapidated dinghy (#076) or disembarking from that crusty craft (#118) her charming energy and splendid body are beautifully captured. In “Spriance” Veronika I makes even this lackluster location look lovely.

As is my habit, I start at the beginning. I open the first image in “Pivoter,” a fully clothed shot, and I smile. Not because the photo makes me happy, but because it’s a funny picture. The model is seated on a plank of wood (we later see that it’s a swing hanging from lengths of stout chain). She’s wearing a pleasant, summery, blue dress, a rustic necklace hangs from her neck, and her hands are loosely clasped in her lap. Her hair is casually messy, as if it was carefully styled and then she took a nap. And her face has a subtle sheen as if the studio air conditioner is broken. Her head is tilted and her expression is relaxed and neutral. And the shot is tilted a few degrees to the right. The feeling here is casual…and curious.

This is my first direct experience of Tamara F, but she has been mentioned on the blog in the past. In that post we published a letter by an enthusiastic member regarding her MetArt debut. The post received a single comment, and I think it’s illuminating. The commenter wrote: “I like her raw beauty, not pretty but very sexy…” I will say that I don’t completely agree with the comment, but I find it interesting. In Tamara’s debut she’s quite nicely styled. In “Pivoter” she doesn’t appear to have been styled at all. Her natural charms are presented in unvarnished form. I think a few minutes in the make-up chair would not have been wasted, others may find the candid presentation pleasing. Tamara F does have the raw beauty the commenter mentions, but I think a touch of make-up helps bring out the pretty I believe she also possesses.

Apart from the styling, or lack of same, “Pivoter” is typical of photographer Alex Sironi‘s style. Simplicity is the rule, there are few distractions, and the emphasis is on the model, as it should be. There are a couple of missteps — that first shot I already mentioned, and #075 in which Tamara pretends to chew one of the chains supporting her swing, for example. Her physical attributes do receive appropriate and artful attention. Her pert breasts and stiff, prominent nipples are suitably showcased — #041 is a fine portrait of her powerful perkiness. The sexy fitness and physicality of Tamara’s body is nicely rendered in #052 and #064. The naughty bits are brazenly and beautifully revealed in #058. And despite the annoying tilt, #100, a back shot, is nicely posed and takes advantage of the simple set.

This is the first time I’ve seen this particular model, but I’m quite familiar with the work of her photographer, Leonardo, so I assume she is in capable hands. This photographer has a particular knack for lighting design, and he has impressed me with his skill and artistry time and again. But after viewing only a handful of images in this series I realize the man is not infallible!

The set design is a chaotic collection of patterns and colors. Black and white striped curtains are flanked by gaudy, outsized floral tapestries. A couch is upholstered in a patchwork parti-colored fabrics. A cut glass table lamp adds a bit more visual clutter, and then odd and unexplained light throws diagonal shadows across the body of the hapless model who must somehow take center stage surrounded by this visual chaos.

Gillian B does her best, but she’s working at a distinct disadvantage. She is a pretty girl, with a curvy body and a winning smile (see #019), but despite her concerted efforts I can never “tune out” the distracting background and devote my full, relaxed attention to her attributes and performance. The sheer blue blouse is sexy, yes, but it’s not nearly dramatic enough to compete with the kaleidoscopic visual assault she must contend with here.

Perhaps “Rander” is a stylized variation on the word “random,” because there’s an arbitrary, haphazard quality to the art direction and execution here. The work of an inexperienced artist? That I’d understand. But from a seasoned and accomplished professional like Leonardo? Well, even the master has an “off day,” or so it seems.

Take Gillian B, in the very same blue blouse, and put her on white sheets on a white bed in a white room — that kind of simplicity would both flatter and showcase this model in simple and effective fashion. Make no mistake, I had a strong reaction to this set. But I do welcome other points of view. Is there something I’ve missed in coming to my conclusions? Please feel free to share your points of view, below.

One of the less obvious pleasures that MetArt provides me are the numerous opportunities to view distant and varied locations. And the fact that these locations are generally not identified or recognizable only adds to their allure. Put an appealing young girl in a shadowy forest, on a windswept dune, or on a country road and the actual geographic location doesn’t matter — I take in the beauty of the subject and scene and my imagination takes flight.

“Actina” perfectly illustrates my point. Indiana A, wearing only a metallic belt around her trim waist and a wisp of sheer yellow fabric (an improvised bikini top), stands barefoot among gnarled conifers. She appears to be on a cliff top or promontory and the still blue waters of a lake or inlet provide a truly picturesque backdrop. Is she a wood nymph, a water sprite, a siren? The combination of the setting and the model’s lively and energetic spirit invites this type of fanciful speculation, and this only adds pleasure and enjoyment to the pictorial as it unfolds.

