This is a very good set. That’s the condensed version of my initial impressions, and if it’s enough to get you to take a close look at the MetArt erotic gallery titled “Favor,” then I consider my job here complete. For those who require further persuasion, however, I will elaborate.

When this model made her MetArt debut I was immediately smitten. It was a beautifully shot gallery, to be sure, but what won me over was the model’s beauty and personal warmth. My only difficulty with the set was the model’s name — I still don’t know why she’s named Toxic A, and I doubt I ever will. “Favor” her sixth series, offers ample proof that my “love at first sight” was no fluke.

And when I say that “this is a very good set” I’m referring to more than the model, much more, in fact. Arkisi photographed “Favor,” and it is a rich, varied, and truly impressive demonstration of artistry. It falls, roughly, into two segments. The first of these takes place before large windows looking out on tall trees. The lighting is complex and tricky, but Arkisi masters the challenges it presents. Notice, for example, how the backlighting in #021 brings out the details of Toxic’s slender body while shrouding her sex in darkness. Another, entirely different effect is achieved in #050, where bright light shines on her hand and hip while her smile radiates softly from the shadows.

In the second section, Toxic A moves away from the windows and into what we now learn is a bedroom. Here the rich, warm colors of the furnishings and subdued light create a romantic and inviting setting in which Toxic’s charms — both physical and emotional — bloom vibrantly. An eager and inventive poser, Toxic A delivers and energetic and lively performance. In a calm, pensive mode she helps Arkisi create a painterly gem in #058. In #097, her body striped by vivid light and shadow her smiling face fairly glows. And in more than a few of these diverse and delightfully artistic images Toxic A‘s luscious intimate anatomy is fully and explicitly revealed.

On further thought, “this is a very good set” seems to be a bit of an understatement. In considering the model’s natural beauty and ability, and the photographer’s technical skill and artistic talent, I have to say that “Favor” is fine, indeed.

Despite her glammed-up hair style and the elaborate and luxurious furnishings of the bedroom she’s presented in, Yasmine A has a girl next door quality with a subtle hint of tomboy flavor. And she projects a teasing, come-and-get it sexuality that is unmistakable. One also gets the sense that this compact little kitten can give as good as she gets, and this quality tints even the tamest images in this MetArt photo series an aura of eroticism.

Photographer Ron Offlin happily occupies the more explicitly erotic end of the stylistic spectrum and working with a model with Yasmine’s attitude and attributes plays directly to his strengths. I might quibble about a certain lack of polish in the presentation of the model, but there’s no doubt that this team generates a good deal of sexual steam over the course of their collaboration.

The set decoration is a bit busy and complicated, however. The burgundy satin sheets of the bed contrast quite nicely with Yasmine’s complexion, but the gaudy black, gold, and white headboard, with its swoopy, demi-deco curves and the varied, complex patterns of the wall treatment create a type of visual chaos that’s difficult to attenuate. Those shots that frame the model solely against the rich, red bedding are among the most harmonious and effective here — see #078 for one exceptional example.

Other interesting images in “Metaxi” include #002, which captures the over-the-top set along with a helping of Yasmine’s attitude; #032, a cute tease shot with emphasis on her ripe, round, rump; and #046, a playful, explicit, and unmistakable invitation.

Let us consider, for a moment, the power of the prop. In the right setting, with the right model, a thoughtfully selected prop can elevate a pictorial to excellence. But even if a prop gives a photo series its theme or distinctive flavor, it must do so without distracting the viewer from the most important element of the image, the model.

In this somewhat curious offering, prolific MetArt contributing photographer Goncharov has chosen one dramatic prop, and he’s strapped it, quite literally, to his subject’s back. In the very first image he captures his seated model from behind, giving us a fine view of two black, feathered wings. Is she a dark angel or a crow? And what are we to make of the black cowboy hat? Thankfully, the hat only appears in this shot, so that question can remain unanswered.

I suppose in a different setting the wings might make a bit of sense. But here, in a backyard decorated and landscaped in a fanciful tropical jungle theme, the wings are a distraction.

That’s unfortunate in this case because what the wings are distracting us from — Uma B — appears to be more than worthy of our full attention. This model has a lean, vital physical presence and a lively spirit. I would welcome the opportunity to experience more of both, without those feathered accessories lurking over her shoulders.

