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“Cambio” starring Josephine — a fascination with feet and fingers…

Josephine: Cambio, by Rylsky, nude pix, toes, feet, and fingers featuredI’m not tasked with critiquing sets photographed by the erotic stylist Rylsky as often as I once was, so it’s nice to have the opportunity to discuss one of his more recent galleries, “Cambio.”

The first shot in the series catches me off guard. It’s not a headshot of raven-haired Josephine. Nor is it a clothed, full-body shot of the type many Metart contributors start their pictorials off with. No, it’s a detail shot, a close-up of the model’s feet and fingers. Unexpected? Certainly. Thought-provoking? Absolutely. An intriguing and off-beat way to introduce a model? To be sure! As I explore the set further I soon discover that Josephine possesses abundant physical beauty, but that extremities-centric intro image sets the tone for “Cambio” and those toes, feet, fingers, and hands play an out-sized role in this erotic photo collection. The foot-fetishists in the audience are going to love “Cambio,” I suspect, but the collection’s charms will appeal to the casual viewer, as well.

This is only Josephine‘s second appearance in a Metart erotic photo set. She’s confident and uninhibited, two qualities that certainly help when she’s only been given a shirt as her costume. Even as Rylsky moves Josephine through a range of poses, she remains in a somewhat narrow emotional range. She has a very pretty face, with exceptionally beautiful eyes — a headshot, #086 captures them particularly well — but I believe that if she “let her hair down” emotionally, she could be far more expressive. Still, there’s something intriguing about her restraint.

After I’ve viewed the entire set I read Josephine’s bio in which she declares: “I am very shy.” Those words may seem unlikely coming from a young woman who has posed nude for explicit erotic photos, but it makes sense, and helps explain certain inscrutable aspects of Josephine’s presentation. I, for one, am delighted that Josephine has chosen to address her shyness by sharing her beauty and body with Metart and the world!

I’ll conclude by calling out a selection of my favorite photographs in “Cambio.” #002 for cuteness, with a hint of the heat yet to come. The series of shots between #042 and #045 of Josephine’s feet and hands. The painterly composition of #090 and #092, with the model’s eyes averted. The four shots from #098 through #101, all of which capture the beauty of the model’s body. And #114, a topless shot in which Josephine treats us to a subtle little smile, a highlight of the collection.

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“Ekeini” starring Victoriya A — a variable, versatile vixen…

Victoriya A: Ekeini, by Egon Schneider, young girl/very hairy pussyI must admit, it took a while for this Metart gallery — and this model — to grow on me. This has happened to me enough in the past that I now welcome this initial reaction, because it most often means that I’ll end up with a deeper appreciation for the series — and its subject — once I’ve come to fully understand it.

The setting — a bedroom or perhaps a luxe hotel room — is pleasant enough, with a neutral color scheme. Egon Schneider‘s approach is direct and free of drama or frills — no fancy lighting, no experimental technique, just well-crafted photography.

The model, Victoriya A, first struck me as simply a young, girl next door type. This initial impression — or, truthfully, this misjudgment — was the biggest (self-inflicted) obstacle to my full appreciation of “Ekeini.” Yes, Victoriya can appear to be a typical, 19-year-old girl next door. But that’s just one look of many this model is capable of. And the more I looked, the more I began to realize just how variable her expression and appearance can be. Victoriya A has a real gift for projecting a wide variety of moods and emotions. She’s a young innocent one moment, and the next she’s a sultry, seasoned siren.

As I marveled at each chameleonic shift in Victoriya A‘s on-camera personality, I finally came to understand what a rich, varied, engaging, and entertaining performance this is. And Schneider’s workmanlike style never overpowers his subject, indeed the subtlety of his approach lets Victoriya’s beauty and ability blossom over the course of a particularly generous 143 images.

I don’t care much for the costume, but that doesn’t matter — it comes off quickly and returns for a handful of playful images at the end of the set. Once Victoriya is nude we enjoy as she experiments with poses, attitudes, and emotions. She’s thoughtful (#009 or #046), she’s warmly seductive (#074), she’s confident and composed (#075), and she’s irresistibly cute (#069) — sexy, alluring, sultry, playful, the list goes on.

Schneider gets complete coverage. We’re provided with sensitive, moody headshots, formal poses and compositions, and many explicit images. Not only do we get to experience the variable personality of this versatile vixen in “Ekeini,” we also savor her physical attributes in comprehensive detail. A very satisfying effort by model and artist, alike.

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“Calathe,” starring Gillian B — breaking barriers, beautifully…

Gillian B: Calanthe, by Flora, Metart HD erotic movieWhenever Metart‘s collection of HD erotic movies is mentioned — either on this blog or in member comments — controversy is quick to follow. Some members object to the so-called “behind the scenes” movies (filmed over the photographer’s shoulder during a still shoot). Others mention the lack of action, or plot, or explicit imagery, or a general lack of creativity and inspiration on the part of the filmmaker.

Metart‘s creative team is well aware of the challenges the format presents. They’ve issued new standards to the directors of their films, strongly discouraging behind the scenes style productions. Although I have been less than impressed by some of the Metart films I’ve viewed, I still think the genre — short, stylish, narrative-free, soft-core erotica — has real potential. And I’ve critiqued several films that were of remarkable quality, genuine works of erotic art. I’ve just added “Calathe” to my personal favorites list — if you’ve been disappointed by Metart‘s films in the past, this one is going to make you a believer.

Director Flora is quickly distinguishing herself as a master of the Metart short film formula. The concept, art direction, cinematography, editing, and thoughtful style she employs in “Calathe” are very much in the Metart mold, but she also explores the boundaries of the genre. How explicit is too explicit for Metart? Flora — and her beautiful, shapely, and uninhibited star, Gillian B — address that question by pushing the limits of the soft-core genre. In the process they break through some barriers, and they do it beautifully and with maximum impact.

