Tag Archives: wet

The setting is lush and green, sunlight mixes with cool shadows, and in the background a meandering stream is occasionally visible. Birds are twittering in the high branches and a light breeze is gently ruffling the leaves. Movement, and then sound, catches your attention — you spin to look, and you see her. You freeze in your tracks. You’ve just stumbled into the lair of the forest fox, one of the most alluring creatures nature has to offer.

I hope you’ll forgive me the brief flight of fancy, but the MetArt erotic photo series titled “Glauben” invites and encourages these types of imaginings, and many others, as well. Violla A, totally nude and completely uninhibited, is the fox in question, and her voluptuous beauty and sprightly personality are almost overwhelmingly attractive in this setting. In much of the series she’s positioned on a gnarled, bent tree trunk that’s covered with twisted vines. And she looks completely at home and absolutely comfortable.

The fact that Violla A is so at ease in the rustic location can only have made the photographer’s job easier, and if the model is only half as high-spirited as she appears to be this session must have been a pleasure for Matiss. I do notice a couple of unnecessarily tilted images, and a few shots in which reflected light is perhaps a touch overdone, but the overall look and execution of the pictorial is quite pleasing.

As noted, Violla A is not inhibited, and that’s an understatement. But explicit anatomical detail is just one aspect of this pictorial. There are some simply wonderful headshots — quite a few, in fact, starting at #018 and including #019, #020, and #032, among others. And there are some pleasantly tame figure studies — includng #063, #067, and #081 — that have an almost rustic pin-up quality. Whether she’s thrusting her moist delights at the lens or just reclining thoughtfully on her forest perch, Violla A is utterly charming and powerfully alluring in “Glauben.”

I’ve followed the MetArt careers of models who were demure in their debut galleries, but who grew bolder and more daring with each subsequent appearance. I can also think of a model or two who’s grown more reserved as her portfolio has expanded. Neither of those profiles applies to the star of “Disteso.” Patsy A delivered stunningly explicit poses in her MetArt debut (I blog about it here), and she may be even more uninhibited in this, her second pictorial. And that’s really saying something!

Rylsky shot Patsy A’s debut, and he’s behind the camera here, as well. The artist has a unique insight into the personalities and emotions of his subjects, and I can only imagine how rewarding it must be for him to work with such a confident and uninhibited model. I do take issue with some of his design choices in “Disteso” however. The back wall and floor of the studio are draped with sheer fabric in a rich reddish brown shade, and this is pleasing to the eye and proves versatile as the set unfolds. But the single piece of clothing the model wears – a backless, pink lace mini-dress — clashes with the background and is also slightly out of synch with Patsy A’s personality. Once she’s taken off the dress and moved it out of frame the series is dramatically improved.

I find this model particularly interesting. Patsy A is toned, fit, and graceful, and one senses a strength of personality that fits well with her physical attributes. And the long legs, long arms, long hair, and her overall proportions are extremely appealing. The ever-stiff nipples of her petite breasts and the glory of her femininity both serve to enhance the package. And in addition to all that, we have this confident, proud, eager model who is utterly without inhibition. It’s not something we necessarily expect from a girl next door type, but it is a joy to behold, nevertheless.

Yes, the explicit shots in “Disteso” are my favorites, but other less revealing images also make the list. #015, framed from the waist up, captures Patsy’s lean, toned beauty nicely. #068 may be the most strikingly stylish composition in the collection, a true gem. I also love the one-legged pose of #096 and how the details of her body are so wonderfully rendered.

And then there are the hot, explicit shots. #050, ripe, lush, and enticingly moist. I love the way Patsy thrusts herself at the lens in #045, but what I love even more is how she blossoms in the two shots that follow — what lover of the female flesh could possibly resist? The glistening fingers in #086 add additional impact to the glistening flower. And in #092 we have a dreamy, as well as daring, invitation. Oh, Patsy!

One of the many enjoyable aspects of the MetArt experience is discovering a new model and then having the opportunity to watch her as she adds additional galleries to her portfolio. I enthusiastically blogged about Anita E’s first MetArt erotic photo series, and I enjoyed her in a subsequent MetArt HD erotic movie performance. Today I’m fortunate enough to be reviewing another movie — the 18th appearance by this charming and exceedingly attractive MetArt model.

