Tag Archives: pale pink

Some MetArt models are chameleons. Put them into a scene or situation and they can instantly mold their expression to match the setting. Others are open books. They don’t attempt to hide their feelings, no matter where they are or what is going on around them, and their expressions are entirely spontaneous and sincere. And there are those models who, by temperament or calculation, choose to restrain their emotions and withhold those facial and physical signals that inform us as to their thoughts and feelings.

Kalina B. belongs very much in this last group. She projects an extremely narrow range of emotions in “Beviz,” and it is nearly impossible to guess what she is thinking or feeling. Yes, she does deviate from her “poker face” several times. She treats us to a smile in perhaps half a dozen images — she even appears to be laughing in #091. But, overall, this young woman is very, very difficult to “read.”

This is not a bad thing – far from it. The more I tried to decipher and determine her mood or emotion, the more complex and intriguing I found her to be. In #069, a headshot framed from just below her breasts, I can’t tell if she’s pensive, angry, impatient, frustrated, thoughtful, or simply relaxed. She could be any of those things. What is so intriguing is how she “plays hard to get” with her feelings.

When I turn my attention from the model’s interior life to Paromov‘s photos of her, I find much to like. #021, with its soft, pastel tones and lighting, has the feeling and composition of a painting. #070, hugging a pillow and raising her ass, has a subtle erotic glamour, and #074 continues in that vein with the addition of a pleasing, dreamlike quality.

I know what I’m thinking while I study Kalina B.’s beautiful body — I only wish she’d give a few more clues as to what’s going on in that pretty head.

A single pink rose is the primary prop employed in “Concede,” although Peggy A.’s lingerie also figures prominently in this Ron Offlin series. Some of the rose shots seem a little forced, but when it works, it works extremely well. In shots #0074 and 0075 the flower adds a vivid burst of color to images that are already striking in their own right.

It takes the model some time to work her way out of her bra, panties and fishnet stockings, but the prolonged tease is a pleasure to endure, and the viewer’s patience is rewarded with an abundance of beautifully composed, evocative and romantic images, along with explicit close-ups that provide intimate eyefuls.

Peggy A. appears to be fully involved in her portrayal here, and she brings a moody, yearning, hunger to many of the images. Those few times when she breaks character, in #0092, for example, provide a welcome respite, I must “Concede.”

As I savored the visual flavors of Domenic Mayer’s “Wonder,” starring Denisa B., I found myself contemplating the colors of set and subject. Here the room and its furnishings play an exceedingly minor role. There is a bed, it’s true, but the white sheets function more as a blank canvas against which the model’s striking colors and tones — hair, skin, and eyes, in particular — are emphasized.

Denisa spends a long time lounging around in various positions, some stylized and posed, others more informal and relaxed. Clearly, both the model and her photographer understand the importance of tease, and the progression from lingerie-clad to nearly nude (her sheer, black thigh-highs remain throughout) is drawn out most effectively.

The model’s red hair and smooth, pale, creamy skin are a natural and mutually flattering combination, and her particularly pale nipples and other vividly pink bits are additional highlights of Denisa’s coloring. The term “mouthwatering” seems particularly apt. Wouldn’t you agree?

In this post’s title I refer to the primary piece of furniture Alexandra D. heats up with her splendid body, I don’t mean to apply the sports metaphor of a player who never gets into the game. Indeed, based on her first MetArt appearance, it appears that this rookie has a bright future.

The set opens with Alexandra, dressed for brisk weather, in boots, a heavy coat, and carrying an umbrella. From the earliest images she projects a bright, bubbly enthusiasm that rarely flags during the course of the series.

Moving indoors, Alexandra takes to the bench and proceeds to rid herself of clothing. As garments come off anticipation builds — that heavy coat was concealing a seriously impressive body! The model appears to delight in sharing her beauty with the camera, she smiles with joy throughout. In fact, her smile is so constant that the few shots where she isn’t smiling are particularly striking (I’m thinking, for example, of #0099). And in #0084 she reclines at full length on the bench and her abundant gifts are artfully displayed.

