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The first time I evaluated a set featuring this model I was doubly impressed. Not only was it Sophia E.’s first appearance at sweetgirl, it was also the photographer’s first contribution to the site. Although this set differs greatly from the initial offering, I’m pleased to say that my initial impressions have been confirmed and amplified by this pictorial.
Koenart shot Sophia’s debut on a beach at sunset. The setting and her presentation was entirely natural. In “Vimasia” we move indoors, into the controlled environment of a bedroom. No longer the wind-blown girl next door, now Sophia has a much more polished appearance and much talented effort has been expended on her makeup and styling. She is still a naturally beautiful girl, of course, and even though the “flavor” here is distinctly different, she remains a visual delight.
Relaxed and completely at ease in front of the camera, Sophia E. can’t help but project an enticing warmth. Whether she’s striking a stylized pose or erupting in laughter – as she does in #0097 – she engages the eye and the imagination. Another spontaneous burst of personality occurs in #0038 when she shoots a big smile to somebody off-camera.
Perhaps my favorite shots in this pictorial, three of them, form a sequence – #0086, 0087, and 0088. In the first Sophia is shown (very nearly) full length, her expression is intriguing as she regards the lens. In the second shot her face is more tightly framed, her expression now slyly inviting. And in the third image, a mix of the first two, her blue eyed beauty and relaxed poise are in full effect.
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An old friend of mine had an expression he’d use to describe a girl who was attractive, but who wasn’t really his type. If someone in our group said he thought a particular girl was beautiful, my friend might say: “She has her days.” No disrespect, just a statement of opinion
And that’s pretty much my feeling about Jenya G. She is a bit more plushly upholstered than I generally prefer. I can easily imagine her fulfilling any number of fantasies and even being someone’s absolute ideal. But, for me, she has her days. Or, in this case, she has her images.
To my eye, she’s particularly pretty in #0053, a topless shot in which she’s frozen in the act of removing her white panties. #0072, 0073, and 0074 are evocative, extremely erotic images. I tip my hat to photographer Ron Offlin for #0082, a dreamy, inverted headshot. And for joyous bedroom flavor it’s hard to resist #0092.
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Ekaterina is both cute and beautiful. At 18 she’s young, and I think it’s reasonable to suggest she’s inexperienced as a model. There is a hint, a mere suggestion, of uncertainty in some of her expressions. It’s charming, by the way, and I fully expect that she has the potential to acquire the skills simply by appearing in more pictorials. Physically, she is a nubile treat, and her personality is lighthearted and sweet Digital Photo World Photo gallery => Beautiful girls of Belarus..
As for favorites: #0021, standing tall, surrounded by airborne ribbons, illustrates the perfection of her body and the art direction, as well. In #0031, seated, her body draped with ribbon, puts the focus on long limbs and foxy face. In #0050 Ekaterina assumes a fetal position and Sironi frames a delightful composition. And for sheer, tousle-haired, blue-eyed beauty, I can’t resist #0075.
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When she first appears in “Semper,” I feel it’s safe to say that Avia A. is overdressed for the occasion. She’s wearing an elaborate matching camisole and panties set in shades of blue, a large blue bracelet, and chunky necklace of bulky blue stones. This seems a bit much for a photo session in a lush, overgrown farmyard adjacent to a disused outbuilding Sexy - sexy videos and sexy movies. Watch the latest high street honeys, FHM cover girls and all around sexy videos and video clips from FHM.
While her costume may be overdone, Avia A., herself, is done to perfection. This brunette is the very definition of statuesque beauty. In #0049, having stripped off her lingerie, the model stands tall in her stiletto heels. Her long limbs, trim waist, full hips, and ample breasts are stunningly proportioned.
Luca Helios does a commendable job here. There are abundant detail close-ups, some pleasing headshots, a variety of postures, and full length images that capture Avia’s breathtaking physique in its exquisite entirety. And, thankfully, by the set’s end, Avia has taken off the unnecessarily distracting jewelry and appears completely nude, effectively rendering whatever trivial complaints I have with the set completely immaterial.
Newcomer Shirley A. makes her first appearance at http://girlsweet-sweet.blogspot.com not in a still series, but in a HD movie directed by Rylsky. For a young model unfamiliar with such frank displays, Shirley has jumped right into the deep end and, I think, acquits herself quite well.
Shirley isn’t exactly shy – the opening moments of the movie have her seated on a futon, with her legs spread wide revealing her appealingly unshaven privates – but she has a giddy, giggly spirit which may be an effort to conceal her uncertainty.
Rylsky has his camera on a tripod, no shaky, hand-held shooting here. And the solid platform allows a certain formality to the composition and framing of individual shots which is wholly in keeping with the Asian décor of the set.
After removing her sheer white stockings, Shirley spends some time soaking in a tub. In the closing moments she is snuggling in bed. There is some unexpected humor here as unseen hands pull the covers off of the model’s nude body, and this pleasant little vignette ends on a cheerful note.
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This series marks two “firsts” for me. This is the first time I’ve viewed a set photographed by Paramov. And it is my first exposure to first-time MetArt model Ella E. Overall, I am pleased on both counts.
This wasn’t a set or a model I warmed to instantly, though. There is a subtle tint, a warm beige, but only a hint of it, that seems to permeate all the photos here. Whether this is a trick of the light, some form of image manipulation, the set design, or a combination of all three, I resisted it at first. And Ella’s soft features were softened further by the visual “flavor” of the images, robbing her of some definition. Compare #0100, where the contours of her face and body are wonderfully distinct, with #0094 where definition is somewhat absent.
