Tag Archives: slender

This is a downbeat, moody MetArt erotic photo series. Some of this is due to the style employed by the photographer, but much of it comes from the model’s restrained performance and her haunted expression. And as I worked my way through the set I became haunted by a sense of déjà vu. A brief stroll down memory lane explained the feeling: I had “been here before,” for the very first post on this blog.

Nastya C starred in a Luca Helios set, “Seasons,” that was the subject of my first critique when the MetArt blog was launched back in November 2010. Today, 652 posts later, I sit down to evaluate “Fond,” with Nastya C, and also photographed by Luca Helios. And not much has changed. I have no way of confirming this, but I suspect the two sets were shot at the same time, in different areas of the same location. And while Nastya wears a different dress in each series, her styling is virtually identical. So, two sets, “separated at birth,” or so it seems.

As similar as the two sets are, my reaction to this one is quite unlike my response to the first. While the model is physically appealing, her restrained performance and limited emotional range creates a sense of distance in this pictorial. Even when she manages something approximating a smile, in #043, there’s a certain lack of warmth. In other shots she seems oddly angry (#012) and distracted (#024). I’m not suggesting that Nastya C should be grinning from ear to ear and radiating cheerful joy, but there’s a certain detachment and lack of energy that diminishes her considerable beauty in “Fond.” Maybe she needs to get out of that hotel room and into a more convivial environment?

A chair positioned in front of a wall covered with elaborately draped curtains provides the posing platform for the vast majority of this voluminous (167 image) MetArt erotic photo series. The model, one I have commented on once before, utilizes it quite well, and comes up with an impressive variety of poses and positions on this solitary piece of furniture.

Katy D‘s presentation is somewhat less polished and styled than the previous set I critiqued, but she exhibits a similar emotional range and versatility here. She can look young and innocent, older and wiser, sweet, devilish, playful, and thoughtful — and in a set containing so many photos she explores all of these looks, and then some more.

Considering that this is a model who can project so many looks, Sergey Akion made a clever decision by shooting her on such a confined, compact “stage.” With her slender body and delicate features a model like Katy D might get lost in a more expansive, more complicated set design. Here she’s front and center and the artist can experiment with lighting and composition while Katy experiments with mood and position.

I always welcome these large sets — who among us doesn’t like more of a good thing? — but that’s not to say that this pictorial would suffer with a bit of judicious editing. There are several “bloopers” in this big bunch, and a couple of shots that simply shouldn’t have been included. It is easy enough for the MetArt member to ignore or discard these flawed images, but why include them in the set to begin with?

When it comes to picking favorites in “Vendim,” I like Katy D’s glamour look in #060, and her far away eyes in #074, as well as the painterly quality of #088, the spontaneous smile in #129, and the moody, stylish beauty of #135. What are your thoughts about this set, good, bad, or indifferent? Feel free to share your opinions in the comments, below.

Rather than review the most recently released MetArt HD erotic movie, this week I decided to pick a film, more or less at random, from among the many titles in the MetArt archives. I might have picked a movie featuring a model who is still active on the site, but I deliberately looked for a model who I hadn’t seen before. As a bonus, the director of the film I picked is one I have little experience with. So I get to discover a “new” model and a (more or less) “new” artist.

The movie contains a few pleasant surprises. The first one comes before I’ve even started watching it when I realize that it’s over 18 minutes in length. Compared to the typical MetArt short film, that’s almost an epic! The next surprise comes in the form of Elle B — the moment she appears on screen I know I’ve made an excellent choice.

Much has changed, stylistically and technologically, since “Elle’s First Movie” was released back in early 2007, and I honestly haven’t seen any other MetArt movies that are directly comparable. It is, in its way, a behind-the-scenes movie, in that Volkov essentially films Elle as she moves through a variety of poses. But they are alone in the room, the director is manning the camcorder and there are no still photos being taken simultaneously. However, it does appear that the movie was shot in the same room, most likely on the same day, as Elle’s very first MetArt still gallery.