While I always strive to maintain some sense of objectivity, this model obliterates it. I love this girl! She’s something approaching physical perfection — her complexion, her proportions, her lithe yet shapely physique. And her face is exceptionally attractive, and is made more so by the lively, kittenish spirit that animates it. The plump-lipped pout, those glittering, toying, eyes, her waist-length hair, a subtle spray of freckles across the bridge of her adorable nose. Yeah, I’m a fan of Indiana A.

And it appears that photographer Luca Helios is, too. He uses the rustic, natural setting in wonderful ways that accent the model’s natural, earthy beauty while also imparting an undeniable glamour (see #028 for a wonderful example). As is to be expected in a series in which the model is virtually nude throughout, there are numerous shots of Indiana’s intimate bits, and some impressive figure studies (#048 is one particularly nice one), but I find myself drawn to the exceptional headshots in the collection (#026 is a gem, as is #067, and #090, as well). Then again, #058 is great, I love both smiles in #042, the light on her breasts and the look on her face in #114, and the wild hair and single visible eye adds magic to #117, another headshot.

While I well remember Sophia E’s MetArt debut photo series, I had forgotten that it was also photographer Koenart’s first contribution to the site. In the time that’s passed since that impressive double-debut, the model has added 12 sets to her portfolio, and the artist has compiled a grand total of 108 galleries.

Koenart  shot all of Sophia E’s MetArt pictorials, and he’s taken care to photograph her in a variety of settings with differing presentations. In “Veranta” he takes a natural approach to the design of the series that is particularly suited to the girl-next-door beauty of his subject.

In an image like #062, a headshot, the soft, natural light fully captures the pleasing details of Sophia’s face — notice how the right side of her face is softly defined and highlighted, while the left side is silhouetted against the dark backdrop of her hair. This photo is casual, almost a candid, and yet there’s a subtly controlled artistry evident, as well.

Sophia E has a somewhat subdued mood in much of the set that’s fully in keeping with Koenart’s style and art direction, and that makes several bursts of energy and enthusiasm — her warm smile in #111, for example — all the more notable.

Most of the set has Sophia framed in a doorway — she’s inside, he’s outside the room — but plentiful variety in terms of both poses and compositions is provided. And when the angle is reversed — shooting from inside to outside — the result is quite striking (see #091 and #092). Koenart mixes things up — he shoots from high angles (#059) as well as just off the floor (#068), and full-length figure studies are balanced by detailed, explicit close-ups. “Veranta” proves that a talented photographer needs nothing more than a beautiful subject and natural light to create artful images.

I’ve never seen any work by the MetArt contributor known as Cloud. The artist is a new arrival on the site and only has two sets, including “Kitrino,” in his (or her) portfolio as I write. But based on this set alone I think Cloud will prove to be a valuable addition to the MetArt talent pool.

Cloud exhibits a variety of technical and stylistic strengths in this pictorial. The location, a landscape of large, jagged boulders, is interesting in its own right and provides the model with a variety of platforms and backgrounds to work with. And the colors of the stones mesh pleasingly with the model’s outfit — a simple yellow dress, brown leather sandals, and several pieces of wooden jewelry. Cloud shoots from a distance as well as close up, and displays a knack for composition at any range. It is interesting, considering the artist’s name, that he (or she) has chosen to blow out and slightly overexpose the sky so that any clouds in the atmosphere are rendered invisible.

Interesting setting, plenty of visual style, what of the model? Zlatka A, also a newcomer to MetArt, works well with her surroundings. There isn’t a hint of discomfort visible and she seems perfectly at ease. I like the fact that, when she’s nude, she doesn’t bother with a towel or a cushion while seated on the rocks. Yes, she uses her dress as a seating surface, but it’s natural and spontaneous.

One thing I was struck by as I viewed the set, and then reviewed my notes afterward, was how many fully clothed shots made it to my favorites list. For example, #010, #012, #027, and #030, are all stylish, sexy images. They capture and convey Zlatka’s beauty, and they are beautiful photos in their own right. And when that yellow frock comes off we’re treated to many views of Zlatka’s appealing assets. In “Kitrino” photographer Cloud and his (or her) subject prove themselves to be a skilled team. I look forward to seeing more work from both of them, either together or apart.