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Wow. I could stop there and be satisfied that I’d accurately and concisely conveyed my reaction to this MetArt erotic gallery. But this model is so impressive, and the photography is so skillful, that I will elaborate.

The magic begins at the very beginning — image #001. It’s a headshot and Margita Lesna calmly gazes at the camera with her big, dark blue eyes. The lighting is subdued, the room behind her shadowy, her beauty truly luminous. Yes, this photo, in its restrained way, elicits a “wow” from me. But at this point I have no idea how many more wows are still in store.

There is a logic to Arkisi‘s pacing through the series, but it doesn’t waste any time getting explicit or drawing out the tease unnecessarily. By #015 we’re treated to a luscious close-up of Margita’s femininity framed by the fingers of both hands — yes, another wow-inducing image.

There’s much, much more in the way of eye-popping erotic imagery in “Diffusio,” but the impact of this set comes as much from its beauty as from its steamy and inviting sexuality. The lighting, the relaxed atmosphere in this particular bedroom, the costuming (fishnet hose and little else), styling, art direction, all these elements work in rare harmony.

Margita Lesna’s beauty is absolutely wow-worthy. Her gorgeous face is framed by a luxurious mane of long wavy hair — in #035, #036, and #037 it plays a starring role. And this model’s lips, full, plump and luscious are also notable. But then, so much of her is. In shot after shot I find myself murmuring…wow.

Tasteful pin-ups, a varied selection of headshots, steamy explicit poses, and all captured with a smooth, understated style. Arkisi’s “Diffusio” starring Margita Lesna skillfully showcases a gloriously gorgeous and glamorous model.

Several commenters have voiced their approval of those MetArt erotic photo sets that feature a selection of images of the model fully clothed — not in costume, but in street clothes. I wholeheartedly agree, and that’s precisely how Rylsky has chosen to begin this series.

In the first image Chandra A, wearing flip-flops and a summery peasant dress, leans against a carved post and smiles at the camera. From this moment I am completely charmed. But, as I soon discover, Chandra and Rylsky are just warming up. In the first 13 images in “Volunt,” Chandra A is irresistibly engaging. Her expressions are subtly, and naturally, varied, her smiles are warm, and her beauty undeniable. As a bonus, she even treats us to an unexpected up-skirt view. Notice how her expressions change from #008 through #013 while she’s seated on a bench — and the series is only just beginning!

After she moves inside — to a wooden staircase in what I can only call a log cabin — the sandals come off and, after some delightful posing, the dress does, too. With her long limbs, petite breasts, sun-bronzed skin (complete with tan-lines), and short, dark, wavy hair Chandra A is a visual confection. To enhance the package her gorgeous smile and big, beautiful, blue eyes seem to be having a contest to see which facial feature can draw the most attention. Truly, this young woman has a wonderful, bright, lively energy that really comes across in these photos.

Chandra A’s abundant charm and arresting physical beauty and natural ease in front of the camera are enhanced by a complete lack of inhibition. I get the sense that Chandra A is enjoying every single minute of this experience. The explicit images are mouthwatering. The coy moments are delightful. The variety of expressions, the various smiles, the light and energy in those eyes — it’s simply mesmerizing. “Volunt” is only Chandra A’s third MetArt gallery — I sincerely hope she appears in many more, and very soon!

I’ve critiqued several MetArt erotic photo galleries featuring blue-eyed models with dark hair in recent months and the combination never fails to capture my attention and elicit favorable comments from readers. I was struck by Angel E’s appearance when I reviewed an earlier set of hers and it’s interesting to revisit this model. I think she’s a little bit skinnier here than before. She may be getting a touch too thin, but that’s only my personal preference, and her long-limbed and elegant body is still very appealing. And as she’s gained experience I think Angel has become a more confident and accomplished model — she’s able to mix things up in terms of pose, position, and expression much more effectively here.

This series is somewhat less polished that the earlier one, however, and the color scheme and lighting that Luca Helios employs isn’t quite as flattering to Angel E as it might be. And, while I’m complaining, this is the second Helios set I’ve looked at recently in which the soles of the model’s feet are dirty (see #042). There may be those who find soiled soles stimulating, but in a studio shoot I can’t imagine it would have taken too much additional effort to make those tootsies a bit more camera-ready.

