Tag Archives: see-through

While there are certainly simpler MetArt erotic photo galleries, this offering from prolific contributor Goncharov achieves its strengths by getting back to basics with a minimum of additions and extras.

The artist experiments with two different set-ups in “Exceptie.” In the first, he’s dressed his model, Orvelia O, in one garment — a blue “sweater” knit in a fishnet pattern that leaves absolutely nothing to the imagination. The lighting is soft and indirect, the white floor flows seamlessly into the backdrop, and a tall, white rectangular box serves as a chair or posing aid in some shots. Two of my favorites from this section include the first image, #001, in which Orvelia’s body as well as cheerful demeanor are on full display; and #014, a standing back shot that is a stylish study in simplicity.

In the second section of “Exceptie” the white box is replaced by a heavy, dark, high-backed chair made of stout lengths of what appears to be bamboo. At first Orvelia is wearing the net sweater, but she soon discards it and a long string of pearls becomes her “costume.” This section is, to my eyes, somewhat less coherent than the first, but it does yield many pleasing images. In #102 and #103, for example, using the necklace as the most brief of bikini bottoms, Orvelia O is erotically exposed even though she’s technically covered up.

Orvelia O has a pleasant energy and personality here and I suspect the simplicity of the set design gave her the freedom to experiment with her own style and presentation. I don’t expect that “Exceptie” will bowl many viewers over, but it achieves a pleasing effect with its model’s charm and the basic simplicity of its design.

Although I’ve viewed, enjoyed, and praised the elaborate lighting and set designs employed in many erotic photo sets by prolific MetArt contributor Leonardo in the past, here he offers a simple, stripped-down treatment. The glossy white of the studio floor fades into a diffused white background. The lighting is uniform, with one stray highlight striking the model in just a handful of shots (see #066 for an example). The model is barefoot and dressed in a tight black lace dress in the first section of the series, and then totally nude with the unexpected addition of a pair of high heel sandals in the final images.

Appropriately for this simple setting, Jackie D is subtly styled. Her plump, luscious lips sport a slick, wet-look gloss, and her long, thick hair has a rich, almost damp, luster. Although the dress she’s wearing is essentially sheer, Jackie D still makes a show of taking it off in a prolonged tease — and she displays considerable delight in doing so. This model definitely looks like she’s enjoying herself, and she offers up both highly stylized poses, some seemingly dance-inspired, as well as relaxed, spontaneous expressions that range from gleeful to thoughtful.

“Acerca” isn’t a set that hooked me instantly, but as I browsed through the collection and studied the obvious highlights I developed a finer appreciation both for the photography and for the subject. #015 is a fine showcase for Jackie D’s style, attitude, and that see-through dress. I love her sly expression in #051 as the dress comes off. Standing, with her back to the camera, in #063 we find a beautifully composed figure study. The pose in #093 is certainly stylized, but Jackie’s facial expression is wonderfully spontaneous and natural. Arching in a full bridge in #124 is impressive physically and photographically. And #134 wins with pure, natural, candid simplicity.

While I don’t check the MetArt Top Models ranking terribly often, I can’t honestly recall a time when Anna AJ wasn’t somewhere very close to the top of the list. Indeed, as I write, she’s in the ninth position. Simply put, Anna AJ’s popularity is considerable and I imagine that she’ll remain in her lofty position of honor for the foreseeable future.

This is a somewhat understated bit of filmmaking from prolific craftsman Leonardo. It unfolds at a leisurely pace and the lighting and design is muted without some of his more impressive technical treatments. Day, or at least early evening, does transition to night, something we’ve seen in previous Leonardo creations, but he’s employing a softer touch here than is his custom.

That seems appropriate in view of Anna AJ’s somewhat reserved presence and performance. This is a strikingly beautiful model, and part of her allure, I think, is the way that she maintains an air of mystery and distance. She’s ready and willing to please, but I wouldn’t say she’s eager — I get the sense that Anna AJ does what she wants, how she wants, when she wants. And that’s obviously quite alright with her vast legion of admirers.

Those admirers should have no trouble enjoying “Zucher.” She first appears in a semi-sheer knit dress over erect nipples and not much else. She stands, moving to the music in her mind, revealing this and that quite seductively. When her breasts are bared we’re reminded of just how beautifully sculpted this young woman is. Next she moves to a plastic chaise (something of an odd choice), and after that, at the 3:18 mark, she appears seated behind a bowl of apples at a table. Rolling an apple around her chest also strikes me as odd, but what’s a girl to do — juggle, perhaps?

