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Kiss and Tell

Erotic fiction inspired by Ana B and Uila

I’d always thought Uila had no idea I was into girls. I mean, we’d been friends since high school, and had many giggly conversations about boys, but I’d never shared the truth about my sexuality with her. It wasn’t like I had tons of experience, either; in the small, conservative town where we live, it’s impossible to make a move without the gossip starting. It was only when I went to stay with friends in the city that I got the chance to meet more free-spirited people, and I would return home buzzing with excitement and horny energy.

So one night, Uila was staying over at my place when the talk turned, as always, to sex. We were lounging on my bed as she recounted this long story about how her current boyfriend didn’t know how to kiss properly and she couldn’t think of how to tell him. I was gazing at her soft lips as she spoke, imagining exactly how I would kiss them myself, when she suddenly asked, “Does it feel different, kissing a girl?”

I could feel myself blushing bright red in surprise and confusion. “Come on, did you really think I hadn’t guessed?” she laughed. “I see the way you look at other girls… I just want to know if it’s different with girls and guys?”

“Well, yes…” I stammered. “Girls are softer, and sweeter. I can show you, if you’d like?”

She smiled, and I realized that was what she’d been hoping for. Without another moment’s hesitation, I leaned in and kissed her red lips, gently at first, then more passionately. Her tongue danced with mine. She put her arms around me and held me tight and I felt her stiff nipples brush against me through her thin top. Feeling bolder now I knew she was really turned on, I slid a hand up her top to pinch her nipple, feeling it throb and stiffen.

Sliding her top down off her shoulders and pushing her onto her back on the bed, I began kissing my way slowly from her lips to her nipples, savoring the heat and fragrance of her skin. She was trembling with arousal as I stroked and sucked her nipples, switching from one to the other until she was arching up off the bed and moaning with lust. I was dimly aware that my pussy was soaking wet, but all my attention was focused on Uila’s pleasure.

When I was certain she was entirely under my spell, I pulled her top right off, and then carried on kissing my way down, over her stomach, to the waistband of her shorts. She moaned and wriggled a little more frantically, my cue to continue my exploration. I unbuttoned her shorts, kissing each new area of skin as it was exposed, and eased them slowly down and off, leaving her wearing nothing but her skimpy white panties. Now I kissed her through them, my lips pressing against her crotch, surveying the contours of her pussy with each touch.

Her gasps and shivers told me she was ready to go further, and I slid her panties down, inch by inch, baring her tempting pussy. She spread her thighs, inviting me to taste her. For I moment I just drank in the sight of her beautiful pink folds, juice seeping from between her plump lips; then I kissed her there, slowly and gently, making her squirm.

I kissed and licked every inch of Uila’s body that night, and although we never spoke of it again, it gave me the confidence to be more open about my sexuality. I still consider kissing to be one of the most erotic and exciting things two girls can do!

 

If you enjoy erotic fiction and would like to contribute some of your own, you can email it to me at fanfiction@metart.com. I don't promise to post it in full, but I will pick out the juiciest bits to share!

 

 

 

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Charles Lakante: interview with a TLE artist

Director Charles Lakante recently undertook the most ambitious project to be seen on The Life Erotic – an intriguing ten-part series, ‘My Truth,’ that explores the dark erotic journey of sexually curious Assoli. Prior to this, Lakante was best known for some cleverly interwoven stories starring Alexis Brill and Camille A that hinted at his ability to create an ongoing narrative. Although a relative newcomer, the signs are good that Lakante is set to become a notable TLE artist, so I was delighted to have the opportunity to quiz him about his work…

Charles, where are you from?

CL: I am French. I grew up in a multicultural family even though I was almost the only multicultural part of it. I studied another field for my degree, traveled, lived and worked in different countries. I am now living not far from Hungary and Czech Republic, where I make my projects.

What is your background in photography and film?

CL: This work happened like a few other things that have come into my life: randomly. I edited landscapes for a contact, to a point where I came to produce my own footage (I still practice this activity, as I find it a great resource!). After some discussions with the same contact, and some personal reflection, erotica appeared to be something I could try out. There have been different steps, but my work with Alexis Brill and Camille A marks my true beginning as director – I am glad it happened on TLE.

