Tag Archives: nude debut

MetArt members are a fortunate bunch. Not only do they have unfettered access to the world’s largest collection of erotic photography and thousands of beautiful nude models, they also get to enjoy the hundreds of new images that are added to the site daily, as well as the constant arrival of fresh modeling talent. As much as I love my favorite MetArt girls, there’s something uniquely exciting about discovering a new model — it’s one of the real perks of membership in this unique site. And the subject of this post, a recent new arrival making her MetArt debut, is a very exciting discovery, indeed.

Prolific and popular contributing artist Rylsky once told me that he prefers not to work with girls represented by the local modeling agencies. He did not, however, tell me where he finds his subjects. In the case of his most recent discovery, I don’t need to know where he found her, I’m just glad he did! Zemira A is the type of girl who earns instant and enthusiastic approval. She is absolutely adorable in her sheer pink nightie, but she’s also exceptionally beautiful. She has a bright, girlish charm, but she also exhibits a sultry, mature, sensuality. Her oval face is framed by waves of golden hair and rests on a long, graceful neck. Her breasts are high, round, and in perfect proportion to her shape. Viewed at a distance or in explicit close-up Zemira A delights.

For a (presumably) inexperienced model, Zemira acquits herself quite well here. Rylsky has kept the design and execution of the series rather simple, perhaps to put his model at ease or to allow him to work with her instead of devoting too much attention to technical concerns. One thing that comes as something of a surprise in “Presenting Zemira A” is Zemira’s emotional range. This isn’t at all a theatrical performance, but as the series unfolds she displays an impressive emotional and expressive range — compare the thoughtful mood in #048 with the bright, smiling energy in #049, and you’ll see what I mean (#011 and #012 offer a similar illustration). I love her attitude in #069, towering over the camera, and a shot like #114 packs a genuine erotic punch. To say that I’m eager to see more of Zemira A is an understatement, and I can’t be the only one who feels this way.

New models appear at MetArt with a frequency no other erotic site can match — I never get tired of proudly trumpeting this fact. The vast majority of these newcomers first appear here in still photo sets, however, and it is relatively rare that a new model debuts in a MetArt HD erotic movie. And that’s precisely the case with Lana L in “Itinero.”

I’m always eager to view a new MetArt model, whether in stills or in a movie, but here I was also looking forward to experiencing the work of director Platon Averin. I first learned of Averin in a review written by MetArt member and frequent blog commenter hipshot13. Now I have my chance.

It’s only a matter of moments before I find myself being drawn into “Itinero.” The first couple of minutes find Lana L in a park-like setting, in a stylish outfit. The expression on her face as she reads a text message on her phone intrigues. And when she casually tidies her outfit there’s a very subtle suggestion of reverse striptease. I’m hooked.

Without warning the setting changes. Now Lana is in the lush countryside, wearing only a bright white satin bra and panties. Now the striptease — with a tantalizing extra helping of tease — proceeds in the proper direction. Lana L obviously has some experience in this erotic art, and Averin’s camera knows how to build up our anticipation with each new revelation.

“Itinero” is very much a film, not simply a series of images haphazardly strung together. It doesn’t have much of a narrative or through-line, but there’s no question that it creates a mood and a sense of fantasy. And it makes a fine showcase for first-time MetArt model Lana L. Whether the sun is shining on her curvaceous and bronzed body, or she’s sashaying elegantly along a country road in the nude, she makes a strong impression in her premiere performance.

For her first MetArt erotic photo series Faina B has a minimal number of accessories and adornments. She’s barefoot and a clingy black mini-dress is her only item of clothing. She’s got an ankh on a chain around her neck, and a bunch of yellow long stem roses bound with yellow ribbon. The entire set takes place on a sofa against a wall papered in a striped pattern. There’s plenty of visual interest here, but it’s achieved with relatively few elements.

I’m not entirely happy with all of the choices photographer Albert Varin has made here. The color scheme of the room is too close in value to Faina B’s own cream and blonde coloring, for one. In a few shots where she’s framed against a dark background, as she is in #062, the result is much more flattering. And against the backing wall, with its horizontal chair rail, and the vertical stripe pattern of the wallpaper, he insists on tilting his camera this way and that through much of the set.

But these technical complaints can’t diminish the fact that Faina B is a most welcome addition to MetArt! The set is loaded with intimate anatomical close-ups and explicit poses, so shyness is not an issue for this newcomer. And Faina’s delicate features — both her face and body — are sure to earn her much favorable attention. It’s worth noting that while Faina’s lower half is quickly and completely exposed in the pictorial, we don’t see a topless shot until image #050 — but it’s definitely worth the wait.