Night begins to descend in the final minute or so of the film and the sky takes on a beautiful dark blue hue which makes a fine backdrop. We’re also treated to one decent intimate close-up — I can’t be the only one who would have enjoyed more of these — and shortly thereafter the film ends. “Zucher” is certainly a must-see for fans of Anna AJ, and an enjoyable interlude in its own right, but I do think that both director and star are capable of more than they offer here.

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.

My reactions to this MetArt gallery are mixed and contradictory. For instance, I like the way the model looks, but I’m not crazy about how she models. I like the simplicity of the set design, but I don’t much care for how certain elements of it are employed. There is genuine skill and polish to the photography, yet there are some curious, almost comical, compositions and angles. As I said, mixed.

I’ll start at the beginning. In image #001 Adriana F is standing, barefoot, clad only in sheer black panties and a black bra. She’s got long, thick hair in a rich, natural shade of red, a pretty face, a trim, appealing build, and smooth, pale skin. She’s standing next to a low, swooping, white chaise lounge, in front of a wall or windows covered by drapes in pleasant, neutral tones. Her raised right hand is positioned, rather stiffly, on the arching neck of a metal floor lamp. Viewed as separate, discrete elements, there’s nothing wrong — pretty girl, nice lighting, a couple of props. But there’s a subtle lack of harmony.

In number 020, however, hands on her torso, with a relaxed expression on her pretty face, Adriana strikes a more appealing pose. In 028, looking as if she’s preparing to put the metal lampshade on her head and wear it like a hat, I can’t understand what she, or photographer Koenart, are hoping to achieve.

And it’s like that, for me, throughout the entire series. We go from #040, a very nice detail shot of a hand slipping into her panties, to #098, a full nude shot that captures her body beautifully, but which makes it appear as if she’s about to fall off onto the floor. Curious.

When it’s good — I like #110 for Adriana’s expression and the pose which differs from the bulk of the set — it’s good, but “Peridot” doesn’t always hit the mark. Of course, I could be off-target, too. Please share your thoughts in the comments, below.

I arrived unfashionably late to the Jenya D party. I’ve only commented on three of her MetArt erotic galleries (you’ll find those entries here, there, and elsewhere), which is only a tiny fraction of her output — she currently has 111 sets and videos in her portfolio. I never fail to be impressed by her confidence and skill as a model, and her beauty and body are stunning.

But she’s been appearing on the site since 2005, and longtime MetArt members may have fallen in and out of love with her over the span of her career. There was a time, in 2007 through 2009 that Jenya D was a fixture at the top of the Top Models list. But while her popularity may have diminished in recent years, what made her so popular then is still very much in evidence, and “Reprise” is filled with the eye-pleasing proof.

Jenya poses on marble staircase backed by stone-tiled walls. She’s wearing black stiletto pumps and a sheer black body stocking that is particularly flattering to her spectacularly curvy body. As he so often does, Leonardo lights his subject and set to perfection — there’s just enough darkness to create drama and enough light to bring out and emphasize the details. We see this in #068, to cite but one example. Jenya has pulled her garment up around her neck. She arches back, resting her head and shoulders against the wall — the way her frontal aspect is revealed here offers a lesson in anatomical excellence.

Jenya D models up a storm throughout. In a less talented model her performance might verge on “over-doing it,” but here it works splendidly. Let me mention some of my favorite images. #003 and #004, two “fully clothed” shots, both beautifully lit, that showcase that stunning shape. #072 for the pin-up style and her exquisitely sultry expression. #093 for the pose and the refined features of her face. #122, totally nude but for her shoes. And #119 for a radiant, spontaneous, and completely unexpected smile. Spectacular.

Before screening “Throne” I was surprised to discover that this MetArt HD movie presentation boasts a run time of just under four minutes. I don’t know if there are other videos in the archive of similar length, but I do know this is the shortest feature I’ve critiqued. I must say that any concerns this raised evaporated seconds after I’d pressed “play.”

Olga M. is a glamorous beauty with a smoky sensuality that is particularly well suited to motion pictures. She’s a delight in her still series, without a doubt, and if you’re a fan of her pictorials “Throne” is an absolute must-see. In fact, whether you’re familiar with her or not, I can recommend this production without reservation.