Are you influenced by mainstream art, film and photography?

CL: I have a long answer to that question but I will choose the brief one. I am influenced and also not. To me, everything has been done in every artistic field, it is like jumping into a circle. With the way I think, I would do nothing by following influences. A piece of art from Edvard Munch, books from Henry Miller, Murakami, Celine, Barclay, Acker, Musso, Omi, Oates... even Coelho or Goleman, whatever the genre, I consider all of them art... I know I am going off the main point of your question, which is more directed; part of an answer would be to tell you that a few weeks ago I got back into Danish drama, and that is not an influence but clearly strengthens my vision for where to direct my next storylines and how to construct them (for fans of the genre who haven’t heard this yet, September 2015 is the comeback of ‘Saga’ and I heard that maybe in 10 years or so ‘Birgit’ could return). I work, function in life by associations, connections, it can be useful or restricting. I can have an idea and connect it with something I already thought of, something I saw, something that happened in my life... I am more bound by my own desires than any surrounding influences.

You have been shooting photosets and movies for TLE for almost a year – how do you think your style has evolved since then?

CL: I do not think that my style has evolved because I believe that I have not shown any specific style yet. It is easy for me to say why. I think that if you place one of my movies between a couple of others, unless you think about it you won't be able to define which one is mine. An example for everyone to follow my thought… I can recognize a Paul Black movie in a second, and I believe that it would be the same with Bo Llanberris. In this industry they are the only ones I could guess 10 out of 10, yet I saw only few movies from them. My style is not there yet; for various reasons I need to raise my standards to the level where I believe my “style” should stand. Once there, if it fulfils my initial wish I will continue and push it as much as I can, as much as I am given the chance to do. I do know when I should reach this point, and it is not so far from now. As for noticeable evolutions, my understanding of certain aspects of on set production for erotica is growing; of course communication with the MetArt Network is very pleasant, it is helping me to move forward.

Please tell us about your TLE series ‘My Truth.’

CL: ‘My Truth’ is led by a connection of ideas: to be, have, lose, get lost, stand up even if you are broken for good. In life we all are broken in a way, it doesn't mean we can’t put on a big smile, and do our best with everything we encounter. That is something I like to act on: so many things to do, so many things to experience, so many things to take (not get!). There is no message in my movies unless you know me personally, there is nothing that I feel you should or could understand. I think that movies are made to be yours, viewers make what they want, what they can or what they wish from it. The serial format is interesting, but in terms of work it changes nothing, because I do the same as I do for unique stories. I will not do it again soon though. I am far from satisfied with the series. I wanted to do something different; however the great thing about it was collaborating with Assoli, who held the storyline together the way it was needed to compensate for the missing parts of the script.

Do you prefer studio or location shoots?

CL: I have an idea of how studio work should be, and it requires design, a lot of it. If I can put up a set that makes sense within my concept of a movie I would like to give it a try. I see a boat lost in mist, a giant cage in the middle of a big studio... For now it is impossible, I am focusing on getting better results in locations.

Is there a photoset or video you are particularly proud of?

CL: I have a very strong opinion about the picture work I have made with my teams (a proud feeling is not part of it) and regarding videos, no I am not proud of any. I can tell you that when ‘Forgiveness’ was edited, playing it on my computer I understood that I can go where I want to go, but there is lot of work and effort to put in before I get there. I am up to it!

Do you prefer shooting movies or photographs?

CL: I think they require different approaches and so I would not be able at the moment to tell you if I prefer one to the other. I have identified many aspects to correct, and in addition to that, bit by bit, I am adding the planned enhancements to my scripts. I now consider myself to have one main weakness – I do not have my Ilona Black or Ariel Piper Fawn yet. I refer to an assistant on set who understands me, and can take care of the models while I focus on set up or technical aspects with my team. It is difficult for me to trust people (when it is work related) and I am not going to ask around for this type of position; I trust in the journey, and at some point this will be solved.

TLE is moving more towards ‘soft kink’ – is this a subject that inspires you?