The film begins with director and actress exchanging a few brief pleasantries. A mere 26 seconds after it begins, Volkov politely asks: “Could you please take off your clothes?” Elle cheerfully complies and she’s totally nude before a minute has elapsed. She then puts on a two-piece outfit and proceeds to pose in it and then out of it for the remainder of the production. This is a lively, cute, sexy, and talented model and she does an excellent job of showing off her body as well as giving us some idea of her appealing personality.

“Elle’s First Movie” has served to introduce me to a beautiful new model and I will be exploring the 29 remaining galleries and films in her portfolio in the immediate future. And it’s also reminded me that, while it’s easy to get distracted by the newest and the latest additions to the site, the MetArt archives are filled with vast quantities of amazing erotic art just waiting to be enjoyed.

It has been a long time — too long! — since I’ve had the pleasure of viewing an Astrud A MetArt erotic photo series. I reviewed her MetArt debut and thoroughly enjoyed it — you’ll find my comments here. The set I’ve just examined is in many ways the opposite of that first set — will Astrud A succeed in such a different setting?

The short answer is “yes.” And that’s as much a tribute to Astrud’s beauty and charm as it is to the artist who crafted both pictorials. When Rylsky shot her first set it was outdoors, with natural light, and Astrud A was nearly nude from the very first shot. Now he’s moved indoors, to a stately, dark, luxurious bedroom with heavy drapes, rich fabrics, and moody shadows. And he’s dressed the winsome and willowy Brazilian beauty in a subtly sexy lingerie ensemble. While Astrud’s MetArt debut was relaxed and natural, in “Perastico” we find her in a far more stylized and formal environment.

The two sets are as different as night and day, and yet they are equally satisfying. Astrud A is gifted not only with physical beauty, but with real emotional depth and a wide expressive range. She does an admirable job of tailoring her mood to the nocturnal feeling and hushed elegance of her setting. But there’s also an undercurrent of giddy unpredictability. She can shift effortlessly from the somber drama of a shot like #021, to the gleeful natural beauty on display in #042 or #062.

Astrud’s natural vitality adds real spark and substance to Rylsky’s moody set design and technical approach to “Perastico.” I get the unmistakable sense that model and artist quite enjoyed their collaboration — there’s no question that I did, as well.

Photography is a wonderful combination of art and technology. And the masters of this medium know how to harness the technology to bring their artistic concepts life. Anyone can point and shoot, but it is a rare individual who can first envision something uniquely beautiful in his mind’s eye and then craft and create it for public exhibition.

Frequent MetArt contributing photographer Rylsky is one of these rare and gifted artists, and this series is a fine demonstration of how art and technical skill can be combined to produce something truly impressive.

Crafted in the studio, “Bolero” is a study in simplicity. But how it was executed was anything but simple! We have a model, and we have an inky, velvety, completely impenetrable black background. The model is beautifully lit and every detail of her body is clearly visible, but there is not a hint of glare, the source of the light is never revealed, and while her extremities may be shrouded in shadow from time to time, she never throws a shadow of her own, the background is simply too deep and dark. The effect isn’t easy to describe, but it is an impressive technical and artistic accomplishment.

As for the model, I commented on her first MetArt erotic photo gallery, which was also shot by Rylsky, and I enjoyed her performance but felt the set was something of a jumble. “Bolero” is anything but a jumble, this is an organic, cohesive, and expertly executed pictorial. And Swan A brings an uninhibited attitude, as well as a lively, varied, and energetic spirit to the proceedings. Unlike the subject of my last post, Swan A uses her face to create dozens of different looks and moods. In three images, chosen at random — #010, #053, and #083 — one gets some sense of the model’s expressive range. Still more notable variety, in terms of expression and pose, can be found in #098, #110, and #120, a truly fine figure study. I don’t know how, exactly, Mr. Rylsky works his artistic magic, but I’m certainly glad he does — “Bolero” is a bravura performance.

