Tag Archives: trimmed

I’ve viewed the star of this MetArt gallery in several other pictorials on this site as well as a set I reviewed on the SexArt blog. As anyone who knows of Milena D will most certainly agree, she is a beguiling beauty, and her position in the upper reaches of MetArt‘s Top Model rankings — she’s currently #18 — comes as no surprise.

Any fan of Milena D can’t help but be familiar with the work of Erik Latika — the artist shot all but 3 of the 32 galleries in the model’s MetArt portfolio. Although Latika does work with other models, at this point it appears that Milena D works exclusively with him. This is something of a mixed blessing. The long-term association allows model and artist to refine and perfect their collaboration. But there are times when I get the feeling the pair are sharing an inside joke and the photos can suffer as a result. In one of their sets props were a significant problem, and that may be possible in “Ignite,” as well.

There is only one prop in “Ignite,” a Yamaha motorcycle, and this seems an odd choice. While Milena D’s costume — black boots, leather mini, and a corset — has the appropriate “biker babe” flavor, that flavor seems just slightly out of place on this particular site. To atone for this, or perhaps simply to confuse the viewer, the final 19 shots in the set feature an entirely different seaside location, different costume, and different style. I find this odd, but perhaps this oddness is simply one facet of Latika’s aesthetic.

There are some obvious underexposures, owing, perhaps, to the numerous puffy clouds scudding by overhead. And those clouds have a beauty all their own in a shot like #019 where the background has an almost painted look. Milena D is as cute as ever in a shot like #041, and she’s a bit silly in an image like #074, but when artist and model get it right, as they do in #115, the bottomless beauty and her bad motor scooter make (almost) perfect sense.

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.

Now is probably as good a time as any to remind my readers that the opinions expressed in my posts are entirely my own. I evaluate each MetArt erotic photo series based on my visceral reactions to it, my personal aesthetic preferences, and my taste, mood, and temperament at the time of writing. All of this is to say I strive to give an honest evaluation of a set based on my personal observations and opinion. You may disagree — that’s sort of the whole point. I welcome any and all opinions, whether they correspond with mine or not.

So, knowing full well that countless MetArt members may consider Nella A to be a sweet angel, I find her predominant trait to be quite devilish. While she can undeniably project sweetness, this is not her natural state. In this pictorial she radiates raw sexuality. She may be wearing lingerie in a virginal shade of white, but there is nothing at all virginal about her presentation or attitude in these photos.

I’m tempted to use words like “hard” or “severe” to describe Nella A. She definitely has a frank, animal appeal. And I also think her overtly sexual, provocative attitude here is underscored by her hairstyle, which brings to mind (to my mind, anyway) Bettie Page. Her piercings — tongue and navel — do nothing to soften her image. And the way she’s styled her eyebrows also contributes something sultry and suggestive. While some models put one in a romantic mood, Nella brings to mind nothing short of raw lust.

As a result, my favorite shots in “Opus” are the unashamedly explicit, blatantly sexual, and completely uninhibited images, and there are many to be found among the 164 photos Tim Fox has provided. In #087, although her face is in soft focus in the background, the flesh in the foreground ensures that Nella’s message comes across lusty, loudly, and clearly.

There are times in “Opus” when things go a bit too far. Things get a touch too dramatic in #072 as she faux-struggles with her panties, for example. And the panty-chewing in #077 seems similarly over the top. She’s certainly cute in #151, but I much prefer what she’s offering in #107: raw sex and a lewd attitude.

The MetArt model roster boasts an embarrassment of riches. The variety is truly staggering, and the range of types is breathtaking. If you hunger for a polished, high style beauty with some supermodel flavor, you might begin with Anna AJ. If you prefer a more voluptuous woman, with an emphasis on generously proportioned breasts, Sofi A. makes a splendid start, but she is just one of many shapely, bountifully gifted MetArt models. And if you value slender, youthful, vibrant, adorable, unquestionably cute nymphets I direct your attention to Landysh A.

The first time I saw her I subtitled my review “cute, cute, cute…” Limiting myself to just three cutes was an exercise in self-control. Whether it’s her slim, curvy, perfectly proportioned body, her warm, youthful, energetic, and engaging personality, or her flawless facial beauty, this is one extremely attractive girl. But her predominant, overriding trait is pure, natural, cuteness. If you’re unclear on my meaning, simply have a look at her latest set, “Suzette,” and full understanding will soon follow.