Gillian B, wearing a bright green lingerie ensemble and red heels sits on a couch in a room decorated in a retro-mod style. From the beginning she radiates a warm, playful, seductive attitude. It’s not at all forced, and it’s completely engaging. She reveals her breasts with a flourish, and, in a tightly framed portrait of perfection, teases her nipples.

Throughout the film Flora periodically cuts to black, creating a visual pause, then returning to the scene. And as that scene progresses, and Gillian removes her panties, those pauses allow the viewer to catch his breath — this is a hot, explicit, and highly erotic film!

Gillian, a sly smile never far from her luscious lips, tiptoes — or should I say “tipfingers”? — right up to the edge of outright masturbation. She strokes the soft skin surrounding her sex, then she pets, strokes, and plays her hands seductively across the open, pouting, glistening petals of her femininity.

Moving from the sofa, on her knees, legs spread, back to the camera, Gillian B continues her eye-opening/eye-pleasing display. The explicit detail is a torrid treat, Gillian’s performance an enticing, pulse-elevating exercise in seduction. With “Calathe,” Flora and her glorious star set a new standard for Metart short film excellence, and they do it with skill, finesse, beauty, sensuality and by breaking barriers, beautifully.

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“Peraisin” starring Colleen A — subtle charms of a young and delicate doll…

Colleen A: Peraisin, by Albert Varin, 18-year-old babe in hot nude pixDewy, fresh, and succulently nubile, Colleen A’s second Metart erotic photo gallery, “Peraisin,” is an understated and enticing showcase of this 18-year-old model’s charm and beauty. Petite, sweet and gentle in demeanor, with big, moody, blue eyes, and soft features, Colleen A delivers an understated, somewhat restrained performance here. And that restraint, that subdued quality, adds an engaging bit of mystery and mystique to the set.

Colleen A may be somewhat restrained in her expressions, but she’s not inhibited in the slightest. Although she first appears fully clothed, her cute little costume and two pieces of lingerie come off relatively quickly and then she’s only too happy to offer a plentiful array of explicit poses, many of them eye-filling close-ups of her exceptionally delicate charms.

Working with a young, presumably inexperienced model presents its own unique challenges, but photographer Albert Varin knows how to coax an engaging performance from Colleen A. He moves her around the space, shifting her from a gallery-like setting to a bed that’s revealed in the background. And, as noted, while he does include many explicit anatomical close-ups, he also takes care to capture additional sculptural details as well as a handful of pleasing headshots — #013, #021, and my personal favorite, #117, for example.

Colleen’s big, blue eyes, plump lips, and doll-like features, when coupled with her subtle, restrained range of expressions is more intriguing that off-putting, and when she graces us with a smile — even a tiny hint of one — as she does in #057, it’s difficult if not impossible to fall under her spell. With “Peraisin” this delicate doll is bound to charm viewers who cherish fresh, tender, and delicate, nubile beauty.

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“Omenala” starring Erica B — same place, different face, fresh heat…

Erica B: Omenala, by Matiss, explicit nudes in an unusual locationNot long after I began evaluating the Metart erotic photo series titled “Omenala,” I began to feel a bit of déjà vu. The more I looked, the stronger the feeling became, but with a bit of searching I realized the feeling wasn’t imaginary — I had been there before! This set by Matiss was shot on a sunny day in the mountains, mainly against what might be a retaining wall for an unseen road. The artist employed the same location for a set I critiqued over a year ago, and it’s just unusual enough to have made an impression.

It is a somewhat unlikely location, and adding a beautiful, glamorous model like Erica B accentuates this fact. Erica B is topless and wearing a pair of tight jeans and high heeled sandals when the set opens. It’s a large set — 155 total images — and the model has ample opportunity to experiment with poses and attitudes. As the series progresses the jeans come off, a bit of fabric appears to make the gravelly ground more comfortable, and Erica B moves away from the rustic retaining wall. And this is where the set begins to sizzle.

Erica B has a natural and genuine exuberance — she’s full of energy and appears to be having a lot of fun posing. But when she’s seated on the ground, reclining, or up on all fours, she trades her happy-go-lucky attitude for something far more steamy and seductive. And as Erica B’s mood changes, so do the compositions Matiss chooses. In the final third of the set the explicit images are abundant, detailed, and enticing. In #096 and #098, to pick a pair of mouthwatering examples, the succulent beauty of Erica’s intimate anatomy is stunningly captured at close range.

But the charms of “Omenala” and Erica B are many, and the model’s other assets — a shapely rump, long, wavy hair, luscious lips, and light blue eyes — are artfully captured in less than explicit shots like #063 (a beautiful headshot) and #109 (with the model on all fours).

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“Glauben” starring Violla A — the hunt for a wild forest fox…

Violla A: Glauben, by Matiss, succulent and curvy babe in explicit pixThe 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.”

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“Disteso” starring Patsy A — sultry succulence…

Patsy A: Disteso, by Rylsky, stunning explicit erotic nude art photosPatsy A: Disteso, by Rylsky, stunning explicit erotic nude art photosI’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!

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“Fortuna” starring Anita E — a peach on the beach…

Anita E: Fortuna, by Luca Helios, MetArt HD erotic movieOne 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.

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“Presenting” Patsy A — no holding back…

Patsy A: Presenting, by Rylsky, new MetArt model's explicit debutMetArt 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, 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.

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“Calendula” starring Dame Wright — flashy in the pantry…

Dame Wright: Calendula, by Arkisi, blonde starlet + pretty pink

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.”

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