CL: I do not consider this a subject, I think it is more like a requirement, like asking to put a red dress on every model. I had three thoughts before saying to the Network that I am fine with it: first, this is also coming with the requirement for darkness being dropped – this change of direction is what life brings you, life is change. My second thought was, this might be restrictive in term of creativity or situations. But my third thought was, requirements are just things that guide certain actions in my storyline. Even if you cannot see it as I see it, my only ‘muse’ so far is the story I want to develop, and this is not bound by any requirements, it only leads to certain adjustments.

Is there a model that inspires you the most?

CL: I have no particular model that inspires me, I guess it wouldn’t be a bad thing… I have ideas about a few of them, but no real things to base my reflection on or let my subconscious do the job. I believe that good models understand what they do, and some have the luck or interest to be a bit more than that. You can easily tell the difference. Malena Morgan, Elle Alexandra and Emily J are good examples of that, but they are not the only ones.

Do you plan your shoots in great detail, or see how it evolves on the day?

CL: I prepare a lot. Maybe even too much – magazines, books, movies, music, series, blogs, life experience... I absorb much of it: a word, an idea, an expression here or there, most of the time it’s only for building the spirit of the shoot and letting my mind define things better as I divert myself. I first define my storyline and adapt my ‘research’ toward it. It varies, but my storylines take up a minimum of nine to 15 A4 pages; I barely use 20 percent of all the information I have noted in my preparations when shooting actually occurs. That is a shame, it’s due to the lack of time I have, I am running everywhere and it reflects on my footage quality – I will be glad when this is resolved. I want to use 80-90 percent of it; the rest is adaptation or evolution due to the day’s events.

What are your ambitions for your work with TLE?

CL: I have no ambitions; I have a plan and I consider it an opportunity if I can get to the end of it. Sooner or later stories end, sometimes earlier, sometimes later than we thought, but what matters is the present and not to waste time. When I prepare or think about shooting for TLE I give it my full attention – until the point when I will go live on an island, stay on the beach all day and enjoy it, and work won't be part of my life any more! I know from the start that this story will have a conclusion, we will see about the end when it is here.

What do you hope the viewers get from your movies and photos?

CL: I am going to repeat myself here – they should take what they want, can or wish from it. It belongs to them, in my approach once a movie is made I lose the ‘paternity’ and interest in it, I generally have very little interest in the past. It is like wondering about someone who does not feel the same, you waste your time, your energy, and you do not respect yourself because you do not prepare for the future in the way it deserves. Yet there is something very important to me related to the past, it is to transform the memory of bad things toward a cathartic reflection. I see it in two ways, either to learn from failures, redo things with the correct approach, or let them go because it is not in your DNA to deal with it; you are still doing something in both cases.

Is there anything else you would like to tell us?

CL: I should not but I think I will anyway! I will give a big thank you to the person who helped me decide to step up and produce my first footage. Her support was, “her support.” Plans change, but facts stand: Thank you! Big thank you to TLE for helping me, I will keep doing my best.

 

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Paul Black: a unique talent discusses his creative process

What elevates a filmmaker to the status of ‘artist’? Is it creativity, innovation, inspiration? A certain disregard for convention and popularity? The ability to hold the viewer spellbound from the first frame to the last? Director Paul Black has all that, and much more. The maverick auteur, along with his wife and directing partner Ilona, produces the most unique, disturbing and darkly erotic movies I have ever seen – and they’ve got me hooked. They fascinate me, they unsettle me, and they make me feel dirty… in a good way!

I first interviewed Paul Black in December 2014 (you can see that interview here on the blog), and since then Paul, Ilona and their assistant have been busy settling into their new studio and shooting some amazing new movies for us. The gently humorous ‘Rainy Monday,’ the arresting imagery of ‘Short Circuit – Autumn Syndrome’ and the frankly mind-blowing ‘Lost’ have all hinted at new directions and a more complete realization of their vision; and in my opinion the stunning forthcoming release ‘Scarecrow’ is among their best yet, although naturally, perfectionist Paul is very critical about it! I was delighted to have the opportunity to ask him some more questions about their work…

Paul, how is the new studio working out? Last time we spoke, you were just settling in. Is it enabling you to shoot the kind of movies you want to make?