Photographer Egon Schneider — quite wisely, I think – employs a direct, natural style to this series. At first he has his subject in a summery little dress, but she’s quickly rid of it. The setting, a commercial boat at its mooring, is interesting, honest, with ample opportunities for varied set-ups and poses, but it is not glamorous or contrived. Landysh is immediately at ease and appears to enjoy every second of the experience.

My emphasis on the model’s cuteness isn’t intended to diminish her other qualities — Landysh A. presents a complex, multi-facetted personality in “Suzette.” Landysh is, by turns, thoughtful, seductive, playful, casual and relaxed, stylish, flirtatious, direct, silly, and engaging. But, no matter what mood or emotion she’s projecting at a given moment, her cuteness never wanes. If cuteness floats your boat, get ready for an extremely enjoyable voyage.

This might not seem like an obvious photo opportunity. It could be a corner of a rustic tavern, perhaps one frequented by lumberjacks. There is a tall table surrounded by stools. And these furnishings are crafted of large logs, stripped of their bark, and burnished to a warm, natural glow. Somehow, with her long hair, slender build, and refined beauty, I can more easily imagine Dominika A. in a sleek, modern setting, or outdoors in a meadow or by the sea. So, there is something somewhat odd about the location, but the model’s beauty and appeal more than overcomes this disadvantage.

In fact, the log furnishings and wood paneling of the room possess a warmth that is quite flattering to Dominika’s coloring. And the model, in her high heels, floral mini-dress (or is that just a blouse standing in for a mini-dress?), and bracelets (one of which later does duty as an anklet), is nothing if not attractive, even in this incongruous setting.

This experienced and eye-pleasing MetArt model works well with photographer Luca Helios. She’s at ease here, relaxed, and her smiles are frequent and genuine.

In terms of favorites, I do like the very first image, #001, for those mile-long legs. #110, a fully nude shot, illustrates how well the texture and color of the setting flatters Dominika’s coloring. #072 is a beautiful, natural, and moody headshot. And who can resist the smile on the model’s face in #106 as she reveals her intimate architecture?

The first time I saw this model, and the work of this photographer, I was quite impressed. Now, not even two months later, my initial impressions have been confirmed. It is possible that even that brief span of time has made Liza J. even more beautiful. Look at #003, a fully clothed shot, for but one example.

And Egon Schneider‘s style and technique in “Fattoria” expands upon the strengths I noted earlier, particularly his handling of natural light. Image #101 is a perfect illustration of Schneider’s mastery of lighting.

Let me say that I quite like “Fattoria,” but I do have a couple of problems with it, or rather the choice of props. For much of the set Liza J. is standing on a rough-hewn ladder leaning against the wall of a structure built of logs. Her perch is somewhat awkward, but the coloring of the background is flattering in the natural light, and Liza is so appealing I can’t complain. But then she picks up the ax. She is cute, make no mistake, as she brandishes the tool, but this moment of silliness is a mood-breaker and a distraction.

Thankfully, the ax is put aside quickly. But then she picks up a rusty hand saw. There are a couple of shots of Liza pretending to cut the ladder she’s standing on, and these are silly enough. But additional shots — including one in which she gleefully pretends to lick the blade — are simply lame. Surely there must be a better way to convey Liza J.’s playful, carefree nature.

But those few false steps, as misplaced as they are, don’t manage to spoil what is, overall, an enjoyable gallery. Beautiful model, yes. Warm, natural light, yes. Silly props, no.

I’m not exactly certain how I feel about “Lavico,” the latest addition to MetArt’s HD movie collection. This production is unlike any other I’ve reviewed and it really is something of a curiosity.

It opens on a stretch of oceanfront. At some distance a long-haired young woman walks slowly, her white dress fluttering in the wind. The sky is leaden, the natural light dim, a storm appears to be impending. Then, without warning, we’re indoors. A girl — at this point we can’t be certain it’s the beach wanderer — wearing a floppy hat and an oversized T-shirt is cheerfully eating lunch, she waves at the camera. Next, again without warning, we watch a girl in a black dress walking along a promenade, the sun shines brightly, tourists sit with their baggage, palm trees in the background suggest this might be Spain. Another cut and our female friend is seated at a dinner table having an amiable and animated conversation while smoking a cigarette — she even addresses the camera, but I am unable to translate her comments.

We return to the dark beach. The girl removes her dress to reveal a splendid body, but the camera remains at a distance. She throws her dress to the winds. A female assistant scurries into the frame chasing the garment.

Now we’re on a brightly sunlit beach, islands dot the horizon. Now our star is wearing sunglasses and an orange bathrobe. The camera remains at a distance, the robe remains closed.

