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Saturday, April 5, 2014

More Orgasms Than You Can Count on One Hand

The four extra orgasms are the icing on cake!
Going through my hard-drive is often like panning for gold. I sift down into things deeper and deeper and suddenly I see something glisten. Could it be? No, don't get your hopes up. Many things are shiny, and you've been fooled before. It is worth a closer look though, so lets double-click on that file. Holy shit! I forgot I even had this. I can't believe my naming scheme back then was so cryptic, no wonder I missed this for so long.

Such is the way with some of my releases. I capture everything I shoot. I archive everything I shoot. Sometimes though things get lost, misplaced, hidden beneath a crowd of bound and gagged women. I can overlook them for days, weeks, months and even years. They always have a way of percolating back up to the surface though. My brain interprets things just right one day to look at a file on my drive and look at it. It becomes immediately clear that I haven't done anything with it. Something I forgot I even shot becomes just as new to me as the day I filmed it. Three years hiding on my drive and now bursting forth with bondage awesomeness.

That happened with my most recent update. I was looking for a file and stumbled upon another. The name made no sense, but the size and extension told me that there was something on it worth looking at for a moment. I ran the file, it loaded up into my player and I see Angelique drooling all over herself and moaning like crazy as the first hitachi I ever owned pounded multiple orgasms out of her. She played the sassy damsel. I played the masked villain. She gets taken down, tied up and writhes in chair bondage with open legs that beg for a vibrator. First I let her drool all over herself. Then I grope the hell out of her. Finally she gets a vibrator tied tightly against her crotch buzzing orgasm after orgasm out of her.

How can something like this stay lost for so long? How can the world be so cruel to let something like this do little more than take up space on my H: drive? I don't know. I do know though that I'm ecstatic to have found the gem!

Image courtesy of Struggling Artist's Roped, Groped and Drooling Orgasm Hell with Angelique Kithos. Available at http://www.clips4sale.com/38048/10844389.

Thursday, March 27, 2014

Nylon + Duct Tape + Angelique = Tasty Strict Bondage

Like smooth and shiny damsels? Try nylon encasement!
In my early days of shooting I learned a valuable lesson: get a model naked early and film that material as soon as possible. Is this because I like naked girls? No, although I love naked girls. Is this because I'm a huge pervert? No, although I am a huge pervert. Is this because I enjoy the idea of just meeting a model and having her stripped down and helpless on my carpet? I plead the fifth on that one.

Models today almost never bail on a shoot or even a position. There are so many people who will accept being made into a human pretzel, that will endure having their mouths stuffed to overflowing, that don't even blink an eye when the magic wand turns on and turns into an erotic jack-hammer that the field of competition is very level. This wasn't always the case. There was a time when I would send out 25 emails and hope for one model to accept my oh-so-strange offer of tying them up and filming it. Many of these girls had never experienced bondage and if they had it fell far short of the tightness I put them through. The number of shoots I had end early or even after the first set far outnumbered getting all the material I had pain-painstakingly planned for in the days before the shoot. Don't feel sorry for me. I knew full well that most girls could not or would not deal with the Ted Michaels experience. I took the risk willingly because compromise on strict bondage is like negotiation with a hand grenade. I have no interest in it and the result is something blowing up in my face.

The answer came out of pure economics. I learned that many models could not deal with my bondage. I knew I would not compromise on my restraint. I accepted that some would leave early. This is a good place to add that my rate included partial or full nudity. I was shooting a lot but getting no nude work from my collaborators. The answer was simple. Open the door, greet the model politely, explain the shoot and then tell her to put on the birthday suit. In those days this usually resulted in a little surprise because after all getting tied and gagged by a complete stranger but having him see you nude after knowing him five minutes was another. They always stopped worrying about the awkwardness though when the ropes started going on. Funny how your elbows touching for the first time totally takes your mind off of sitting naked in a strange man's living room.

The first time I worked with Angelique she wasn't shy about being nude. She was already an accomplished fine art model. It seemed natural to get her nude right away and then cover her with nylon and duct tape. I haven't done the position in a long time, but I called it the hogtie trainer then. Model's like to cheat on hogties by grabbing the ropes with their hands. The trainer taught them to endure a hogtie without their hands to take away any strain. Models will also dip their head down when tired prevent those wonderful face shots. The trainer holds their head high for everyone to see. Oddly I chose to blindfold Angelique because showing her gag works just as well. We really need to do this one again. I wonder if she will agree?

Image courtesy of Mummified and Vibed with Angelique Kithos. Available at http://www.clips4sale.com/38048/3814980.