With hair that hangs nearly to her waist, a trim and long-limbed physique, and a flawless complexion, Kristel A is certainly a pretty girl. I said as much when I commented on her MetArt debut. But the second time I critiqued one of her pictorials I was disappointed. She was (and is) still quite pretty, but the flaw that marred her performance remains firmly in place in her most recent erotic gallery.

Those first two pictorials were both lensed by Rylsky, and even though they were quite different in style and approach, they were both beautifully executed. “Corasida,” however, places Kristel A in the able hands of Alex Sironi. I am on the record as an admirer of his work, and I’m hopeful he can bring out the best in this model.

Well, he certainly makes a valiant effort! He shoots her clothed, he shoots her nude, he shoots her standing, climbing on the single piece of furniture, and spread out on the floor. Sironi moves in close for delicious explicit close-ups, he throws in shots of fingers, feet, and toes, a headshot here, a portrait there. He puts his camera right down on the floor, he cajoles and coaxes his subject into intricate and abstract poses. But no matter what he does, Kristel A can’t seem to change her facial expression.

It really is vexing. The pretty lips of that pretty mouth seem to be cemented together and locked into a benign semi-smile. After a while it takes on a mask-like quality. So tightly and relentlessly clenched are those lips that I’d bet cash money that she’s struggling to hide a mouthful of orthodontic appliances. Whatever the reason, I only wish Kristel A would grin, frown, stick out her tongue, blow a raspberry — offer something, anything, in the way of an alternative facial expression.

As mentioned, Sironi works considerable stylistic and technical magic with this model. And, despite the mouth thing, Kristel A delivers some particularly interesting poses. Numbers 076, 078, and 079 are variations on one unusual, almost abstract composition. #009 is a classical, painterly topless still life. #126, eyes closed, is a fine, floor-level figure study. There’s some truly skilled modeling on display in “Corasida,” but much of it is marred by the locked look of the model’s lips.

The location Leonardo has employed for this erotic photo gallery is particularly pretty: a glossy marble floor edged by a curved, white stone balustrade, looking out on the deep blue sea and a blue sky decorated with puffy clouds. The colors and shapes of the setting provide a fine backdrop for one of MetArt‘s most popular Top Models.

Divina A, wearing only a filmy, frilly white blouse and a pair of towering high heels is the star on this flattering stage and, as the series progresses, she utilizes much of it to present a pleasing variety of poses. One thing that doesn’t vary much, however, is Divina’s expression — she has a sunny smile on her face throughout the set and one longs for a bit of variation after a while. In #033, for example, crouching down on her heels, wrists crossed between her thighs, her relaxed and candid expression offers a pleasant change of pace.

I wouldn’t dare argue or dispute Divina’s success. She’s a lovely girl and I’ve loved the two photo sets (here and here) I’ve critiqued, as well as a fine MetArt HD erotic movie performance. But here, despite the beauty of the setting, the variety of poses, and the high quality of the photography, there’s something slightly amiss. It’s difficult to define or pin down, but I think it may have something to do with the way Divina A has been styled here, particularly her hair. It seems to me that it’s longer and flatter than in previous sets and that her earlier hairstyle was a bit more flattering. Feel free to file this under “Nits Picked,” however, and if any readers disagree with me I welcome their comments and insight.

While this may not be Divina A’s finest set, it is a Divina A set, and that means there’s still much to be enjoyed in “Protypo.” I particularly like #015, a butt-shot that captures the long-legged and round-rumped perfection of the model’s body as well as the splendor of the setting. I love the smile and the raised left foot pose in #024. And for explicit shots I like the two legs-spread-wide options offered in #049 and #103.

The introductory images in the MetArt erotic photo gallery “Borderline” present the model in casual, sporty, clothes. In some shots she’s holding a spiral bound notebook. She might be a college student between classes. The bulk of the set, however, takes place in a field with fences farm buildings in the background. Perhaps she crossed the “Borderline” between her urban university and the agricultural countryside?