I am able to pick favorites in “Oberon,” however. In #009 the lighting brings out the tone and definition of Uma’s torso, and in #038 through #042 the model gets down on the planks of a rustic boardwalk and strikes some explicit and interesting prone poses that show off her firm, powerful, and inviting physique. With a relatively scant total of 70 images in “Oberon” I’ve seen enough of Uma B to want to see more — in a set without that plumed prop I imagine she could soar to impressive heights.

I let the MetArt membership do the choosing when it came time to pick a movie for review this week. As I write, “Eternalis” is the “Top Rated Movie” based on member votes, and is one of only two titles in the entire movie collection to have earned a perfect score: 10.00.

With that statistic in mind I was somewhat surprised to discover that this production, which was added to MetArt HD erotic movie collection back in July of 2008, is a behind the scenes video shot at the same time as the still photo gallery of the same name (which, for the statisticians among you, was added to the site a full year earlier).

Although I’ve enjoyed my fair share of photo session movies, I’m aware of the genre’s limitations. While I find it both informative and entertaining to see how a still photo session unfolds, it can become tedious and is certainly not everyone’s cup of tea.

So, what might explain the stellar rating, that perfect ten-point-oh? It’s got to be the girl. Danae A is a striking beauty — facially, bodily, and in her on-camera persona. “Eternalis” features live sound, so we hear model and photographer speaking, but I was surprised to hear how little verbal instruction Danae receives during the session. Quite often, without prompting, she moves from pose to pose, adjusting her body and attitude — sometimes dramatically, sometimes in minute, subtle increments. And these are excellent poses, too. All the more so because the “set” here is the back seat of a luxury automobile.

Director Luca Helios is present, to some degree, in much of the film — his lens or the back of his head is often visible on the edge of the frame. But, considering that the videographer is shooting over the still photographer’s shoulder much of the time, we’re still treated to unobstructed views of totally nude Danae A, including explicit and intimate anatomical details.

“Eternalis” the movie inspired me to have a look at “Eternalis” the pictorial, and each production helped me understand its counterpart that much better. And both productions gave me a greater appreciation of Danae A. In-car entertainment is rarely more appealing, or, as it happens, more highly rated.

A little over a year ago I had the pleasure of critiquing this model’s first MetArt nude gallery. To briefly summarize, I was impressed. And I wasn’t alone, either. That debut gallery made a powerful impression on the MetArt membership, and within hours of appearing on the site Janice A had ridden to the pinnacle of popularity on a wave of enthusiasm that landed her in the #1 position on the Top Models list.

And Janice A’s popularity wasn’t a fluke or a passing fad, either. As I write these words she’s at #5 on the Top Model rankings. And a gallery like “Poem” is filled with enjoyable evidence that explains her popularity.

Working once again with Antonio Clemens, the artist who created her premiere gallery, Janice A exhibits all the physical and less tangible charms of her personality in this set. Her nubile young body is as invitingly photogenic as ever, and her warm, cheery persona is also very much present — a beautifully posed composition like #029 captures both quite nicely.

“Poem” differs stylistically from Janice A’s debut quite dramatically. In the first set photographer Clemens kept the décor simple. Here he’s placed his subject in a room that is buzzing with visual activity. The walls are cluttered with multi-dimensional decorations, a dresser with a busy harlequin pattern is centered in the background, fabric in differing textures and colors dresses the mattress and hangs from bed frame — even the model’s sheer lace negligee is embroidered and embellished. And yet it all comes together in a harmonious, inviting way.

Janice A looks completely at home in this cozy but cluttered space, and even in those shots where she’s chosen a reflective or thoughtful expression one gets the feeling she’s enjoying the experience immensely. I suspect it’s that light and lively, enthusiastic spirit that makes her so popular — combined with her girl-next-door beauty and her sweet and shapely little body, of course.

Favorites? #020, a pert and pretty topless shot. #034, a moody, painterly figure study. #053 for the model’s pose and the photographer’s lighting and framing. And #125 for that creamy skin, that erect nipple, the look in those half-closed eyes, and the smile on those parted lips.