This is a fairly simple set. Angel E briefly wears a blue fabric wrap, and she poses on and next to a curvy chaise in front of a dark patterned backdrop. Helios includes a generous assortment of explicit images, which are always welcome in my estimation, but my favorites in the collection are those that focus on the model’s face and expression. In #013 and #014, two full-body standing shots, Angel E displays skill, grace, and a delightful energy, and #019 moves in closer to highlight her face and eyes. If you prefer slim, dark-haired, blue-eyed models I can be reasonably certain you’ll enjoy “Positivo.”

When it comes to women in general, and MetArt models in particular, I like to think I have catholic tastes. I have my opinions and my personal preferences, but I don’t really “run to a type” or have too many rules or regulations in terms of what I like. But I realize that others do. For some a tattoo is a deal-breaker, for others it might be big breasts, for somebody else flat-chested girls might be a turn-off. Hair, specifically the pubic and axillary varieties, is another polarizing topic. Some are aroused by a hirsute female, others repulsed. The clean-shaven style has never been more popular than it is now, and this makes the unshaven model stand out like, well, a lush, luxurious bush in the middle of a barren desert. Which, by no coincidence, brings us to “Logio.”

The star of this MetArt erotic pictorial, Karen A, is proudly and profoundly furry. Both armpits host fuzzy patches and south of the border, front and back, she sports a thick, dark pelt. Some will love the look, others will not. I’ve been spoiled by the seemingly endless parade of barbered beauties at MetArt and elsewhere, and I wouldn’t mind seeing Karen A with no hair there sometime, but I must say that this girl has a charm and allure that is more than worthy of your attentions — don’t let that bush blind you to her considerable talent.

This is the first Karl Sirmi series I’ve viewed — it’s only his third MetArt contribution — but I’m favorably impressed with his style and technique. Although the model is a girl-next-door type she’s a hot one, and Sirmi has put her in a bedroom setting that allows her to tease and tempt us quite effectively. There’s a dreamy, sexy, steamy undercurrent in much of the set, and whether Karen’s eyes are closed (#018), seductively heavy-lidded (#024), or wide open (#030) she radiates intriguing energy. Two favorites, which couldn’t be less alike, include #020, Sirmi’s wonderful figure study, and #110, where Karen A raises her ass high off the mattress and smiles spontaneously and invitingly.

My thoughts? Fur-lovers will love it. Bald-boosters, well, not so much. But I urge you to look past the curls and check out the girl: this petite, slender vixen has quite a lot to offer.

I’m not sure, exactly, if it’s what is sometimes known as “the elephant in the room,” but there’s a large, eye-catching, bright red structure in the distant background of most of these photos. And it’s not part of the series, it’s not a graphic or stylistic element in the pictorial. Unlike a series of a girl on a bridge, for example, or at the seaside where the structure or the landscape is a primary component In each composition, this bright red architectural object is just there. In those shots where the structure isn’t shown, it isn’t missed. But in the majority it’s there, looming, and distracting from what is otherwise a pleasing series. Odd.

This is Nedda A’s second MetArt erotic gallery, and the first time I’ve seen her. She’s got a strong, pretty face, ripe lips, a thick head of shoulder-length auburn hair, and a trim, appealing body. She also boasts a luxuriant bush, which either enhances or detracts from her dramatic intimate architecture, depending on one’s personal preference.

I can’t decide if the red paint on that structure in the background complements or clashes with Nedda’s coloring and her orange dress. Here immediate setting, a lush thicket of dark green shrubs and trees and a carpet of grass, is flattering, however, and Nedda A is at ease and delightfully uninhibited in this location.

As for favorites, I have more than a few. I like #014 for Nedda’s pretty face and the quality of the afternoon light, and #015 — a standing up-skirt rearview as she teasingly lifts the hem of her dress — is certainly eye-catching (despite that scarlet arch in the deep background). The arch is absent from #085 allowing us to appreciate her delicately sculpted body and the natural setting. I love the energy and the expression in #020. And #115, totally nude and reclining in the grass, presents a natural beauty in the beauty of nature. As a bonus, the set concludes with several shots of Nedda in the city, in street clothes. She’s a doll, alright, and her smile in #138 is truly winning.