Tuesday, March 25, 2014

Strict Predicament Bondage

Leaving scissors only adds insult to injury.
I consider predicament bondage much like an onion. There is the obvious on the outside but peeling away the layers reveals more hidden predicaments that the obvious hide from view. How many of your thought I was going to say tight bondage can make people cry? I'm not that much of a sadist. The overall bondage is the most noticeable thing, just like the outer skin of an onion, that tells us that the damsel in a true predicament. The ropes are tight, the gag is mouth-filling and the position is strict. She looks helpless because she is helpless. She is bound, gagged and immobilized to the extent that without a sympathetic producer having gotten enough footage she would stay a household fixture for some time.

Peel that away though and another layer of predicament comes into view. A damsel sitting around provides no useful footage. The sooner she gives me my seven minutes the sooner she I can free from her unyielding restraint. Her best avenue to no longer having her elbows crushed together, her shoulders pulling tighter on their sockets than nature intended, her face packed with things meant for other areas of the body and her fingers tingling is to struggle and struggle like hell. No model likes to hear, "just one more minute" which is almost guaranteed if she stops wriggling and moaning for too long. The experience has tired her and like the weary there is no rest for the bondage model. This is a self-imposed predicament and intriguing to me in its own right.

Even that had a deeper component though as the restraint itself forces movement. Muscles tighten from being stretched, and the only way to ease the growing discomfort of the tension is to move. Rope compress flesh, squeezing out the blood flow. An itch grows that becomes almost madding if our heroine refuses to move enough to let blood seep back into those compressed areas. One part of her body starts to hurts, so she shifts to ease the ache only to start it growing in another area. We are hitting the true essence of the an outward predicament. Her discomfort forces movement and in turn her movement causes more discomfort. She faces choice after choice of choosing to be uncomfortable to ease another discomfort, and this shifts back and forth for minute after long minute.

Even deeper still are the are the small balancing acts she must perform. I have packed her face to the extreme. I seem friendly enough packing first one cheek and then the other, but then I wrap her face with tape. Each tight wrapping crushes her bulging cheeks and forces the massive wad deeply into her mouth. As she struggles her saliva soaks the wadding more and more even as her jaws, pried widely open, start to ache. She needs to work her jaws up and down to ease that discomfort, but this forces saliva to squeeze out of the wadding. She breaths through her nose all the time making calculated choices on when to try to swallow spit strained from panties and when to avoid that distasteful act at the expense of the ever-growing strain in her jaws.

That brings us to the scissors. They are there, and she knows it. She can simply knock them to the floor with her chin, roll to them, grab them with her hands and then start cutting her way to both freedom and relief from discomfort. The predicament becomes obvious as this point though. Working the scissors to the floor with her face is a bit humiliating. A beautiful tool that allows her to grace the portfolios of talented photographers is now nothing more than simple lever used to push scissors off the edge of a table. Next she has to roll back down to the ground. This is never comfortable. The ropes have tightened up in some areas and relaxed in others. Going to the ground will pinch deeply on tender skin and allow blood to rush back into compressed skin elsewhere. The crunched expression on her face is not an act. She then rolls to scissors. Her nipples, sensitive from her breast bondage, chafe across the carpet, and the ropes dig into her soft flesh everywhere she touches the ground. The last predicament is the final injustice. She finally has the scissors in had but to her dismay the tightness of her bonds, her very struggling and rolling over her arms to get the scissors has diminished blood flow in her hands. Her fingers are next to useless. She can barely move them and has no feeling. The act is in vain, and the tools of relief have become tools of discomfort and disappointment. Sometimes the greatest predicament is the mental aspect.

A struggle sequence while in predicament bondage is not about struggling. It is about hundreds of calculated choices. If you watch carefully you will see a model pause time and again. She anticipates what is to come, decides it is better than what she is enduring and then moves her body. She lets out a huge and delicious groan that says she is in a true predicament and will be so until the red light on my camera goes dark. Or until she gets pissed off at me filming past the seven minutes I originally told her, but that is my predicament and a tale for another day!

Image courtesy of Kitchen Sink: Carissa Is Mouth-Packed and Totally Jacked with Carissa Montgomery available at http://www.clips4sale.com/38048/10776091.

Thursday, March 6, 2014

Organic Bondage ... Strict Bondage On-The-Fly

JJ finds out what happens when we go with the flow.

I am most often a bondage producer playing a captor. My job is to create bondage material, and my role as producer is to create and film the scripts. Yes, I am play the antagonist in each feature, but that is acting. I spend a great deal of time up front planning things out. I discuss limits with the model, I plot things out to make sure timings will work and I run through all the restraints in my head to make sure I have visualized them ahead of time. I select each skein of rope, each gaggage item and each roll of tape specifically based on the script I painstakingly crafted. 95% of the process happens before a model even walks through the door.