PB: We are still very busy at the studio. The primary objective is to create a stationary recording studio, which we currently don’t have, which makes the audio recording process even longer. At the moment Ilona and I are working on our latest movie footage, so we don’t come to the studio often. But our assistant works there, he builds new interiors for future movies, buys new props. We can’t fully use the studio yet and do what we really need in there – first of all to increase the scale of our movies, to step out of enclosed room spaces and predominant close ups. We need time to collect the necessary materials. The process is ongoing.

What draws you to the broken-down look of the sets you create? There is a feeling of poverty and deprivation – does this have a special meaning for you?

PB: We worked in this genre even before our first attempt at pornography and erotica. I personally learned to shoot using similar subjects. Same for Ilona, whom I didn’t know then – she did photography in this genre. This style is what brought us together. At the moment it is a part of our genre. Our love for vintage things is not accidental.  These objects have their own history and figuratively speaking, can talk. They are as much the actors, as the models are. Modern objects look quite ‘inexperienced’ on the shoot! Moreover – vintage pieces have interesting textures, which makes them look really good in the frame. Also we don’t see similar objects in everyday life. This fact alienates us from reality. I always liked art that is distant from reality. As an experiment I decided to use my original taste and experiences for erotica. ‘Inanimate objects’ are a big part of our films. In some cases they help to convey a sense of a scene, in others – to convey an atmosphere better. Besides, from the beginning we shot movies about quite simple people. There are not many glamorous women in expensive penthouses.

You seem to be moving away from the real-world situations of your earlier work into a more complete, and often disturbing, fantasy world – is this deliberate?

PB: I don’t entirely agree about the statement of my early work being based on real-world situations. If you look at my first experimental film ‘Sin Mirror’ on The Life Erotic, the story in this film is far from direct reality. It probably is similar to what we do now. The same goes for ‘Short Circuit’ and ‘Dark Water’ too. Everyday – as we call them – films (meaning ‘real life’) – get created from lack of time to write a good script, rather than from lack of time to build a good interior. When we started to shoot our movies in Czech Republic, we didn’t have an opportunity to shoot what we really wanted. And we were somewhat obliged to shoot ‘everyday, simple films.’ That was the reason we stopped going to Prague and started to develop the studio in Latvia. It’s hard to find the time and the money to build new interiors every week in a foreign country, in a strange town. That’s why it’s difficult to organize something bigger than just to shoot in a hotel room. Initially we worked in the genre of surrealism and we will keep developing this in future.

Your work is technically very complex. How much time is spent setting up a shot such as the swinging light bulb in ‘Short Circuit – Autumn Syndrome’? Is there a shot you are particularly proud of?

PB: Hmmm…Well, the swinging light bulb in ‘Short Circuit – Autumn Syndrome’ was not that difficult! But I think it took around 30 minutes, not because it was a lot of hard work, but because I shoot these types of frames slowly, without any rush, constantly fixing small details such as the angle, light, camera settings, speed and amplitude of the light bulb, as well as the flickering that should then match the pace of the music. Although, I think that no one else will notice these sorts of details, haha! I do it more for my own satisfaction. Sometimes the frames prove to be quite challenging and can take all night to shoot. But again, it’s not because it’s a grand shot or there is a lot of hard work involved, but rather because we simply have to experiment as we go, which always takes more time and is worse than if we were to work on these details theoretically. Other reasons are technical issues, lack of real professional shooting techniques and the necessary team. Sometimes it’s a lack of people and there is not enough technical equipment to shoot everything quickly and to a good standard. You asked about a shot I am particularly proud of – I don’t really know. We always strive to shoot every frame in a good way, as far as the time and technical means allow us. For more dynamic frames we need to completely change our equipment. I think I haven’t made my best frame yet!

You seem to be playing more with different genres of movie in your more recent work; there is a lot of black humor in ‘Scarecrow’ [coming soon to TLE] particularly. Are you inspired by comedies? Do you think people see the humor in your films?