As for favorites, I must say that Varin makes up for much of his off-kilter imagery here by delivering nicely composed (and well posed) shot of Faina regarding the lens in #109. I love the horizontal composition of #120, a beautiful headshot. And the key light in #099 brings out the pale fire of Faina’s blonde hair dramatically. I certainly hope there’s more Faina B in MetArt‘s future.

In her debut MetArt gallery Orvelia O is totally nude from start to finish. To her credit, she seems quite at ease in this completely exposed state. And she isn’t at all reluctant to present her most intimate attributes in a selection of revealing close-ups.

Without a costume to strip out of, variety must necessarily be achieved through a diverse selection of poses, the photographer’s choices in terms of composition, and the model’s position in and around the set. As it happens, this is a key to this particular series.

In the first shot, which I quite like, Orvelia is leaning against a stylized column of wood and metal, a bed and a softly glowing lamp occupy the background. Later, in wider shots, we see that the column marks the junction of two sliding panels that can be shut to enclose the bedroom. This may seem like a needlessly detailed description, but it is important.

The first portion of Arkisi‘s pictorial takes place outside the bedroom. While there are flattering, pleasing images among this group — #032, for example, in which Orvelia spreads out on the dark wood floor — the indirect light here isn’t exceptionally flattering. It’s a subtle defect, some might not consider it a defect at all, but when the model moves into the bedroom — either on the bed itself, or on the floor next to it — the lighting is without question far more flattering to Orvelia’s coloring.

I noticed this dramatic shift when I got to #075, and the set gains strength from there until its conclusion. “Nice light” is a term that recurs repeatedly in my notes. #087 is one lovely example (a dreamy and inviting rear view). #095 is a nicely lit headshot. In #118 Orvelia O moves closer to the table lamp which brings out the color of her hair and the beautiful details of her face. #100 is another charmer, as is #119, an expressive and unique headshot. When the light is right this debut delights.

Another day, another new model makes her first appearance at MetArt. Life is good! And the same can be said of the model herself. Cloud A. is unquestionably appealing. Long-limbed, lithe, but not at the expense of alluring curves and a full, shapely bosom. Everything she displays to the camera — and I will have further comments on this in a moment — is inviting and enticing. So far, so good.

The art direction and execution of this series shot by Luca Helios is at best interesting, and at worse curious. Whether the background wall is white, and has been tinted pink through the use of gelled lights, or if it is painted pink, and is bathed in additional pink light I cannot say. But it is pink — and that pink tends to tilt the entire color scheme of the photo set towards the red/pink section of the spectrum.

And, speaking of “tilt,” in the overwhelming majority of images here the camera is tilted one way or the other. One grows accustomed to it after a while, just as a passenger on a ship gets used to sailing on choppy seas, but I can’t help but wonder what these same poses would look like if they were square, plumb, and true.

In #044 we have fine, totally nude introductory image that captures Cloud standing, tall and tempting — and that little smile sweetens it further. There’s a bigger smile in #064, showcasing her breasts as she holds her hair up with both hands. And #066, a headshot with just a tiny glimpse of nipple, even if it does suffer from the pink tint syndrome, is another loveable headshot with a lively, candid feel, and great dimples, too!

Cloud A. is a charming and eye-pleasing model, and I look forward to seeing more of her. And not just more sets, but more of her body — there isn’t a single explicit image, hardly even a suggestion of one, in the entire collection. Next time, I hope.

Prolific MetArt contributor Goncharov appears to have employed the “grab bag” technique while conceiving this pictorial. The costuming and, in particular, the props have a jumbled, disconnected quality.

This creates something of a challenge for first-time MetArt model Semmi A. However, she does her best to make sense of things, and exhibits an undeniable warmth along with an undeniably attractive physique.

In much of the series Semmi A. is wearing a horizontally striped black and white dress. In shots #022 and #023 she’s holding an odd-looking pussycat. Where the animal came from, or where it vanishes too is not made clear. But when she pulls down the neck of the dress to reveal her breasts in #033, there is no mystery at all, and effect is splendid.

The central prop in this series is an old suitcase. In much of the set Semmi is seated on it, and in several she reclines across it. It doesn’t look all that comfortable, but, as the pictorial opens it makes the slightest bit of sense. In those shots, Semmi is fully dressed (although barefoot) and wearing a large off-white hat. Could she be waiting for an imaginary bus in the elaborately lighted studio? Another mystery.

