Tag Archives: sheer hosiery

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.

“Timilis” starts on a distinctly curious note. A beautiful, raven-haired model, wearing a risqué black outfit, is seated in a kitchen, pretending to stir the invisible contents of a frying pan with a wooden spatula. She smiles warmly and looks directly at the camera. The lighting suggests it is late at night – it is hard to image that the subject, styled and dressed as she is, has risen in the pre-dawn hours to prepare herself an imaginary omelet for breakfast.

There are certain glaring incongruities present in that first image, but as the set progresses they are not diminished or resolved. Why is Dana E. dressed in an outfit more appropriate for a stripper or porn star? And even if we can accommodate the outfit, what is she doing in a kitchen? And who’s idea was it to mime the act of cooking invisible food? Is there a less erotically appealing prop than a shopworn spatula (see #112)? We may find our answers to those three questions in #115 – it’s possible something is getting lost in translation from Dana’s native Hungarian, but the smirk she is wearing in this image speaks volumes. And what it says is: “This spatula is a pretty lame prop.”

Dana E. is, without question, a very beautiful young woman. And Majoly does capture her in a range of poses. While there is nothing too terribly explicit here, we do get to see much of Dana’s shapely body in some detail. She never completely removes her garment, however, it’s always wrapped around her mid-section. Was this an aesthetic/artistic choice, or is something being deliberately concealed?

Distractions aside, Dana E. is intriguing and appealing, and I look forward to exploring her other MetArt galleries. But, at least to my sensibilities, “Timilis” is a curious creation.

This debut set — the first MetArt appearance for Patrizia A. — falls into two distinct segments. It opens in the dressing room. Fully clothed, the model relaxes with a cup of coffee, peruses a magazine, and tends to her hair and make-up. Of these initial images my favorite might be #0010. Shot in profile, with a hank of her long hair combed down in front of her face, we get a sense that this is a dedicated model who takes her job seriously, and we also get a hint of the beauty of the body she will soon be revealing to us.

The bulk of the set is a stylized, formal studio shooting that stands in stark contrast to the casual quality of the opening shots. Wearing white stockings and a lacy white garter belt, Patrizia A. stands on a light blue seamless backdrop, her sole prop a clear umbrella.

Of the umbrella shots, #0047 is an excellent example. It provides a flattering, full length view of the model’s slim and shapely body, and the stylized nature of Dolce‘s concept and composition is fully realized. I must also mention #0069. This is a simple headshot, it almost has a passport photo quality, but the beauty and clarity of Patrizia’s pale blue eyes is anything but simple.

A wall-hung mirror is the central prop in this series photographed by Nikonoff (not to be confused with Canonov or Leicawitz). It’s a popular trick and for good reason – including two views from different angles more than doubles the visual interest in an image.

The doll undergoing the doubling here is Zoe C. Despite the “fancy” lingerie, there is a certain unembellished, natural, girl-next-door quality to this model. Her physical charms are many and undeniable, but whether it is the art direction or something in her attitude, I don’t get much of an erotic sensation from the pictorial. With a bit of color and a touch of “glam” I have no doubt that Zoe C. could achieve great things. Indeed, one of the standout shots here, #0114, is one in which she’s flipped her hair to one side to achieve an entirely different look.

I’m sure the leg, foot, and lingerie admirers will find much to enjoy here, and #0077, a shot of Zoe, from behind, on tiptoe, caught my eye for those very reasons. What did you like (or dislike) about this set? Feel free to share your thoughts in the comments.

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.

Creating a photo series is a collaborative endeavor. Ideally, at least, a model and photographer form a team, working together towards a common goal, feeding off of each other, inspiring each other to create the best possible result. In Rylsky’s “Simas,” starring Yuta A., we find a perfect example of such a partnership.

The model is new, this is only her second set. Mr. Rylsky is a veteran, a seasoned pro with a sprawling portfolio. And when they work together the results are extremely satisfying.

Here we have amazing variety. There are shots outdoors, on the snowy streets, where Yuta is bundled up but undeniably beautiful. These contrast mightily with the rest of the set, shot indoors, against an inky black backdrop. Here she is wearing a white blouse, white lace panties, and yellow, sheer-to-toe stockings. The lighting is masterful. It throws the delicious contours of Yuta’s body into bold relief, and in some images creates a sense of weightlessness. There are headshots, figure studies, exquisite close-ups. There is drama, there is comedy, there is meditation, and there is arousal and seduction.

A few — only a few — of my favorites are: #0027, 0028, 0039, 0048, and 0074. I invite you to name your favorites, in the comments, below.

My dictionary defines the word as: “pretty or attractive, esp. in a lively, wholesome, or dainty way.” And I define it as: Alina F., the eye-pleasing, libido-teasing star of “Romantica,” by Antonio Clemens.

There is something about that face, framed by that hair, and the look in those eyes — I can’t help but smile when I study her pixieish expressions. And I can’t restrain my heart rate when I peruse the delicate curves of her slender physique. Alina simply “does it” for me in a way that I can’t adequately explain and which is impossible to deny.

Take a look at image #0062, in which Alina is peeling a sheer, white stocking from her right foot. Oh, look at all she’s exposing — how could you resist? Examine the composition of the photo, the lighting. But, after all that, look at that face!

Cute? Oh, you’d better believe it!

An old friend of my mine used to say, when discussing the irresistible sexual power of a gorgeous girl: “Short hairs can pull a train.” He was quite right, of course. And, although Nastya E. has shaved off all of her “short hairs,” she has a huge reservoir of high-potency erotic appeal. What man could resist any request spoken by those sweet lips, or even a silent plea from those big, dark eyes?

Oh yes, Nastya is a genuine confection, a honey-sweet sample of red-tressed, youthful beauty. Her hand-filling breasts are the very definition of pert, and her nipples are erect throughout the series, sending a tantalizing message of their own.

Ingret’s photos capture the model in a nice variety of poses, expressions and moods. I found the shots using the mirror to double the impact quite effective. The choice of lingerie — a frilly garter belt and a pair of crimson, sheer-to-toe, stockings — complements the model’s coloring, and will no doubt add some extra sizzle for the leg and foot lovers in the audience.

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!”