Lilies are lovely, forget-me-nots are fine, but in the romantic, literary, and artistic worlds, the rose is the undisputed potentate of the flower pot. From the intoxicating perfume, to the dazzling colors, to the soft, satiny petals, the rose is an apt metaphor for woman — even the thorns represent the fatale aspects of the femme.

So there’s plenty of logic and no surprise when MetArt photographer Ron Offlin gives his model a single rose to pose with in this MetArt erotic series. Set in a white room, on a cream-colored bed dressed with white sheets, the bright pink blossom adds a valuable burst of color to the images it appears in. And it even matches the tiny flowers printed on the model’s bra and panties.

The design, theme, and “story” of “Alecto” isn’t difficult to decipher. A pretty blonde teases us while lounging on a bed. Only the most oblivious observer could miss the message Sarah C. is telegraphing. And, even if her presentation is somewhat erratic and at times lacking in subtlety, seeing her move around on that mattress is pleasurable in and of itself.

Sometimes I think Sarah C. tries too hard. Her “come hither” glances can be a tad heavy-handed, and the pouty mouth doesn’t always come across as entirely sincere. But when she relaxes and lets her natural sensuality and sexuality — she has ample supplies of both qualities, by the way — she becomes quite appealing.

Although Mr. Offlin resists the urge to pose the pink flower in direct juxtaposition to Sarah’s feminine counterpart, there are plenty of frank and explicit shots in the collection. But even a “fully clothed” shot like #023 packs an erotic punch, as does the painterly, completely nude, flower-free, #087.

Before I proceed with my comments on this MetArt erotic HD movie, a scheduling note: Of the most recent MetArt movie releases “Cyan,” starring Mia D. was the one that most appealed to me. However, since I wrote about her latest still series only yesterday, I thought it best to postpone my critique of the Mia D. movie. I do look forward to seeing it, and hope that it merits the wait.

Some MetArt movies can be a polarizing proposition. There are members will embrace and enjoy any production featuring their favorite model. I sometimes like the girl while the movie fails to move me — and vice versa. And there is certainly an ongoing controversy regarding “behind the scenes” videos that were recorded simultaneously with a still shoot.

The good news regarding “Foulari” is that it is a stand-alone movie. Further, the star, Night A., is a pleasure to look at. The not so good news, at least in my view, is that there is an aimless quality to the “action” and a lack of direction or sense of purpose. The muted natural lighting and the somewhat somber interior décor also contribute to the generally downbeat tone of the proceedings, such as they are.

It opens nicely enough, with the model seated on a window sill, flanked by two shoji screen-styled windows, and backlit almost into complete silhouette. Next she’s seated on a sofa where, at a languid, meandering pace, she takes off her dress and moves around. Night A. has a lovely body, and there is certainly pleasure to be derived from seeing it in motion, but her lack of expression and the randomness of her movements don’t make much sense, and any drama or excitement evades me.

I can’t tell if director Rylsky has given his subject the freedom to improvise her performance, or if he is actually directing her. At 4:43, for example, prone on the floor, she buries her face in her balled-up dress and appears to be inhaling its aroma. That may be the most curious moment in “Foulari,” but it isn’t the only one. Night A. is “caught in the act” here, but the question remains: the act of what, exactly?

Have I missed the mark? Any clarification, insight, or education the reader cares to offer is most welcome!

I liked Mia D. the from the moment I set eyes on her. That was in her debut MetArt erotic photo gallery, and I expressed my admiration for her (and her photographer) without reservation (you can find that post here).

The closest I came to criticizing Mia D.’s debut appearance was when I described her smile as “just a bit theatrical.” What I meant then was that, although her smile is bright, warm, and winning, one does get the sense, particularly after prolonged exposure, that it is a bit forced. In “Placida” that smile is back, bigger and brighter, and the theatricality remains. Even if we don’t question the sincerity of that smile, it is very nearly constant, and it leaves one yearning for some variety, some variation, some alternative emotion.

In a set comprising 140 images, the comb one employs must be particularly fine-toothed to cull the non-smiling shots in “Placida.” Mia D.’s lips are closed and she’s not quite smiling in #001, for example. There’s no smile in #104 (a very pretty image) or in #108. And two of my favorite shots here, #136 and #139, both headshots, derive much of their power from the absence of that bright and bouncy smile.

As in her debut, also shot by Leonardo, Mia is anything but inhibited. She shows off her nude body with pride and a playful, inviting, enthusiasm. While Leonardo seldom moves in for an extreme close-up, nothing is left to the imagination. And, like her debut, Leonardo’s lighting and set design are particularly harmonious. The white, fringe curtain and the vivid, cloudless sky in the background flatter the model’s build and coloring. I certainly want to see more of Mia D., but, that said, I’d also like to see a bit less of that smile and a bit more emotional range in future pictorials. Is that too much to ask for? Please feel free to share your opinion in the comments, below.