As I have stated in the past, and will doubtless have opportunity to restate in the future, there are two distinct types of girl/girl MetArt erotic photo galleries. Some overcome the restrictions of the “house rules” to generate a stirring simulation of Sapphic sensuality. Although no direct intimate contact is depicted, these series still manage to create the impression of erotic attraction and interaction between the participants. This is no easy task, and it requires a gifted artist wielding the camera as well as models with skill, sensitivity, and considerable sensuality.

The second basic type of two-girl pictorial doesn’t bother to pretend. It presents two girls together and lets their beauty as individuals work its magic. Sets of this type operate according to a simple mathematical principle: If one beautiful nude girl is good, then two beautiful nude girls must be twice as good. And this is quite often the case!

A third type attempts to be a bit of both, and “Gerberas” belongs in this group. Shot in a backyard swimming pool — much of it on a concrete “island,” complete with palm tree, in the middle — Goncharov captures two bosomy and appealing beauties in relaxed, informal, cheerful nude photos.

The models make a fine and extremely “watchable” team. I’ve reviewed several Sofi A sets in the past, but this is my introduction to Karina J, and this voluptuous twosome present a particularly bountiful feast for the eyes. And those luscious bodies are revealed without restraint or even a hint of inhibition.

The one thing these girls lack is any trace of sexual attraction to one another. And this becomes clear in those shots were they attempt to pretend otherwise. The set is at its best when it simply captures two lush and lovely girls posing and playing, poolside. When they feign erotic affection — in #011, for example, or #027, or #043, or #047 — it just feels false. But there’s no denying that they make a very pretty pair!

This pictorial is an example of that relative rarity, the double-debut. Not only is this Grace C’s first appearance at MetArt, it’s also the photographer’s first contribution. I can certainly think of worse ways to start off the work week!

And the very first image certainly begins “Presenting” on a promising note. In this shot Grace C is framed from mid-torso up. Against a warm (but somewhat dimly lit) background, the model’s bright blonde hair frames a pleasingly round face, and the expression in her big, dark eyes is a few intriguing degrees removed from neutral. A low-cut white frock reveals just enough of a shapely bosom to entice, and a string of steel-gray beads provides a touch of contrasting color.

Although I only realized it in hindsight, the set’s single greatest weakness is revealed just three shots in: #003, a pleasantly moody portrait, is ever so slightly underexposed. One could argue that this was intentional, but the presence of a handful of similarly murky images suggests otherwise to me. In any event, these underexposures are easily omitted and won’t be missed in a gallery containing 141 images.

Photographer DeltaGamma‘s design and execution of the pictorial is enjoyable in other respects. His — hers? their? — set design is simple and spare. A clean-lined couch upholstered in gray fabric is the sole piece of furniture, and it fits well with the color scheme and provides Grace with a versatile posing platform.

In some of my favorite shots here Grace C is fully clothed — #027 for example. When the hem of her short dress rides up it teasingly reveals a pair of sheer white panties. And when the dress and panties come off completely the body on display is impressive from every angle and at every distance, from explicit close-ups to full length studies of that foxy little figure.

While both model and artist will surely benefit from additional experience, this double-debut achieves its primary goal: it leaves me eager to see more!

MetArt contributing photographer Arkisi has created a subtle and effective lighting scheme for “Kerasi.” And the color palate of the bedroom he’s shooting in, with its softly glowing purple niches in the ceiling and the deep purple shag (!) carpet on the floor, provides a flattering background for his model. The addition of a single white plate bearing two luscious bunches of dark grapes is a clever touch that ties the set design together.

The model occupying this inviting space is powerfully inviting in her own right. With her pleasingly pale complexion, amply sized and superbly shaped breasts, and waist-length dark red hair, Michelle H is a truly striking specimen. I initially felt that the shade of her hair color was a bit too vivid, but it works wonderfully with the décor, and the model is so extremely expressive that I can hardly complain. In the introductory image, standing on tip-toes and wearing only a scant satin mini-slip Michelle projects a confidence and composure that is as intriguing as her physical appearance is arresting.

“Kerasi” boasts ample variety in terms of compositions and poses but it’s Michelle’s nuanced expressiveness that takes these beautiful images to a higher level. Consider two similar shots from early in the set: In #004, hands in her hair, body turned slightly away from the camera, the look on her face is warm and subtly flirtatious. In #005, hands on her breasts, directly facing the camera, her expression is now one of innocence and vulnerability.