During shooting my mind runs through the script as I play my part. Sometimes I have to coach the model and sometimes not, but I am always counting in my head making sure that I film each angle for the right amount of time. I try to stay between 20 and 45, and some models joke about hearing me going, "19, 20, 21, 22 ..." while I have one hand on their ass and the other tugging on a rope. I briefly review what the damsel looks like after each minute or so to make sure I am staying on script. I forgot to open her blouse, make sure I get to that first. There was a lot of tactile interaction the last-minute, so we'll pull back on groping for a bit. I need three gags, so I have to change out that first one soon. I have no time to think, "Hey, I'm tying a girl up, and this is awesome!" It is a sweat-inducing, mind-racing physical and mental exercise in getting something done fast, done safely and done right.

Sometimes, with the right models, I get to flip things around. I become the captor putting someone in tight bondage and producing material of that instead. It is no less professional. The goals are no less business-oriented. I am working with people who that skilled at being damsels and trust that I am great at being "the bad guy." They trust my mental scripts enough to just let me start wrapping ropes around them, cramming rags into their mouths and contorting their half-exposed flesh into visions of bondage beauty. Just as importantly I trust their ability to know their own limits, to act like a convincing damsel and to act out a compelling script that is almost fully improvised. I don't have to count. I don't have to review things on the fly. I don't have to coach. I only have tie them tightly, attractively and in a manner that seems right in the moment. The material will be great, so I don't have to micro-manage any part of it. I get to revel in every tug of the rope, slap on the ass, tweak of a nipple and groan that comes out of her well-packed mouth.

JJ Plush falls fully into this area. She is a wonderful damsel, and she brings out the captor side of me full force. I never put together a script when working with her. I drag out a big box of rope, tape, panties, clamps and other assorted items. I turn the camera on and go. I tie her breasts because at the time I want to tie them. I spank her ass because at that moment she needs her ass spanked. I put two pairs of panties in her mouth because although the producer side of me might question if that would shorten the time she can hold out the captor side of me knows that is what is best to keep her quiet. I tie her tightly because that is what a captor does when he needs someone to stay put. These scenes ALWAYS come out better than the scripted ones. The ropes are tighter. The gags are fuller. The tape covers more of her head. I always throw in a curve ball that even I did not expect. In this case I put a stocking over JJ's head and pulled it sharply back. Why? At the time I decided to show her just what she makes all of her own models experience. You know, because a total a bastard would do that. Without any planning I took a position that she does to half of her models, tied her that way even tighter, turned the knob to 11 and then broke it off. Without any script we ended with JJ hogtied ultra-strict with her breasts tied, her mouth-packed and taped, her back arched, her face cocooned in nylon and her head pulled back to the point of immobility. I could rob her, load up my truck, watch everything on her DVR, raid her refrigerator and take a nap with no worry of her ever getting away. I would feel bad for if not for knowing she loved every minute of it.

Image courtesy of Bound to Serve His Every Wish with JJ Plush. Available at http://www.clips4sale.com/38408/8350887.


Tuesday, March 4, 2014

I Saw Ludella in the Window and Just Had to Have Her ... In Strict Bondage!

Bound, gagged, helpless ... alone.
I'm an oddball in many respects, one of them being my use frequent use of negative space. It can show just how helpless and alone a damsel is during her plight. It can emphasize the vastness of a space and how tightly constrained a captive is to her surroundings. I could get right up into a damsel's face, and I do often, but if I do not pull back to show just how alone she is with her helplessness then I am denying the viewer of her perspective.

Negative space is the area around and between subjects in a composition. I tied Ludella very tightly the shown set. I packed her face full of panties, and I taped them in without any yield. I folded her into a strict, little bundle and poised her three feet off the ground. Of course I am going to show tight shots of her struggling, the shine of the light off a her gag and the furrow in her brow as her struggles dig tight ropes even deeper into her porcelain skin. Of course I am going to capture fully body views of her beautiful form in ultra-strict bondage, wriggling and moaning away as she fights her captivity. I am however doing an injustice to not pull back for a wide shot at least once to let the viewer see just how alone she is with her plight.

I isolated Ludella with her restraint. I made her helpless, uncomfortable and unable to move. I then balanced her precariously on a pedestal higher off the ground than any bound and gagged model would care to be teetering. What better way to showcase this than with a nice use of negative space. The viewer now sees how small Ludella is in the full scope of her surroundings. They see just how little she can move and that she has no chance for escape. She can barely struggle and even if she could she would not for fear of toppling to the ground. The door is so far away. There is no way to reach a phone, get to any scissors or make enough noise to reach the outside. She is small in comparison to her surroundings and this smallness showcases her extreme helplessness. She is made even more helpless by devoting less of the frame to her, almost as if she is just another item in the room. Her is my furniture,  rug, lamp, television, and oh by the way, have you seen my new Ludella? I really think she brightens up the place but enough about her, I want to show you the other rooms.