PB: We would like to try other genres, but you need to know how to do a lot of things. It’s quite hard to add the same format in different genres. It is of course possible. But as I said – you need to know how to do it and if you do it, do it well or don’t do it at all. We have an experimental idea about almost a ‘musical’ movie, but we can’t take this on yet. It requires quite complex shooting, many people, dialog, shooting on location, symphony musicians. It’s a very difficult project for us now. We have a lot of ideas. But we need to be realistic. Our film ‘Scarecrow’ is of course a ‘joke from the author!’ Which, by the way, we aspire to continue. Initially we planned this as a series. It was an experimental version. For this we specifically built a ‘house for a scarecrow’ in the studio. The next version will be more atmospheric. Ilona and I both like dark English humor. We were raised watching ‘The Muppet Show’ and ‘Monty Python’! I think there is a place for humor in every movie we make. And there are people who understand it and there are people who only see it as ‘stupidity.’ In ‘Scarecrow’ we purposely made the humor very direct, so no one blames us for being ‘stupid!’

I find your work mood-altering – it stays with me for a long time after I watch it. Do you think your work takes on its own life after you release it? Do you have an idea of the effect you want it to have on the viewer?

PB: To be honest, we don’t really aim to ‘have an effect on our viewers.’ We just do what we want to do. Sometimes, when we read the criticisms about our movies being ‘non-erotic,’ we think about how we can improve that and pay more attention to the theme of ‘erotica.’ But when it has to do with the script or with an idea about a new film, our opinion changes. These films should be as they are. Otherwise, it will be ‘something else.’ There are enough people who can shoot regular erotica. Why would we do this? Our movies are ‘mood-altering.’ We don’t aim to please everyone, at all. We make them for ourselves, as it were. I’m more than certain that if we started to shoot movies just for everyone to like them, we wouldn’t be shooting erotica, we would work in another genre. We care about the fact that we, and the MetArt Network, like what we do. And we must say, MetArt gives us free rein.

Did anything specific inspire ‘Lost’?

PB: Everything was quite simple with the movie ‘Lost.’ We had an interior ready, but we had not yet written a script. Ilona and I couldn’t think of anything for a long time. The initial idea was very different. The model was meant to sleep in this place on a metal bed and the plot was quite simple, but we still didn’t like our idea. What we did is we took a photo of this place and stared at it together, lying on the sofa. And at some point we both came up with the same idea that it had to be a ghost, a phantom. She has to be standing still wearing a hospital gown. We both had the same idea at the same time and the script was done in one hour after that. It’s a figurative film: mind games and wandering thoughts of a young girl, who (possibly) is somewhere in a completely different place – perhaps underground or maybe she is in a hospital – and (possibly) she craves sex and needs to go to the toilet!

What inspired ‘Scarecrow’?

PB: The initial script was written about a girl and a rubber doll. Quite a simple and everyday script in a simple home setting. I was writing the script all night and kept changing it, I couldn’t quite get it right and feel satisfied with it. And we needed the script to be written ASAP. I found the script quite unexciting, so I kept making it more and more complex. In the morning the script was ready, but I had one question – “where do we find a rubber doll in one day?!” I’m not a big specialist in the area of rubber dolls, so I decided to check out what kinds there are out there. I went on a sex shop website and was quite disappointed – the dolls looked quite bad! I had a different image in my head. Then I thought: “Why don’t we make a doll ourselves?” And if it’s not a rubber doll, it should certainly be ‘the scarecrow.’ I totally erased the script I wrote and we got on with making the scarecrow. Because of this, we had to postpone the shoot and then I wrote a new script that matched the scarecrow. Initially the face of the scarecrow was taken from my own face (we did the plaster mold). But plaster was not really a suitable material and the face turned out quite ugly! The arm of the scarecrow was molded from my hand though! Actually, the scarecrow itself is barely shown in this first movie. Many details didn’t make the cut. The second arm of the scarecrow (the one you don’t see in the movie) is kind of an adaptation from Tim Burton’s ‘Edward Scissorhands.’ That’s the reason we had the animation for the titles designed that way. Overall we thought the movie was quite unsuccessful and we wasted our time making the scarecrow, we didn’t quite pull off the atmosphere, the interior, didn’t quite work out the angles and lighting right. Moreover, the model was going to leave in the middle of the shoot to go back home to Prague! But we do aspire to continue this series. I think the next movie will be more about the initial idea and the scarecrow will shine in all its beauty!

