Tag Archives: no panties

My initial reaction to this model and this MetArt erotic gallery, based on a handful of images, was positive. The set design was bright and colorful, Leonardo‘s photography was direct and free of gimmickry, Mary C’s beauty was obvious, and her energy and spirit was quite engaging. In short, I fully expected to enjoy the pictorial and consequently write a glowing evaluation.

But, as I worked my way through “Volico,” several flaws made themselves apparent, two I’ve mentioned in previous reviews, and one that I may have never had occasion to mention.

Mary C has a type of accessible beauty that is easy to appreciate. She has the ability to project a wide range of moods — she does give us a hint of that here. But only a hint. Mary has a habit of holding her face in the same cheerful semi-smile from shot to shot, pose to pose. Additionally, she has some difficulty relaxing her hands that compromises many of her poses (see #031, for one example) and gives them a stiff, unnatural quality.

Both those problems I’ve experienced with other models. But, as I thought about it, I realized that they might be part of a larger problem. And I think it comes down to motivation and purpose. Actors address the issue regularly — “What’s my motivation?” — to give their performances realism. And what is the purpose of this performance?

“Volico,” like all MetArt pictorials, is an erotic photo set. “Erotic: of, relating to, or tending to arouse sexual desire or excitement.” Her purpose here, her motivation, is, on a fundamental level, to arouse sexual desire. And in many of these images, even the most explicit ones, I feel that Mary isn’t quite clear on this point. She poses earnestly, she’s fully engaged, and she isn’t uninhibited physically. I’ll cite just one example. In #088 she couldn’t be more completely exposed. But what is that beautiful face expressing? I couldn’t even venture a guess.

I have never seen any of her other sets, so I will give her the benefit of a doubt. And there are some absolutely beautiful images here — in #132 I love the innocent (and different!) expression; #136 captures the slender perfection of her body (again with a slightly different facial look); and #137, a torso and headshot, has a spontaneity that’s (sadly) missing from much of the series. A girl this beautiful is certainly capable of arousing considerable amounts of sexual desire or excitement. If she gives her motivation and purpose some careful thought, future sets will realize her full potential.

Of course, as always, I could be completely wrong! Please feel free to share your opinions, below.

When I read Liv A.’s bio after viewing this set I wasn’t at all surprised to learn that she studied dance for ten years. Not only does her body have the long, lean lines we associate with dancers — specifically ballet dancers — but she also has a very “dancerly” presentation. In a shot like #032, for example, she uses the railing on a staircase in a way that evokes the barre, although, in this case the barre is on the diagonal.

This creates a bit of a problem for me. Sometimes the effect is quite pleasing. Have a look at #041, shot from behind, with the hem of her peach colored dress raised to reveal her firm, ripe rump. There’s a stylish, formal quality to this image that I like. And #062, kneeling with one leg while the other is on tip-toe, is a truly unique and unusual pose. But, at other times, it seems just the slightest bit contrived and ill suited to the rustic setting.

Liv A. is a happy girl, and her smile is a near constant companion. But, again, the attitude her face is projecting doesn’t always mesh well with her surroundings. Take an image like #093, for example. Here Liv is striking yet another dancer’s pose, and smiling broadly while leaning against a large stack of cordwood. What is she saying here? That she really, really likes firewood? It isn’t always easy to understand or share her enthusiasm.

Mr. Rylsky does manage to shoot his subject in many different spots at this interesting outdoor location, and he includes everything from moody, evocative, fully clothed shots (see #015) to explicit close-ups (see #047). And, on the subject of variety, the final 20 shots in this MetArt gallery appear to be from an entirely different photo shoot, this one indoors, with completely different styling. I find this curious, others may find it a delightful bonus.

There’s nothing too terribly complicated in this series. No elaborate art direction, not much in the way of set design or costuming, nothing too theatrical in the presentation, and all of it captured in workmanlike fashion by Alex Iskan. And that’s exactly why it’s so enjoyable!

This style of presentation allows the model to express herself without undue effort or distraction. In fact, in the few images where Kelly F. attempts an overly dramatic or theatrical pose, the result seems forced, unnatural. I’m thinking, in particular, of #0013 and #0069. They are pretty pictures, don’t misunderstand. But they feel staged and a touch too formal.

Perhaps that formality stands out and draws attention to itself in this series because Kelly has such a wonderfully natural manner – and such completely natural beauty. My favorite shots here just look “real.” Not like journalism or documentary photos, but erotic images that have a “and you are there” quality — we should be so lucky!