Based on my previous experiences with Anita E I expected to enjoy “Fortuna,” and after mere seconds my expectations were met. Wearing an orange dress and carrying an umbrella and a straw bag, Anita arrives at a rocky stretch of shoreline. She quickly sets up camp, then drops the dress to reveal her beautiful breasts and shapely body. Before even a minute has passed she’s removed her skimpy bikini bottoms and is totally, gloriously nude.

What follows in this production from director Luca Helios is as simple and enjoyable as a day at the beach. Anita E basks in the sun, splashes in the water, lolls on the pebbly sand, and shares her alluring natural beauty in a naturally beautiful setting.

I suspect that “Fortuna” was shot late in the afternoon — some of the film is the slightest bit dark, but at other times the light imparts a warm glow to Anita E’s skin. Luca’s camera captures the casual and spontaneous action from a pleasing range of angles. Yes, he does get up close for a generous amount of intimate revelations, but he also shoots from a distance allowing us to savor the sight of Anita’s truly beautiful body in motion. This model has a lively spirit and an exceptional body and I doubt I’ll ever get tired of looking at it.

“Fortuna” runs no risk of wearing out its welcome, either — the film’s 6:44 run time may be short, but it’s undeniably sweet. Anita E is a peach, and having the chance to watch her frolic on the beach is sweet, to say the least.

MetArt contributor Rylsky is among the most prolific artists on the roster. He’s so prolific that he recently launched his own eponymous site on the MetArt Network, RylskyArt.com. But this gifted photographer isn’t simply productive, he’s also extremely versatile and is constantly experimenting with new styles and approaches to his projects. Indoor, outdoor, stylized, naturalistic, complex, or simple, Rylsky is always trying something new and different, and here he does just that with a new model.

“Presenting” Patsy A brings to mind two other MetArt photographers. The simple set design and lighting scheme recalls Alex Sironi, and I say that in the most complimentary way. He’s draped a large piece of white, semi-sheer fabric over a low chair and positioned it against a soft, white backdrop — clean and simple. Likewise, he’s dressed Patsy A in just one item — a cream colored crocheted sweater that both conceals and reveals at the same time. But there are also echoes of another erotic stylist here, and that’s Tony Murano. You won’t find the moody, nocturnal, candlelit theatricality Murano so often employs, but the explicit images — and they are abundant — that Rylsky has created here have a similar bold, vivid, almost lurid, quality that fans of Mr. Murano’s work will recognize — and, I expect, thoroughly enjoy.

For a first time model to eagerly pose for so many powerfully erotic and explicit photos speaks both to her confidence and strong sense of self. There are models who will never appear in so many bold and revealing images over the course of a career, so I can only praise Patsy A‘s willingness to commit herself so completely in her erotic photography debut.

You might have guessed that my favorites in this series are explicit images, and you’re at least partially right. Shots like #041 and #042 glisten with erotic energy, for example. And the close-up #114 has a powerful “you are there” quality I relish. But there are demure images, and fine ones, in the collection, as well. There’s a quiet, still beauty in #008, a non-nude. #027, a tame but tempting rear view with an over-the-shoulder glance, is enhanced by the black & white treatment. Patsy A’s graceful, shapely body is beautifully presented in #105. There’s a painterly, dreamy quality to #111. And towards the end of “Presenting,” we find #115, a casual yet confident pose and a simple and effective composition.

Even when fully dressed Dame Wright is an arresting sight. With her blonde hair styled with a bit of 70s flair and her big, dark blue eyes, she definitely captures one’s attention. Dame has a dramatic, stylized, big-screen type of beauty that calls to mind Wonder Woman or a character from Charlie’s Angels. And that quality makes the setting — a small kitchen — seem just a bit curious.

Arkisi has chosen to have Dame reveal her body from bottom to top. In #018 there’s a playful “peek-a-boo” expression on her face as she lifts the hem of her filmy shift to expose her shapely hips and other, clean-shaven areas of interest. We’re also treated to up-close investigations of Dame’s pink and succulent sections early on (see #032 and #046).

Dame Wright isn’t prone to the broad, dramatic gestures or expressions her flashy outward appearance might suggest. There’s a quiet, subtle quality to much of the emotion on display here along with a kittenish cuteness (#043).

As I’ve mentioned, a kitchen seems a somewhat unlikely backdrop for such a glamorous girl, but it’s perhaps a tribute to her looks and talent that Dame Wright pulls it off so well. Even when she gets down on the tile floor — hardly a glamorous or flattering spot — she manages to radiate real film star energy. You can absolutely see it in a floor-bound pin-up like #111, and her facial and bodily beauty are both splendidly captured when she happily performs a shoulder bridge off the tiles in #115 and #116.