Michelle H’s many varied moods add an emotional richness to this set that had me lingering over individual images. #051 has an real you-are-there intimacy that makes me regret I wasn’t! And numbers 117 and 122 are stylized “aerial” shots that are as flattering to the model as they are to the photographer’s skills. An impressive and expressive model, and thoughtful and stylish photography (not to mention some exceptionally powerful explicit images) make “Kerasi” a tempting treat.

There is certainly no shortage of hot photo sets in the vast MetArt archives. And models worthy of that three-letter description are MetArt‘s stock in trade. Still, choosing to title this pictorial “Hot” was an exercise in accuracy and honesty.

Lily C is a singularly hot model. I realized this moments after viewing the first handful of images in her first ever MetArt series. Putting aside her facial beauty and spirited, engaging on-camera personality, this girl has an exceptionally hot body. There’s a robust vitality to that toned and sculpted physique that suggests passionate, vigorous sexuality. And in “Hot” Lily’s beautiful body is as irresistibly and explicitly inviting as ever.

Frequent MetArt contributor Leonardo has crafted the majority of galleries in Lily C’s portfolio, and in “Hot” he demonstrates once more why theirs is such a successful collaboration. The lighting — and the slightest sheen of oil on the model’s smooth skin — enhances and emphasizes the sculpted perfection of Lily’s body while also adding highlights to her hair and eyes.

While “Hot” contains many eye-opening explicitly erotic poses, I find it interesting that there are no extreme close-ups. Leonardo seems to understand that with a girl who projects so much high-voltage sexuality, detailed close-ups are unnecessary.

Some of my favorite shots in “Hot” are: #023, for Lily C‘s kittenish demeanor in a fully clothed, full length composition; squatting, bottomless and smiling with her mouth and eyes in #061; #098, an revealing rear-view with enticing over-the-shoulder attitude; and #125 for spread-legged, spontaneous, explicit sexuality.

I had a little help from the membership in selecting this MetArt HD erotic movie for review. While browsing the Movies page I sorted the list by “Most Popular.” A title in the top row that I’d neither reviewed or viewed caught my eye. I am certainly familiar with the star. And the fact that this production was added to the MetArt archives over three years ago didn’t deter me — even after that span of time “Erotsis” has remained highly popular with the membership. An easy pick with an extremely meaningful endorsement.

As Anna AJ makes her entrance I was a little surprised. The outfit she’s wearing is cute, yes, and sexy, but it’s got a bit more American porn star flavor than I’m used to seeing anywhere at MetArt. And the style of the bedroom setting is slightly curious. To me it looks like the bedroom of a stodgy older couple. Perhaps that’s the idea: Anna AJ in her naughty cheerleader outfit is going to put on a show in her parents’ bedroom. I put my concerns aside — if Anna AJ is going to put on a sexy show, she can do it wherever she likes!

And so she does. Voronin‘s creation is very much a leisurely and enjoyable record of a strip tease. The pace is slow and deliberate — although we do get a glimpse or two at Anna’s south-of-the-waistband charms early on, her micro-mini skirt doesn’t come off until the just after the six minute mark. There’s a cute bit of action where Anna plays it pleasingly coy. Her top has slid up slightly and threatens to expose her left breast. She tugs the top back into position and smiles ever-so slyly (see for yourself at 5:28).

While Anna stays in a near-constant state of motion, Voronin’s camera is far from stationary. In one memorable sequence, beginning at the 6:28 mark, he follows the models’ hands from between her thighs, up to her bosom, and back down again. The cinematography is fluid, the body it’s capturing is flawless.

Voronin also places the camera high above the bed for a particularly dramatic effect. In fact, he uses the high angle in the final moments of the production. But in those waning moments he also skillfully deploys a somewhat subtle double-exposure. As Anna AJ writhes sensually on the bed a second, far fainter, out of synch image, appears creating a multi-limbed, kaleidoscopic effect. In “Erotsis” we have a beautiful model, creative direction and camerawork, and plenty of inviting tease. No wonder it’s so popular!