Kelly F. radiates a warmth in this series that is quite disarming. She has an ease and joy that is a pleasure to experience. She is beautiful, but I get the sense that she’s a down-to-earth type who enjoys life and is fun to spend time with. She seems approachable, fun, playful, sexy and an all-around pleasure – perhaps that’s what “Aleghias” actually means!

Divina A. made quite a splash with her first series for the site. Shortly after “Presenting Divina” was added to MetArt the membership voted her to the very top of the Top Model category. When I reviewed Divina’s debut in this space I was every bit as impressed as the membership, and ended my review with the request that she appear again soon, and often. Mere weeks later she returns in “Evias,” once more a collaboration with Peter Guzman, and she proves, with ease, that the stunning success of her debut was by no means a fluke!

Here she is wearing a bra, sheer stockings and a lacey garter belt. Even in the initial, somewhat modest poses – modest is a relative term when the model isn’t wearing panties – I can’t help but be struck by Divina’s beauty and lively spirit. And when she wriggles out of her bra I’m once more struck by the delicate perfection of her body. Detailed close-ups of Divina’s inviting intimate bits are plentiful, and in #0050, we’re treated to a particularly artful image of her breasts, and only her breasts.

Trained as a dancer, Divina exhibits impressive flexibility in several images, including a full split in #0034. In #0057, looking up at the camera while kneeling on the floor, her eyes are particularly captivating. And in #0114, a beautiful butt-shot, she smiles, naturally, radiantly, irresistibly. Forgive me for repeating myself, but – more, please, and soon!

If you’re reading this, whether you’re a member of MetArt or a guest, you value beauty. You seek it out. It motivates and inspires you. Even a fleeting glimpse of it is a delight. And to linger over it is one of your greatest pleasures. Well, get ready to linger.

In “Selivis,” photographed by Luca Helios, Chantelle A. is irresistibly, overwhelmingly, jaw-droppingly pretty. And there’s no elaborate art direction, few props, and the only costuming she has is a pair of pumps, a black lace bra, and a necklace. A model this singularly pretty could be cold and standoffish and one wouldn’t mind. But Chantelle A. is neither of those things. I have no doubt she is aware of her beauty and the effect she has on men. But there is a warmth, an approachability, a happiness that she radiates that is undeniable.

I could look at this girl’s face for days, and there are headshots in this collection that are simply masterpieces of photographic art – #0143, for example, or #0086. #0028 is a candid, spontaneous image that captures the model’s warmth, as does #0094. There are scrumptious, explicit close-ups, and even a stunning shot, #0048, of Chantelle’s long hair. Chantelle A.’s leggy, splendidly proportioned body, and an arrestingly beautiful face and spirit, as captured in these artful images, provides a wonderful lesson in the power of pretty.

Apart from the model, of course, choices made while selecting props, colors and lighting are critical to the success (or failure) of a photo series. For this, the MetArt debut of Kayla Louise, photographer Majoly has chosen a scarlet sofa against an orange wall. The simple lines of the couch and the bold colors “pop” even when softly lit, as they are here. And the tonal palette is extremely complementary to the model’s smooth, rich, tawny skin tones.

Kayla brings the ease of a professional to these photos, and she “hits her marks” without the slightest hint of effort. A figure-hugging black and white dress plays a central role, and the hem is quick to rise revealing the pleasing absence of panties. Foot and shoe enthusiasts will no doubt enjoy the strappy high-heels she wears for the set’s entirety, and the smooth, strong, shapely lines of her legs project a powerful and undeniable sensuality — #0108 illustrates my point perfectly.

Wow. I could end this entry with that single, three letter exclamation, and I would have perfectly expressed my reaction to this series starring Anna AJ. But, just as I was compelled to linger and peruse this set at a leisurely pace, I will attempt to explore the stunning beauty of this model and these photographs in greater detail.

Yes, Anna is a jaw-dropping, eye-popping, traffic-stopping honey. Her presentation here has a high fashion gloss masterfully manipulated by lensman Leonardo. But, unlike some similarly stylish photos, the naturalness and humanity — the personality — of the model is never glossed over. The style enhances the content, there is precision and technique in every mechanical aspect of the photography, and yet the warmth of Anna’s luminous beauty is never compromised.

When Leonardo named this set “Deliziosa,” he wasn’t kidding. In fact, he was making an understatement!