This is only Dame Wright’s second MetArt erotic photo gallery, and both of them were shot by Arkisi. My suggestion, humbly offered, is for model and photographer to find a setting that more closely matches Dame’s style and spirit for future sessions — this type of beauty deserves a better backdrop than the simple kitchen of “Calendula.”

When MetArt contributor Tony Murano‘s name is mentioned it calls to mind dark, moody, highly stylized — and often extremely explicit — pictorials painstakingly created in the studio. That’s an apt description of this model’s MetArt debut, which showcased her in high Murano style.

But in “Annysia” the photographer abandons the studio and places the almost shockingly shapely Pammie Lee in a quiet garden surrounded by the natural beauty of flowers and lush foliage. It’s a tribute to the artist’s versatility that even in this natural environment, far from the tricks and techniques available in the studio, the pictorial retains many of the signatures of Murano’s work.

The series falls roughly into two segments. In the first, Pammie Lee is wearing an ecru dress and a dramatic metallic necklace. Perhaps “wearing” isn’t the correct word, however, because the neckline is pulled down to reveal Ms. Lee’s bosom throughout this section. And when the hem of the dress creeps up we’re treated to a generous assortment of up-skirt images.

The panties the Pammie Lee isn’t wearing in the first half of the set make their appearance in the second half. While the “order” of the series may not be completely logical, those lace panties are without question sexy, and the model devotes some time and energy teasing and toying with them, revealing a little or a lot to Murano’s lens.

Those who expect eye-opening explicit images in a Murano-made pictorial will not be disappointed! Tony Murano’s skill at combining artistry with anatomy is matched here by the model’s luscious flesh and her complete willingness to present it for inspection. While she’s completely uninhibited, Pammie Lee does tend to operate in a rather narrow, somewhat restrained emotional range. I certainly wouldn’t mind seeing her break out and let more and different aspects of her personality show, but I’m not complaining — everything she does show in “Annysia” is a pleasure to view.

Do you have six minutes in your schedule to add a bit of enticing and exquisite beauty to your day? If your answer is “no,” you have my sympathy and I urge you to correct your situation as soon as possible. There’s more than a bit of truth to the expression “All work and no play makes John a dull boy,” after all.

But if you do have that brief amount time to spare, I suggest you spend it watching the recently released MetArt HD erotic movie titled “Catharios.” This highly enjoyable short subject packs an abundance of delectable beauty into its brief running time, and it’s filled with eye-pleasing imagery and sweetened by the fun and flirtatious nature of its young and luscious star.

That star, Caprice A, happens to be #1 in the MetArt Top Models rankings as I write these words, and this will come as no surprise to anyone with even a passing familiarity with this stunning young specimen. Facially and bodily Caprice A is truly exceptional, and her many MetArt still photo galleries are filled with evidence proving this point. But in “Catharios” we not only see all her beautiful physical attributes, we also get to experience her personality, and it’s every bit as enticing.

The “story” of director Koenart‘s creation is simple. Dressed in a short and sheer nightie over matching thong panties, a cup of coffee in hand, Caprice heads to the bathroom to perform her morning ritual. The model doesn’t pretend she’s alone, and shoots the first of many friendly, teasing glances at the camera at the 00:11 mark. Off comes the nightie. Then, at 00:53, as her panties come off, the smiles are even more energetic. Only a minute into the picture and I’m hopelessly smitten. That’s the power of a MetArt Top Model in action!

Caprice A then draws a bath, lathers up, rinses off, drinks some coffee — there’s nothing at all remarkable about what she does, but the fact that it’s Caprice doing it makes it extremely engaging entertainment. Notable moments range from revealing explicit close-ups (04:47), to a gleeful little outburst (4:42), and a beautiful moment in which Caprice rests her arms on a window sill and then turns her adorable attention to the camera (05:02).

My suggestion? See “Catharios” as soon as you can, it’s virtually guaranteed to enhance your day.

Due to the appealing power of her personality — and also to the fact that I’ve critiqued no fewer than five of her MetArt offerings — sitting down to view Lorena B in her latest pictorial feels like a welcome reunion with a cherished friend. This model exudes a natural warmth and charm that I find simply irresistible.