You seem to create a sense of ritual when showing masturbation, for example the shaving brush and the jug of oil in ‘Short Circuit – Autumn Syndrome.’ Is ritual something that interests you?

PB: Probably they are rituals! But they are not planned, they come about unconsciously. Although our everyday life is quite ‘non-ritual’ – we sometimes sleep during the day and sometimes at night, we don’t always celebrate even our birthdays. We don’t follow any traditions or religions, so you can hardly say that I like rituals. Probably, rituals like us!

A recurring theme in your movies is the cataclysmic power of the woman’s orgasm, indicated by some type of explosion or breakage. In ‘Rainy Day’ we see something gentler – the opening of an umbrella; is this showing a softer side of your personality?

PB: Haha! The reason for that is possibly because the script for ‘Rainy Day’ was written by Ilona! Probably that’s why the orgasm is much softer than in my scripts. I like it when it properly smashes!

I know you are a perfectionist, but are you closer to being happy with your more recent movies? Do you have a film you are most proud of?

PB: The latest movies are done better than the older ones. But there are more emotions in the older films and the reason for that is the models. Lately we worked with Czech models: firstly, we don’t speak the same language, and secondly they are not used to starring in this kind of movie. I have not been satisfied with the quality of our movies for quite a while now. That’s due to outdated shooting equipment and we don’t have either the money or time to change it! We must achieve a new level of quality and make the shoots more complex. Static close ups that take up 90 percent of the whole movie are becoming quite unexciting. I’m not particularly proud of any movies, but I find ‘Red Vinyl’ [on SexArt] to be quite a successful one. It was all created by coincidence. A simple initial idea turned out to be quite a good story. But this success had its reasons – a local model, who spoke our language and who starred not only for the money.

What are your ambitions for your work with the MetArt Network?

PB: We have plenty of ambitions and goals. The primary thing is to fix productivity: to release more films. It’s profitable for us and for MetArt. But at the moment we can’t afford to release many films, as it’s just the three of us covering a vast amount of work. We didn’t have a good result from trying to get a team together and to rid ourselves from stuff like editing. I am very critical about small details and am ready to do everything myself until I find someone to whom I can pass on some work with peace of mind. We’ve had this issue from the very beginning. I can’t look at shooting films just as a way of earning money. It’s probably a big drawback of mine. I even tried to get rid of my perfectionism – in psychology they say it can be treated! But the more I thought about it the more I understood that I’m doing everything right. The issue of productivity needs to be dealt with not by getting rid of perfectionism, but rather by having a team full of perfectionists, professional and responsible people. I’m not ready to sacrifice the quality of movies for money. Otherwise, I’ll get tired of this job. In future I would like to develop a proper studio to be able to shoot more complex and interesting films. We’ve already started this process. Also in the future I would really love to shoot a different kind of movie with the financial support of MetArt – with a festival, game-oriented format.

Whatever the future does hold for Paul and Ilona Black’s work – and I can’t possible guess where their fertile imagination, ever-evolving creativity and dark humor will take them – I want to be along for the ride. You can see their movies exclusively at SexArt and here at The Life Erotic. If you haven’t seen them, check them out – your idea of ‘erotica’ will never be quite the same again…

 

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Natasha Schon: interview with a TLE artist

Natasha Schon is one of our most enduringly popular artists at The Life Erotic, having clocked up over 100 galleries, and it’s easy to understand her appeal. Schon has a particular talent for capturing beauty. Her work is erotic, teasing and arousing, with the emphasis always placed squarely upon conveying the model’s unique beauty and personality. She also brings a superb fashion sensibility to her shoots, which are sublimely stylish, feminine and suffused with natural glamour. Considering the high esteem in which she is held by lovers of high-class erotica here at TLE and on our sister site MetArt, Schon is charmingly modest about her photography; I was delighted to have the opportunity to ask her about what inspires her…

Natasha, where are you from?

NS: I was born in Kiev, Ukraine.

What is your background in photography?