There is something disjointed and jumbled in this presentation. It really is a hodgepodge. The footage on the dark beach is appealing, if overly dark. And Indiana A. is both beautiful and charming. I would very much like to have a closer, well-lighted, view of her, but it is not to be, at least not in “Lavico.” The companion photo series, “Magazine,” also by Luca Helios, features only the dark beach setting, and it does offer a just a bit more detail.

And still, even after giving it some considered thought, I’m not sure how I feel about “Lavico.” Please feel free to share your impressions in the comments, below.

This MetArt gallery took a while to grow on me. In the very first image Peaches A. is seated, totally nude, on the edge of a bathtub. So far, so good. But there is something particularly off-putting about her facial expression. She almost looks startled, but there is no sense of erotic subtext – no voyeuristic undertone to add a forbidden sexual spark to the implied intrusion.

But, as “Mannica” unfolds, Peaches A. manages to relax. And what better place to relax than a warm (one presumes) bath? In the early images in the collection it’s almost as if she’s struggling to find her rhythm. Her expressions are mixed, lacking emotional focus, and in some instances, slightly forced. But the water works its magic and the pleasing images eventually begin to flow.

I particularly like the composition Ken Tavos employs in a shot like #010. It’s difficult to describe, but I’ll try. Peaches, hand on head, looks off-camera while reclining in the bath. One of her feet, slightly out of focus, is in the foreground, her leg at an odd but relaxed angle. There’s a surprising harmony in the hard surfaces — the gridlines of the tiles and the curvilinear shape of the white porcelain — and the warm skin tones of the model. Hard to describe, but easy to appreciate.

Peaches has a splendid body, and #029, seated on the rim of the tub, looking off-camera again, her round hips, delicate waist, and delicious breasts (all that skin glistening with moisture) presents it quite nicely. Shots #047, 049, and 055 make interesting use of the waterline to bisect her partially submerged frame. The heat does get turned up quite a bit as the set progresses, and you’ll find steamy, suggestive poses like #075, and explicit extreme close-ups — count the water droplets in #079.

This is only Malina A.’s third contribution to MetArt, and her first movie. I recall being impressed by her first appearance in a MetArt gallery, and voiced my enthusiasm in a post that can be found here.

“Spielen” is her third session with Alex Iskan, but this time the photographer is capturing her on video, and I welcome the opportunity to view her in motion.

Simplicity is the rule of the day, and beyond a mirror and a white shirt-dress (or is that a dress shirt?) there is not much here in the way of props or costuming. There is style, however. In a room devoid of furniture the windows become a dynamic backdrop and Iskan’s use of light is unquestionably deft.

There is not much of the way in action, but there is Malina, and that is certainly enough to sustain interest. This young model has a playful, pixieish quality to her personality that is a pleasure to experience. Watch her apply lipstick, and then kiss the mirror (at 1:48) and you’ll understand exactly what I mean.

Malina’s long-limbed body is a delight, and the changing light as she moves flatters it and reveals subtle contours that still photos can’t quite capture. A bit more emphasis on close ups of that moving body — and I mean that in both senses of the phrase — would certainly be welcome, however.

A quick question for MetArt members: What is your favorite MetArt movie? Please feel free to share your choice (or choices) in the comments, below.

The very first image in this set really captured my attention, and that is not always the case. Lusi A., wearing only a pair of heels and a white chef’s apron, stands at a kitchen counter, adjusting the flame under a kettle. It’s quite the stylish and enticing domestic tableaux, and one of my favorite images in this collection.

Shot at some distance, Lusi A. becomes a figure in an interior landscape. The composition of the opening image is clean and pleasing. The model tends to the task at hand, seemingly unaware of the camera. Although only her long limbs and the side of one of her breasts are exposed, the suggestion that she’s nude underneath her functional garment adds a subtly titillating element.

That naturalism, the almost candid quality of the introductory image, is largely absent from the remainder of the set, and I think that’s a shame. Lusi is attractive, without question, and it’s a pleasure to view her, but some of the poses here — particularly when she’s standing on the countertop in those lofty heels and pretending to perform some unidentifiable task – make me long for something a bit more realistic.

The upright and level framing of the first shot also gives way to what I consider excessive use of off-kilter angles and oddly tilted images. It may be that lensman Leocont is striving a bit too hard to achieve an “artistic” effect. It may also be that he has completely succeeded and it is I, your faithful scribe, who fails to appreciate it. Still and all, one of the tilty images, #061, is another of my favorites, along with #060, a plumb and true rendering of Lusi’s legs, ass, and her inviting in-between bits.