The MetArt erotic series “Ventus” is a model of simplicity. We have a desolate location, a sandy coastal plane dotted with low vegetation. We have a large piece of translucent fabric — a white bed sheet, perhaps. And we have a girl, totally nude from beginning to end, save for a necklace and stud earrings in her ears, and one in her nose, as well.

I’ll get to the model in a moment, but first let’s consider that sheet. As the sole prop in the pictorial, it receives much attention from the artist, Albert Varin. With the fabric held aloft by the model (with some help from an assistant who remains outside the frame with the exception of a couple of what I consider “blooper” shots), it’s really quite an interesting and effective prop. The day — and the time of day — are perfectly suited to it. The fabric floats and flutters, flattering the sky and clouds above. And it also has more mundane, practical uses, as an improvised wrap — a spur of the moment sari, if you will — as well as an impromptu beach blanket. Is it enough to sustain an entire photo set? Maybe, maybe not.

As noted, Ralina A. is nude for the entire set. There is little in the way of introduction, and few opportunities to hold back or to tease the viewer. She is nude and “in your face” quickly, and quite explicitly. I’m not complaining — this tiny-top nymphet’s intimate attributes are as inviting as they are photogenic. But I do think that a bit of anticipation, some warm-up before the big reveal would have been useful and would have added some tension and dimension to the series.

So we have this slim young girl, playing with her sheet, and then a parade of variations on several, mainly explicit poses. Ralina A. remains eager and uninhibited throughout, and her slender frame manages to entice and inflame quite effectively. I could call out several of my preferred images, from mouthwatering anatomical close-ups to intriguing headshots. But I do find it notable that two of the most striking images here — #128, an artful shot of some wetlands weeds, and #129, a hauntingly beautiful landscape that captures water, forest, sky, clouds, and the Moon — don’t include the model (or that sheet) at all.

As a child I spent a couple of carefree summers visiting a farm owned by distant relatives. One of the memorable highlights of those days long ago was chasing and capturing fireflies during the balmy nights. “Firefly,” with its verdant, rural setting, evokes these pleasant memories even though the sun is high and there isn’t a winged insect in sight.

What is in sight, however, is certainly worth chasing and capturing — if only on the memory card of a sophisticated digital camera. Kami A., a flame-haired, green-eyed charmer, is the subject of “Firefly” and she is a fine specimen, indeed. A lesser beauty in a less satisfying series might have me asking questions. What is she doing by the side of this dirt road through farms and fields? And where have the rest of her clothes gone? And where did that green blanket come from that suddenly appears mid-way through the set?

But Samo Mervar‘s confident, natural photographic style, and Kami’s intriguing attitude and appearance put such trivial concerns far from my mind. The vivid, not-entirely-natural scarlet tint of Kami’s hair contrasts and compliments her lush, green surroundings in an exceptionally pleasing manner. And, as she removes her filmy blouse and panties, she displays not just an inviting body, but a wonderfully complex and appealing personality. Numbers 018 and 019 are two beautiful relaxed, examples from early on in the offering.

There are numerous explicit close-ups in “Firefly” and they are sure to ignite flames of desire in countless viewers. I certainly lingered over several of these images. But, as so often happens, I find myself gravitating to the headshots and those irresistible green “windows to the soul.” Of these, #027 is brimming with that attitude I mentioned earlier. #099 is as pretty as, well, a picture. I love the seductive squint in #083. And the sly semi-smile and sidelong glance in #114 is a gem.

In America we have a term, “feel-good movie,” that describes a film that, through simple means and sentiment, evokes a feeling of well-being in most viewers and invariably concludes with a happy ending. We also have what we call “comfort food,” certain familiar dishes that sooth us when we’re ill, warm us when we’re cold, or evoke cheerful memories of festive events and happy times.

But what, exactly, does that have to do with this nighttime shoot of a brunette beauty on a black sand beach?

After reviewing several of her sets, and enjoying them all, it strikes me that Lorena B. is a feel-good movie and comfort food rolled into one extremely pretty package. The smile that so often graces her beautiful face is lively and entirely genuine. Some models have a grin that, at times, resembles a mask. But I never, for a moment, doubt that Lorena B. is enjoying herself, no matter what the setting or circumstance.

Of course, a balmy summer evening spent splashing in the surf as the Sun sinks into the warm waters in the background is hardly an unpleasant setting. But in viewing this MetArt erotic photo series I know that Lorena is enjoying herself, and it makes me feel good watching her do it!

Luca Helios has chosen a slick, polished, almost commercial style for these photos, and some of these images have a glossy “swimsuit edition” flavor that is a tad outside the MetArt norm, but is nonetheless pleasing and technically impressive.

My single favorite image? #051. Lorena B. is totally nude, sprawling in the