NS: I’m not a professional at all – I started shooting out of personal interest 15 years ago. At that time digital cameras didn’t exist and I found shooting on film to be a very complicated and uninteresting process. But when I first used a digital camera it all changed. I found it very interesting and since then I don’t want to do anything else! I learned how to use Photoshop and I do everything myself. But when I was a child I really enjoyed flipping through photography books and books with illustrations, and I think my love for art was there from when I was born.

What inspired you to start shooting erotica?

NS: I only work in the erotica genre. First I was shot myself by another photographer, and then I realized I didn’t enjoy modeling and decided to try shooting for myself. I also work on portfolios, but only occasionally, because I feel I have more freedom in the erotica genre and I choose the model myself. I also choose for myself where and how I will be photographing her, and that’s what I like about this job.

Are you influenced by mainstream art and photography?

NS: I often watch fashion channels and I read a lot of magazines. I also watch a lot of films and of course learn from professionals. I try my best!

Do you think being a woman shooting in this genre is an advantage?

NS: From one point of view it’s a big advantage to be a female photographer… girls trust me more and are not scared to come on set, and of course their loved ones are more at ease with it. But I also understand that girls can’t always show real passion in front of a woman.

You have been shooting photosets for TLE for almost four years – how do you think your style has evolved?

NS: It’s very hard for me to judge my own work, I’m always unhappy about something! I think that I have a long way to go until I reach perfection. But unfortunately I don’t have much time for that. My family takes up most of my time!

Do you prefer studio, location or outdoor shoots?

NS: I like shooting everywhere! The main thing is not to get stuck in one place. If I had more money I would take models to different countries all the time and shoot them there.

Is there a photoset you are most proud of?

NS: I’m not particularly proud of any whole set – I like some specific photos from different shoots, but there are not too many!

Would you ever consider shooting movies for us?

NS: I tried shooting movies, but I don’t think it’s my thing…

TLE is moving more towards ‘soft kink’ – is this something that inspires you?

NS: Yes, I like soft kink style!

Is there a model who most inspires you?

NS: I like having new models on set, that’s what inspires me. But often girls themselves ask me to shoot them and then I can’t say no – of course only if this model suits TLE!

Your model Kira W is very popular with TLE members, what is she like to shoot?

NS:  Kira is a very good person and I find it very easy to work with her. We have become real friends, but she lives in a different city and so we only see each other on shoots. She is ready to come over anytime and shoot in this genre for a long time. She is also quite an artistic person and she comes up with many ideas.

Do you plan your shoots in great detail, or see how it evolves on the day?

NS: Yes, I do plan every shoot in detail, but sometimes everything changes while we are on set! I usually have a certain idea in my mind, but when a girl comes on set and she doesn’t fit that idea I have to change everything around; but I quite like that – in my opinion that’s what art is.

What are your ambitions for your work with TLE?

NS: I don’t have any ambitions… even if a couple of people say that they like my photos, I feel joy and it means I’m not doing it all in vain!

What do you hope the viewers get from your photos?

I want to show off all of the good sides that my models have, and hide their flaws. I don’t like vulgar photos at all… I think that’s not art anymore, and it can be done by any man... you don’t need to think too much about it or work too hard on it.

NS: Is there anything else you would like to say?

I like working with the MetArt Network, you don’t limit my freedom and you don’t ask me to shoot only vulgar photos and I’m grateful for that. I will keep trying my best!

 

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Bound

Erotic fiction inspired by Bella T

I love the feeling of rope against my skin. I like to feel it pull tight around my wrists, restricting my movement, limiting my free will. And yes, I enjoy bondage games…but it’s not just the loss of power that turns me on, it’s the physical sensation too. I’ve never heard of anyone else who gets excited by the mere sight of rope, the way I do. I can’t look at it without imagining it being wrapped around my limbs.

Lately I’ve taken to keeping a length of silk rope under my pillow, and stroking it against my body while I masturbate. I tried something new today. I was feeling really horny, but instead of just lying on my bed to rub myself to a quick orgasm, I took my time, teasing myself as I undressed and put on a sexy black lace dress. Then I wrapped the rope around my wrists, leaning against the wall and imagining my captor’s eyes burning between my legs like a laser. Pulses of pleasure throbbed through my core as I squeezed the tops of my thighs together.