Leonardo‘s approach here is beautifully simple and simply beautiful. It begins with Olga M. posing in front of a stone column. Her outfit — stiletto heels, sheer black hose, and a sheer black body stocking — is sexy and incredibly flattering to the model’s lithe figure and dark coloring. And Olga knows how to move that beautiful body. Leonardo’s framing and camera movements create some truly moving images, in every sense of the phrase.

After the upright sequence Olga appears in a chair. Oddly enough, this is not the “Throne” pictured on the movie’s cover, which is an image lifted from an earlier still set, “Graziosa.” While reclining Olga M. smokes a cigarette (at the 2:17 mark), reveals her completely shaven sex (at 2:59), and finally uncovers her stiff-nippled breasts (at 3:05). The pacing of these events approaches perfection.

While there isn’t a dreary image or dull moment in “Throne,” one of the genuine highlights starts at 3:16, when Olga M., with her feet on the ground and her head supported on the chair, forms a graceful bridge. The view across her hips, mons and torso at 3:20 is wondrous.

Short in duration but long on erotic beauty, “Throne” is royally entertaining.

Anita E., making her MetArt debut in Leonardo’s “Presenting,” has a curvy body and an ovoid visage with full, plump cheeks. Her facial structure somehow amplifies the magnitude of her frequent smiles and she projects an extremely cheery demeanor. While Anita has ample opportunity to display her sultry side here, her defining characteristic, to my eyes, is a wholesome, personable, girl-next-doorness.

The set begins outside, and with no small amount of drama. Anita, wearing a semi-transparent tunic and colorful stiletto pumps, is standing against the heavy white balustrade of a marble-floored balcony somewhere high in the hills. Below and behind her, the seashore and the sky. The clouds swirl and the sunlight shifts from shot to shot. This may be the immediate aftermath of a storm, or perhaps a lull between squalls. Anita is bubbly throughout, and nature provides a truly impressive backdrop.

The bulk of the series continues indoors, against a railing of dark hardwood, at the top of a staircase. A muted pattern of stylized stars lights the background. And, in the foreground, the model undresses and reveals her truly beautiful body. There is nothing tentative about this debut, Anita withholds nothing — and Leonardo captures everything with his signature skill. Count me among the charmed.

Politics, religion, and pubic hair. These are the three topics that the etiquette experts advise us not to discuss in order to avoid argument and conflict with business associates or casual acquaintances. And I embrace the rule wholeheartedly. Alina H. is obviously, confidently, and proudly unshaven below the imaginary belt and you may feel free to love it, hate it, or ignore it.

I find two distinct sides to this model. In her towering high heels and with her hair pulled back there is a certain seriousness in her demeanor, a hint of severity. I get the sense that this is a strong, sexual woman, who will not settle for anything less than perfect performance from her admirers. But then, when she lets her hair down and relaxes into a smile there’s an undeniable sweetness, a softness and warmth that is anything but severe or serious.

And her physical structure, her face and body, really is quite striking. Leonardo’s lighting and set decoration — the mirror-finished floor and unusual blue color palate — manages to capture both the soft, ample curvature Alina possesses, while also accentuating her more chiseled, planar aspects. Why let a little hair spoil your enjoyment of all that?

I fervently hope — perhaps “pray” is the called for word — that the name of this series has no literal meaning. If Loreen A. is, in fact, taking her leave and bidding “Adieu” to MetArt there are going to be innumerable inconsolable members — she is a Top Ten Model, and it took many tens of thousands of lofty ratings to elevate her to that status.

But, in the worst possible case, if this is actually Loreen’s swan song, it is an absolute treasure. From #0112, a delightfully involving headshot (that’s it, above), to mouthwatering close-ups of magnificently moist anatomy — #0043 is one glorious example — this series is filled to the very brim with enticing images.

Loreen is a total delight, visually and spiritually. She is flirtatious, filled with fun, seductive, gleeful, teasing, thoughtful, and energetic. Her body is lithe, supremely shapely, a cream-skinned wonderland that the eyes never tire of exploring. And her eyes? Oh, they are glittering azure jewels.

Here’s hoping we’ll all soon be saying “Bonjour” to many more sets as wonderful as “Adieu,” starring Loreen A.