At some point the dress disappears and is replaced by a zip-front bustier. I don’t find the garment, particularly its color, terribly flattering. And its appearance is unexplained, because Semmi clearly wasn’t wearing it under her dress. Perhaps she pulled it out of the suitcase when she put away her cat.

My favorites here are those shots where the clothes are off and the props are minimized or off-camera. #074, shot from behind wearing only the bustier, is nice, as is the totally nude profile, #075. The suitcase performs platform duty in #093, which, despite being a touch “posey” is still a pretty image of this curvy MetArt debutante.

Under the guidance of a competent photographer, a new model’s “newness” is often enough to excite and maintain the viewer’s interest. Although we may have our own favorite models, we are always looking to add to that list, and if a girl has talent and appeal, she can be presented in the most simple manner and manage to satisfy.

But frequent contributor Tony Murano is no mere “competent” photographer. And while he certainly had the option of presenting new model Coco A. in a simple and straight-forward series, he has chosen a particularly stylish and elaborate approach for this pictorial. And it is a spectacular success, on all counts.

The room is dark. Moonlight throws a eerie blue glow through sheer curtains. A lamp casts a mellow glow in a corner, while a row of candles on a shelf flicker and dance on the breeze. Coco, skin glowing, full breasts exposed, sits on the edge of an antique fainting couch. This introductory image drips with dramatic atmosphere, with romance, and no small amount of mystery.

In this theatrical setting Coco A. proceeds to deliver a stunning performance. She disrobes slowly, deliberately. She is expressive, but in a subtle, restrained way — the setting is theatrical, there is no need for her to resort to overblown dramatics. This is an accomplished and impressive debut.

Favorites? More than a few! #0003 (candlelight and angel face); #0015 (full lips and ripe breasts); #0088 (classical, painterly, beauty); and #0119, #0122, #0133, and #0138 (eye-popping, explicit, erotic impact).

If I didn’t know that MetArt newcomer Brandy A. was from Hungary, I might have guessed she was American in origin. She has a wholesome, fresh-scrubbed, girl next door quality that is, to my eyes, very stars and stripes with a slice of apple pie.

Wherever she comes from, she’s a welcome addition to the site. Brandy A. has a bright and bubbly personality and appears to take complete delight in performing for Majoly‘s camera. In some images I think her high spirits almost run away from her — by that I mean her “happy” sometimes overwhelms her “sexy.”

As a result, I find myself gravitating to the moodier shots in this collection. I’m thinking of #0063 and #0087, in which Brandy’s eyes are closed as she strikes a couple of distinctly different yet pleasing poses. And #0066 and #0067 in which she gives the smile a rest and replaces it with expressions far more sensuous and smoky. For pure cuteness, however, it’s hard to beat #0060.

Newcomer Shirley A. makes her first appearance at MetArt not in a still series, but in a HD movie directed by Rylsky. For a young model unfamiliar with such frank displays, Shirley has jumped right into the deep end and, I think, acquits herself quite well.

Shirley isn’t exactly shy – the opening moments of the movie have her seated on a futon, with her legs spread wide revealing her appealingly unshaven privates – but she has a giddy, giggly spirit which may be an effort to conceal her uncertainty.

Rylsky has his camera on a tripod, no shaky, hand-held shooting here. And the solid platform allows a certain formality to the composition and framing of individual shots which is wholly in keeping with the Asian décor of the set.

After removing her sheer white stockings, Shirley spends some time soaking in a tub. In the closing moments she is snuggling in bed. There is some unexpected humor here as unseen hands pull the covers off of the model’s nude body, and this pleasant little vignette ends on a cheerful note.

How many more beautiful, young, nude girls does MetArt need? As many as possible! The constant influx of fresh, young nude models is one of the keys to MetArt’s success and longevity, and it keeps members – and your humble blogger – coming back for more.

One of the newest arrivals here, Lika C., was made to appear at Met. With her striking blue eyes, slender, nubile body, and nearly overwhelming natural cuteness, she’s a pristine picture of youthful beauty. And the rugged, picturesque coastal setting makes a wonderful backdrop for this series. Even the sea can’t keep away from this irresistible nymphet’s charms, as shot #0114 proves.

While I would have enjoyed a couple of more intimate explorations, I fully expect to see those in future sets. Welcome, Lika C. I definitely like what I see, and hope to see more of it soon!