Despite this reservation, Ella E. charms and disarms with her total comfort and ease before the camera. She holds back nothing and the vast majority of these images are explicit to one enticing degree or another.
Towards the end of the set everything — the technical and human aspects — made perfect, and pleasing, sense. #0110 is a lovely and completely harmonious image. A pretty picture of a pretty model. Isn’t that the name of this particular game?
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Sandra A. has a quiet type of beauty. Her small breasts and slender build might render her invisible to those who value cup size over all, but her proportions are pleasing, nonetheless. She is beautiful, but her beauty is understated, natural, and unpretentious. Zlatko appears to have recognized these truths, and he has crafted a simple but entirely satisfying series that perfectly captures the model’s delicate essence.
The bathroom setting, with its muted white and off-white color scheme, flatters Sandra’s pale, creamy skin and golden hair. There is little in the way of distraction here, and the dark, print dress she is wearing as the series begins is cast aside after an appropriate interval. As she disrobes, and once she’s totally nude, Sandra A. works her subtle magic. Even in more contrived, stylized poses, there is a delicate ease and grace on display. And in relaxed, more natural poses, Sandra A. is simply, and once more, subtly, beautiful.
I don’t doubt that, under different circumstances, Sandra A. could deliver sets with far more drama and a bolder, louder style and theatricality. But here, in this delicate, understated series, I find her subtly – and completely – satisfying.
If you’re reading this, whether you’re a member ofhttp://girlsweet-sweet.blogspot.com or a guest, you value beauty. You seek it out. It motivates and inspires you. Even a fleeting glimpse of it is a delight. And to linger over it is one of your greatest pleasures. Well, get ready to linger.
In “Selivis,” photographed by Luca Helios, Chantelle A. is irresistibly, overwhelmingly, jaw-droppingly pretty. And there’s no elaborate art direction, few props, and the only costuming she has is a pair of pumps, a black lace bra, and a necklace. A model this singularly pretty could be cold and standoffish and one wouldn’t mind. But Chantelle A. is neither of those things. I have no doubt she is aware of her beauty and the effect she has on men. But there is a warmth, an approachability, a happiness that she radiates that is undeniable.
I could look at this girl’s face for days, and there are headshots in this collection that are simply masterpieces of photographic art – #0143, for example, or #0086. #0028 is a candid, spontaneous image that captures the model’s warmth, as does #0094. There are scrumptious, explicit close-ups, and even a stunning shot, #0048, of Chantelle’s long hair. Chantelle A.’s leggy, splendidly proportioned body, and an arrestingly beautiful face and spirit, as captured in these artful images, provides a wonderful lesson in the power of pretty.
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“Raising” derives its drama from a powerful sense of intimacy. Kitty B. is poised on a beige leather sofa in a dark room. The lighting here is particularly deft. She is brightly lit, but there is a softness, a touch of diffusion, and not a hint of glare. And the focus of this delicate technique and artistry is the young, beautiful, and expressive Kitty B. Those big, brown eyes are magnetic and mesmerizing, thoughtful and playful – two headshots, #0093 and #0094, illustrate my point.
The set contains numerous and varied views of Kitty’s nubile perfection. There are several shots of the model on all fours, offering herself without a hint of shame or restraint – a very pretty Kitty in heat. There are inches-away intimate close-ups of her immaculate anatomy. And there are positions and poses to satisfy most any appetite. The viewer’s pulse and temperature are only two of the things “Raising” is certain to elevate!
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The rumpled white sheets and the dark wood of the headboard set off the rosy-cheeked and temptingly cherubic model’s coloring. And the not-exactly virginal white of her lace lingerie is entirely fitting in this tableau.
For a model who is the very picture of cute, I find the shots where she’s hugging the pillows to be unnecessarily precious, but other poses are both interesting and erotic. #0099 finds Susanne in an intriguing sprawl, with a twist. #0116 is a frank headshot that captures a certain youthful intensity. And for sheer dreamy, artistic beauty, look no further than #0115. It would be difficult, indeed, to get any sleep with a cutie like this beside you.
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There is no avoiding the hair here, and it will either attract or repel, depending on personal preference. On second thought, there is one way to avoid it, and that is by focusing one’s attention on the non-nude images and headshots. In #0037 Francine’s spontaneous smile and perfectly pert breasts are powerful distractions. And in #0055, a double-headshot thanks to a mirror, is pretty, indeed. Of the full-fur shots, #0060 is a personal favorite due to an unusual pose and Francine’s lively, engaging expression.
But I have to wonder, if Francine is such a “Free Spirit,” why has she bothered to shave her legs? I’m not being needlessly provocative by asking. Well, actually, maybe I am.
This set seduced me almost instantly. And Izabelle A. gets full credit for that. From the opening image straight through to the last, she is simply a perfect piece of indescribably delicious eye candy. This little doll just exudes pristine, youthful, beauty.
And “Agamian” is a seemingly simple set. By “seemingly” I mean that the tangible elements — a sofa, sheer curtains, a hardwood floor — are basic and unobtrusive. But here is where Oleg Morenko’s artistry enters. He has a beautiful subject, one that he has worked with before. He seeks to emphasize and enhance her beauty, not distract from it. Clever composition, creative posing, and particularly deft lighting are his tools, and the results are pleasing in the extreme.
I love the way a subtle side-light kisses Izabelle’s raised arm, jaw line, and breast in #0017. And how the pose in #0043 is artfully improved by slightly tighter framing in #0044. There are some very sexy shots here: #0059 despite (or perhaps because of) the soft focus in the foreground sizzles, to select one out of many. And there are simple beauty shots, as well, like #0078 — pure silk and honey.