I pulled up my dress and wound the rope between my breasts and around my waist, every rasp of delicious friction stoking my arousal. Careful not to touch my pussy – even though I wanted to so badly – I looped the rope around my crotch and tugged. I felt a rush of wetness as the rope tightened around my pussy, squeezing it in the most electrifying way.

After a few minutes of that I couldn’t hold back any longer. I lay on the bed and slid the rope between my pussy lips, working it back and forth so it stimulated my clit. I was so wet it slid along my slippery groove easily. I rolled onto my front, pulling the rope tighter around my wrists, my ass in the air as I humped against the rope. Now I desperately needed to be penetrated. Thrusting three fingers into my wet hole from behind, I pumped them in and out vigorously. The rope was still rubbing against my clit, and I felt my whole body go into paroxysms of pleasure as I came hard.

I hope one day I’ll meet someone who shares my rope fetish, but for now, it feels good to share my naughty little secret with you…

 

If you enjoy erotic fiction and would like to contribute some of your own, you can email it to me at fanfiction@metart.com. I don't promise to post it in full, but I will pick out the juiciest bits to share!

 

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Latest Comments

    B

    Bill2232 2 hours ago

    More like this please. A beautiful, naked girl masturbating like a normal person.

    on Feel Good
    b

    beetle 13 hours ago

    Great Covershot.
    Beautiful photos.
    Interesting combination: jute sack and horny naked young girl. Very erotic.

    on Archaic
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    beetle 1 day ago

    By the way. I love Allas tiny silky feet. Want to lick them the whole day long. Yummy.

    on Feel Good 1
    b

    beetle 1 day ago

    Beautiful sexy girl. Want to meet her.

    on Feel Good 1
    B

    Bonzer 1 day ago

    Mooie vrouw, mooie voeten!

    on Feel Good
    R

    Rose 2 days ago

    Gorgeous foot play, love her pointed toes!

    on Feel Good
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    Mimi17 2 days ago

    Ha..another top story Donna :)

    on Triple Filling
    B

    Brera 2 days ago

    Always liked to see Emily. Any role she plays is highly erotic, from the fellatio giving whore to this update. Great breasts and nipples and intense orgasm.

    on Dirt 2
    b

    beetle 3 days ago

    Today, Marlyn's beautiful, seductive face is particularly sweet.
    But also the red sexy lingerie is sexy and emphasizes the pretty breasts and the nice full moon.

    on Thrill
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    Rose 3 days ago

    Sexy girl!

    on Thrill
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    Mimi17 3 days ago

    Oh so good to see again! Love her cigarettes, her clothes, her sexuality. Emily J..won't you come out to play?

    on Bad Day 2
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    Mimi17 3 days ago

    I love this! Who needs a man..this is just great; penetration, clit, all areas covered..haha..we women can do it all alone..:)

    on Morning Inspiration 2
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    Mimi17 3 days ago

    I do too Rose..just pick up and go..weeeee.....

    on Morning Inspiration 2
    i

    irik 4 days ago

    Emma starts to become one of my favorite on TLE, great job

    on Morning Inspiration 2
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    beetle 4 days ago

    Is Emma O alone or does it just make her happy? She always pushes something else big into her pussy. First a thick dildo, then a thick long block of ice and now a bottle. Dear Emma, I have something better that you can push into your pussy, with swinging motion. You can have it! But certainly you can get it not just from me!

    on Morning Inspiration 1
    M

    Mitchi 4 days agoLifetime member

    Using a bottle of wine this way is for me always 10/10 🍾

    on Morning Inspiration 2
    R

    Rose 4 days ago

    Very hot, I love improper use of objects :-)

    on Morning Inspiration 2
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    Mimi17 4 days ago

    Oh..those blue eyes have me mesmerised..

    on Dirt 1
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    Rose 5 days ago

    It's on SexArt, Mimi. It's not really a typical girl-girl movie... you will see :-)

    on Dirt 1
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    Mimi17 5 days ago

    Oh..I just saw underneath that Emily is in a film called The Dream with another girl. How do I gain access to this film please Rose?

    on Dirt 1