Did the red arch in “Paroch” diminish your enjoyment of this set? Did it add to your appreciation? Does anybody know what or where it is? I’d be curious to know.

MetArt contributing photographer Arkisi has chosen a particularly striking location for this erotic pictorial. It’s a small, flat area high on a mountainside. If he pans to his right a lush, gnarled conifer blocks the view. But when he swings his camera to the left we see a vast expanse of azure ocean and the coastline, far below. It’s a setting that is both dramatic and versatile. And an unseen element, the gusting coastal breeze, adds further drama when it plays, quite vigorously, with the model’s long, dark hair.

Nichole A is the maiden on this mountain, and she seems at home and at ease in the rustic setting. She stands, barefoot, on a soft carpet of pine needles, her sole piece of clothing a floral print sarong that rides low on her slim hips and flutters prettily in the wind. When the skirt comes off it does double duty, providing a comfortable place to recline and relax.

Perhaps it’s the setting, and it may have something to do with Nichole’s appearance and attitude, but there’s a suggestion, the merest hint, of classical mythology in these images. She’s not a siren on a wave-splashed rock, luring mariners to their doom. And she’s not a wood nymph doing whatever it is that wood nymphs do, but there’s a bit of inexplicable flavor that makes “Pefko” particularly enjoyable.

Of course, it doesn’t hurt that Nichole A is as expressive as she is physically appealing. There’s real depth here, and as her expressions change from image to image one thing remains consistent: Nichole’s relaxed sincerity. Although she strikes a multitude of interesting poses, her emotions are never put-on, stiff or false-seeming.

As mentioned, the wind figures prominently in many of these photos and it contributes energy and spontaneity to three of my favorite shots, #005, #009, and #015. Although it’s rather modest, in #002 we can clearly see the thoughtful beauty of the model and the natural splendor of the location. #020, a rear three-quarter view, showcases Nichole’s slender, elegant build. There’s an earthy/arty drama to #093, and I love the easy, natural smile in #073. “Pefko” is packed with particularly pleasing pictures.

The first impression. The thrill of discovery. That very first glimpse of a fresh face. If you have an eye for and an interest in feminine beauty, there are few experiences to compare with setting eyes on a beautiful girl for the very first time. I believe this is central to the success of MetArt, because no other site can match seemingly endless parade of new erotic models, year in and year out! We all have our cherished favorites, to be sure, but what MetArt member doesn’t look forward to the arrival of new models in the galleries?

Which brings us, conveniently, to Iwia A. Under the guidance of Luca Helios this dark-eyed beauty performs admirably in her first appearance at MetArt. Her styling and presentation are natural and understated, and the bright white lingerie set she’s wearing flatters both her figure and her coloring and complexion. Likewise, the style of the room and the lighting is natural and comfortable. And, apart from the slightest hint of stiffness in her hands, Iwia appears to be comfortable whether clothed or completely, explicitly exposed.

While Helios does suffer from a bit of Lost Horizon Syndrome — the dreaded tilting camera disease — off-kilter shots don’t out-number the plumb and level compositions, and he includes everything from full-length portraits, to some beautiful headshots (#045 and #049 in particular) as well as close-up details of feet and other enticing anatomical attractions.

There’s not a great deal of drama here, but Iwia A has a pleasing energy to go with her appealing appearance. It’s hardly a blockbuster, dramatic debut, but “Presenting” Iwia A certainly provides an enjoyable introduction.

There’s something about the furnishings of the room and the style of the model’s costume in “Dexiosi” that brings to mind a saloon in the Old West. Perhaps she’s a waitress in a sporting house on a lawless frontier that’s been subtly updated. Whether others get the same impression isn’t precisely my point, let’s just say that, between the girl and the setting, there’s plenty of visual interest in this MetArt erotic gallery.

Toned, trim in the torso, long limbed, and with her dark hair and darker eyes, Gracy Taylor is every bit the “cool drink of water.” Her pink and black lace lingerie ensemble, complete with garters and black stockings, definitely has a theatrical flair, but I think taking it all off makes a distinct improvement. After she’s fully disrobed a shot like #033, totally nude, standing, with her arms up and hands behind her head, the lines, shapes and contours of her sleek physique can be fully appreciated.