While that suggestion may not make too much sense, neither does the set. There’s a casual, spontaneous, off-the-cuff quality to the entire presentation. But that is not meant in a negative sense. Rather, there’s a certain informality here — the choice of clothes, the locations, the natural light, and the model’s impetuous, playful, jocular manner — that gives the series a larky, light-hearted quality. I imagine Alex Iskan and Malina A. enjoyed themselves while putting “Borderline” together, and the viewer, after the fact, gets to share in that pleasure.

With her blousy top, purple socks, and black and white panties, there’s a thrown together aspect to Malina’s costume here. But it somehow works. It is completely the opposite of a set where every hair is in place, and the model’s outfit is part of a carefully designed visual theme. Here it’s much more of a “Hey, it’s a beautiful day, let’s drive out into the country, you get naked, and I’ll take pictures of you!” proposition. When the photographer’s shadow falls across Malina’s spread legs and boldly exposed body we can’t tell if it’s an accident or deliberate — it’s all just part of the relaxed fun.

Malina A. is very much in on the joke here. She mugs, makes faces, and teases the camera — in #070 she laughs heartily and covers her eyes with a hand. In #051 she eyes the camera with faux impatience. The set certainly has its serious, more thoughtful moments, and in a shot like #084, with the sun on her skin, the wind in her hair, and an intriguing look in her dark eyes, the result is quite beautiful.

When I use the term “highly stylized” while discussing “Vortice” I’m not referring to the art direction, the set decoration, the lighting, or the technical aspects of the photography. Here the stylization applies to the models, specifically their interaction with on another.

In a MetArt gallery featuring a pair of women, any sexual link between them must be implied, and explicit contact is obviously not on the menu. Sometimes the two models have a genuine spark, that intangible something that creates a sense of sexual desire and pleasure. And sometimes that spark is missing, and the series derives it’s value from the beauty of each individual and the compositional and graphical potential of two bodies in the same frame.

The latter is very much the case here. Others may certainly disagree, but I don’t sense much sexual tension or interest between Luiza A. and Penelope D. Both models are pleasing to the eye, however, even if they don’t appeal to one another, and they do make an appealing pairing.

Photographer Catherine makes the most of this, and creates many highly stylized, extremely formal compositions as “Vortice” unfolds.

Luiza A., the darker and leaner of the two, and the more experienced model, is cast in the dominant role in this faux seduction. There is a sequence of shots, as Luiza removes Penelope’s bra — from #023 through #028 — in which Luiza looks directly at the camera to amusing effect. And in #037 that same effect is truly beautiful. The two-head headshots are also very nice, and images like #015 and #016 capture the refined features of these two beauties in a pleasingly stylish manner, even if it is somewhat lacking in steamy sexuality.

I was somewhat slow in warming to this MetArt gallery. There is some inconsistency in the exposures — some over, some under, at least in my entirely fallible estimation — and a certain timidity in the posing that is a bit of a Pasha signature. Added to that, the model is not entirely my type. I in no way intend this as a criticism. Is there a man a live who would feel attracted in identical measure to every single MetArt model? The answer is quite clear.

Ira H. has strong features, and she really is quite striking, even bearing in mind that she is not quite my cup of tea. Her face — her high cheek bones, jaw line, and chin, in particular — is both expressive and sculpturally fascinating. And her trim body – even though we are denied the pleasure of any exceptionally intimate views – is blessed with appealing attributes. Her plump nipples, to name two, really are standouts — and I mean that in both senses of the word.

As I progressed through the set I felt my initial resistance diminishing. The rural setting — the lush green grass, the light of the summer sun easing its way towards the horizon — became more and more evocative with each passing image. Anyone who has taken a drive in the country on a summer afternoon, picked a secluded spot, spread a blanket, and enjoyed a few amorous hours with a beautiful and willing woman will know exactly what I’m speaking of.

The images spanning numbers 060 to 070 illustrate my point. In the first two Ira H. is upright, and the lighting flatters and reveals the contours of her body beautifully. But it’s when she reclines that the true magic happens. No, she’s not precisely my type, but if she said to me what her eyes and body are saying in an image like 062, my answer would be an immediate and emphatic “Yes!”