Image courtesy of Bound, Gagged and Sitting Pretty with Ludella Hahn. Available at http://www.clips4sale.com/38048/10273401.

Monday, March 3, 2014

The Strict Hogtie Is Her Arch-Enemy

Bondage pilates requires frequent arching!
I remember my very first professional hogtie. I say professional only in the respect that it was with a model, it was a paid shoot and I was actively trying to generate bondage material. I had a series of shots that I wanted to capture, and I ran the model through all of them repeatedly until I was happy I had what I needed. I repeated this for each set until the last set, the hogtie. I always saved the hogtie for the last set. They tended to be super-tight, super-strenuous and for the bondage-uninitiated a real eye-opener.

I ran through each angle with precision invariably saying, "big arch." The model looked at me like I was from another world. She could barely move, and any movement that was possible resulted in levels of discomfort that prompted eye rolling, muffled sighs and the occasional raising of a middle finger. She arched meekly and plopped back down almost instantly. I told her that I needed longer to get my focus. She shot me a look that questioned my sanity, grunted, arched, held the position for a half second and plopped back down again. I lowered my camera, told her I knew it was hard and added that when the flashes went off she could relax. She looked at me wondering why I was not taking pictures having her trussed up like a holiday goose. She wriggled in discomfort, crinkled her forehead and flexed her hands. The wheels were turning, and she was questioning if her choice to model was the right one. I readied my camera. She arched, held it and began to tremble slightly while I got my focus. I said almost there in a supportive voice, and her forehead pinched into that lovely damsel expression. I pressed the shutter button. The flashes went off, she collapsed to the ground and groaned in relief. I told her that was great, and her eyes looked like she would be smiling if her face full of ballgag would allow it. I told two more. The look she gave me then was almost asking if I was joking, but she knew I was not. She arched twice more for shots, each time holding the position until her face shifted from "come on and take the damn picture" to "what the hell have I gotten myself into?" Imagine her surprise when she learned I had six more angles, and they all needed arching.



Image courtesy of Packed Mouth and a Jacked Hogtie with Angelique Kithos. Available at http://www.clips4sale.com/38048/10578825.

Friday, February 28, 2014

Every Hogtie Is Different from the Last But No Less Strict


Mental note: choose truth next time and not dare!
I tie restraints a little different each time, so it's always nice to go back and review earlier shoots. So much of tying a girl up for me happens on the fly. I know that I will do a hogtie, but I have no idea of the mechanics of the position ahead of time. It starts and then evolves into the final restraint based on spontaneous factors. I know A and I know Z, the hell with how I am going to get there. I have a damsel that can handle great restraint. I am a rigger that knows how to tie someone up. I trust that we will both get to a place that look spectacular.

I do restraint on the fly. I find that for me the fluid results is far better than a meticulously planned position. So many things happen during a restraint that throw off a rigid plan. I like to go with the flow. I know where I am starting and let the river take both of us. It will go to the right place if I trust in her ability to take restraint and my ability to apply restraint. As such my hogties are always a little different each time I do them. I need to secure some rope, so I add something. I have some rope left over, and I do a decorative coil or a wrap of some sort. I need her to arch more, and I add a cinch or two in a place that I haven't before. It's great for me to have a mental inventory of all these variations because at the time all my brain remembers is I hogtied a damsel.

The image above is a great example. I have hogtied Angelique more times than I can count. I have used nylon rope, cotton rope, jute rope, duct tape, electrical tape, stockings, white rope, red rope, black rope, brown rope and the list goes on. Every time the restraint is different. The river takes us both to the same destination of ultra-strict restraint, but that journey is different. This hogtie took some turns that changed the look. A rock appeared and we veered to the left. We hit some rapids and needed to paddle hard back to the right. Some small and not-so-small obstacles demanded we steer the raft where the river wanted, not where we planned. I glanced over and could not see my scissors when I wanted to cut away the pantyhose that would not fit in her mouth, so I just taped over the wad over her lips. It made for a great gag. I felt like her arm ropes would slip so I used decorative loops and cinches to hole them in place. The look was great. I needed a rope for the hogtie and was out, so I untied her knees to use that rope. The knee spread allowed for a much more severe arch in the hogtied. A dozen or more elements of that hogtie happened because we hit on-the-fly challenges and just went with the flow. The result was one of my favorite hogties!

Image courtesy of Packed Mouth and a Jacked Hogtie with Angelique Kithos. Available at http://www.clips4sale.com/38048/10578825.