We first meet Carine B. — in her first appearance at MetArt — as she relaxes in bed. Sipping from a cup of tea, her hair wrapped in a fluffy white towel, and wearing only a monogrammed robe, she looks as if she’s enjoying a stay at a luxurious hotel. The robe and towel are soon dispensed with, and we can take a detailed and leisurely look at this inviting newcomer.

Carine projects a light-hearted spirit, and her brown eyes have an engaging sparkle and depth. Her nipples are particularly pale, to the point where, at a bit of distance, they are almost indistinguishable from the rest of her breasts. Additionally, in terms of coloring, she still has a bit of visible tan-line — modesty may have dictated a bikini, at least the bottom half, during last summer’s beach season. In this bed, however, Carine is mercifully free of modesty, she shares her body eagerly, openly, and without reservation. And Ron Offlin’s lens, after the rather coy introductory images, moves in close for an extensive and explicit exploration of Carine’s many enticing intimacies.

I certainly hope Carine has hung out the “Do Not Disturb” sign, because moments like these should never be interrupted!

The model, the location, the style, lighting and photography in this set are all of exceptionally fine quality. Anastasia F., making her second appearance at MetArt, is a treat — pale, creamy skin, flowing hair, petite breasts with plump nipples, beautiful blue eyes, fine facial features, and an animated spirit. And she’s posing in the middle of a sprawling field of spring flowers under a bright blue sky on a glorious day. The series really does have a lot going for it.

Early on, a couple of shots really caught my fancy: #0033 and #0039 are close-cropped headshots that distill Anastasia’s arresting beauty. And #0053, posing with a single flower, is a portrait of a young woman at the peak of her considerable beauty. Hypnotic.

But, as I progressed through the set, I developed the sense that something was missing. I kept waiting for it, for even a glimpse of it, but it never appeared. I never saw it because Anastasia never showed it, or because photographer Dolce chose not to photograph it.

Do you like this set the way it is? Or would it be improved with more “it” in it?

If you’ve ever wondered what the term “bedroom eyes” meant, wonder no more. Just eyeball virtually any photo in this collection and you’ll understand the concept perfectly. The seductive and inviting look in Marina’s eyes is mesmerizing, but she possesses many additional assets and Ron Offlin has a frank and forthright manner of catching them with his camera.

Marina H. is no mere slip of a girl. She has curves. She has a sensational shape. And her coloring — the rich deep, dark brown of her long hair, and the eye-catching pinkness of her nipples — is dramatic. So is what is revealed when the model brazenly parts her thighs to show off her sex. That last sentence really needs a “!” at the end — you’ll understand when you’ve had a look at the particular shots I’m referring to.

The set’s title, “Schitterend,” had me baffled, but I’m given to understand that it means “Shining,” in Dutch. And it is certainly a shining example of erotic portraiture.

In my personal life, as well as my blogging life, I don’t “run to a type.” I’m not a leg man, an ass man or a tit man. I find many different types of women pleasing, not just blondes, not just redheads, not just short ones, tall ones, skinny or voluptuous ones. Part of this must be chemical, something in my genetic makeup. But, from a practical standpoint, it also opens up the field — the more women you’re attracted to, the more opportunities you have to enjoy them! If you only like tall blondes with one green eye and one blue one, extremely large natural breasts, who wear a size 6.5 shoe, more power to you! But you’ve chosen a type that is in extremely limited supply. As I said, I like all types — and Anita C. is one of the types I like the most!

Shall we consider her many assets? Photographer Dolce certainly has! That pale, smooth, creamy skin glows in the unobtrusive lighting here. And the pink bits, nipples, lips, etc., provide a pleasing contrast. That almost-auburn hair is lush and luxurious. And those eyes — a man could get lost in them. But beyond her physical charms, Anita is a model with a very “versatile” face — she’s got a lot of extremely pleasing looks, and seems to delight in sharing them with the lens.

Do you think Anita’s body is as versatile as her face? The answer can only be: “Totally!”