The rough and rustic shape of an exposed brick wall adds graphic as well as sculptural interest to the set Luca Helios has styled here. And several antique chairs, lacquered to a high, modern gloss provide options in terms of placement and pose (and also help create the atmosphere of a dark and stylish tavern). Lighting strikes a pleasing balance between mood, clarity, and artistry — see #016 for one sassy sample.

My ordering advice in this imaginary roadhouse? #030, topless, with hair temptingly tousled. #060 and #061 for a pair of shots of intimate spots. #075 hands down, literally, and for the facial expression. And #116, where that shapely body and the various design and lighting elements all come together.

This is my first exposure to the work of MetArt contributing photographer Elxian. Indeed, before I received this assignment I’d never even seen his (or, I suppose, her) name before. So a new artist to experience, always an enticing prospect.

While I’ve never seen any of Elxian’s work, I have critiqued two photo sets featuring Ralina A. previously (those posts are located here and here, for the curious among you).

So. New artist (to me, at least). And cute, sexy model. That’s a promising combination — will “Odeur” deliver on that promise?

In some ways, yes. But, disappointingly, in other ways the answer can only be no.

Ralina is as cute as ever. And here she’s taken the unexpected step of bleaching her dark hair an almost Monroeian shade of blonde. The color and hairstyle have a playful, and I think pleasant, retro/costume feel. I’d probably say I prefer her with her natural shade, but in this setting it’s somehow appropriate.

The setting is a lavishly furnished bedroom. As the movie begins Ralina enters wearing a fluffy white terrycloth robe. She quickly sheds the garment and spends the balance of the production lolling on the bed in her beguiling birthday suit. The only prop she’s been provided is a single, long-stemmed, white rose.

As appealing, sexy, and engaging as Ralina A. is, she is faced with a challenge: maintaining motion and viewer interest over nearly ten minutes of running time. And she has to do that while retaining some spontaneity and logic for her behavior and actions. I’m not sure if she has entirely succeeded, although I hesitate to blame her.

I think if Mr. (or, I suppose, Ms.) Elxian had been a bit more dynamic with the camera, and perhaps a bit more adventurous with the direction, “Odeur” might have been a bit more engaging. The lighting, while appropriate to an actual bedroom, is somewhat dim and the details of the model’s body are not always revealed with the clarity that body invites. Additionally, with so little in the way of “story arc,” and with such an uninhibited subject, I think “Odeur” would have certainly benefited with more emphasis on explicit anatomical close-ups of the intimate variety. For example, simply look at the cover shot — more images like that, of the moving type, would have made “Odeur” a far more moving movie. That’s what I think. Please feel free to share your impressions in the comments, below.

An old piano is the central prop in this MetArt erotic photo series. The well-used instrument contributes dark visual mass, and a makes a versatile platform for posing on or against. It also contrasts pleasingly with the clean, polished design of photographer Ivan Harrin‘s set —  a chair and a potted tree are the only other items placed on a glossy white floor before a subtly textured white background.

So, the non-model ingredients are pleasing. What about the girl?

Angel E. really is quite striking. With her slim build, and long, thick, dark hair and bangs running straight across her brow line, this model has a distinct high fashion flavor. And the combination of her sparkling blue eyes against a creamy complexion is a personal favorite.

I have two minor complaints with Angel’s performance. This girl has a subtle, intriguing smile. My complaint is that she doesn’t share it nearly enough! In #070, standing temptingly tall on her tip-toes, she gives us a taste of it, but I, for one, would like to see much, much more. My second gripe is that Angel has habit of tilting her head to her left. In one photo, or a dozen, this wouldn’t be notable. But it seems to be her default position, and it gets repetitious. Those shots where she tilts her head in the opposite direction are rare, and really stand out.

Angel E. is totally nude from beginning to end, and is pleasingly at ease revealing all. The high gloss floor and some creative poses combine to create some exceptional and interesting images — see #006 and #009 for two examples.

“Lunettar” has wonderful moments and all of the individual elements that might result in a stellar series. But I can’t help but feel that it would be vastly improved if beautiful and talented Angel E. loosened up and performed with a bit more spontaneity.