Like the another Luca Helios photo set I recently commented on, this one takes place on a scenic stretch of beach, but this time the lensman has his subject positioned in full sunshine, and the difference is dramatic. In “Mare” the rugged beauty of the setting and Lorena B are both fully and naturally illuminated, in a way that, as I mentioned at the time, would have benefited the other seaside series.

Lorena B is a seasoned professional. She is well practiced and confident when she’s in front of the camera. This is both an asset, and to a far lesser degree, a bit of a liability. There are some images in this collection that are a touch too “posey” for my liking. On the other hand, there are dozens of shots that are absolutely spontaneous and sincere, and these captured moments are almost infectiously enjoyable. Have a look at numbers 032, 077, 089, and 092, and see if you don’t agree.

And beautiful, bright, beaming smiles are not the only highlights here. In numbers 058 and 095 we find Lorena B in a somewhat more subdued, slightly mellower mood, and this results in two truly beautiful headshots. And, if I may mention another favorite, I have to single out #076 — I suspect this shot will be employed as a desktop image on countless computers, capturing as it does the natural splendor of the location with the beauty and high spirits of the model. In “Mare” the weather is beautiful, and the water is as warm and inviting as the model.

I have no formal training in the art or technology of photography. I have studied and dabbled in the medium on a strictly casual, amateur level. But I know enough to have abundant respect for those individuals who elevate photography to an art form. There is an immense gulf between simply “taking a picture” and creating something worthy of the descriptor “art.”

Let me add that I consider a major part of my assignment as MetArt blogger in residence to look for the good and praise it. Yet there are those times when I find myself questioning the choices an artist I respect makes with a particular gallery. “Mojave,” by Luca Helios, and starring Margot A, is one such gallery. The model is attractive, even striking in certain respects, and the location in scenic and intriguing. But certain choices Mr. Helios makes here compromise the collection.

Margot A poses on the sand at the edge of a vast lagoon, first in a pink bikini, and then totally nude. The shoreline, water, and landscape visible in the background is bathed in bright sunlight. The plot of sand Margot occupies is in shadow, however, lending a muted quality to the entire set. Without a towel or blanket to pose on Margot is soon covered to one degree or another with sand. Some may find this appealing. But anyone who has had the pleasure of sex on the beach — the act, not the cocktail — will tell you that gritty sand, moist femininity and sexual activity can make for an uncomfortable mix. This may be a personal problem. A little sand can certainly create a sense of place and convey the atmosphere. Here I feel that it “dirties up” the model. Oh, and Luca gets a little crazy with the tilting camera here, as well. With a crisp horizon line in the background how does the off-kilter composition enhance a shot like #056?

Margot A’s face is heavily freckled. I don’t mind this type of complexion, and her face, beautiful blue eyes, and smile are flatteringly framed by long, dark hair. She’s pretty, but with a natural, fit, active appeal. My main complaint is that she’d come across much more effectively if the artist had made some different decisions in the concept and execution of “Mojave.”

Those are my opinions, and you’re welcome to correct, condemn, or corroborate them. Please share your thoughts in the comments, below.

When I see that a MetArt erotic photo gallery was shot by master lensman Leonardo my expectations are high, but this set from the prolific artist isn’t what I expected at all.

“Verus” opens with a clothed shot (including sunglasses) of the model. This is followed by another clothed shot, and another, and still more. Initially I accept and enjoy these introductory images which were shot in some sunny locale and which have a distinct “what I did on my summer vacation” quality. But the clothed shots keep coming, and I begin to wonder if this appealing girl will ever shed a single stitch of her outfit.

Valeria A does, finally, expose her right breast in #048, but subsequent revelations come at a leisurely pace. She teases us with a glimpse of trimmed bush in #057, the first completely topless shot is #066, and she finally appears totally nude in #090. That shot, will revealing little, at least proves that there will be some nudity in this curious collection!

Despite the volume of non-nude images in “Verus,” when Valeria A does finally get naked she is uninhibited and we have several chances to view what she’s been withholding for so much of the set. The nude photos occur at the beach and in the water and the reddish color of the sand makes a nice, flattering backdrop to the model’s long auburn hair and pale skin. #068, a topless shot, with the model backed by blue water, captures a quiet, beautiful moment. I also like #110, with Valeria on her back at the water’s edge, eyes closed, hands in her hair — a nice figure study. And #123 (a tightly framed variation on #110) captures a moment of ecstasy that is a pleasure to behold.

There are absolutely gems to be found in “Verus,” but I do think it leans a bit too far in the direction of a young couple’s vacation snapshots collection.