Tag Archives: Bondage

Rope work and rope tying by John Tisbury Photography. Using Jute and Hemp ropes John can rig suspension work as well as produce highly erotic bondage photographs.

Pregnancy Bondage

I have had a few requests to see the bondage work I did with pregnant models and although most of the shots are in earlier blog posts I thought it was worth pulling them all together into a single post to make them easier to find. I’ve also added an image that whilst is not strictly bondage, it does have some pegs and a wrist-cage which I really like.

Is it dangerous to the baby and mother?

A few people have commented on images I have posted concerned that it was dangerous for the mother and baby. Bondage should always be done with feedback from the model, the ropes were no tighter than an elasticated waistband. Model safety comes first, I’ve done a few bondage pregnancy shoots now and all mothers and babies have gone on to have natural and uncomplicated births with healthy newborns.

Erosanne Erosanne
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Erosanne

When skills combine

I don’t tend to do many TF (Time For) shoots, where both parties give their time for the output, as I often find that the images taken during such sessions are saleable so it makes no commercial sense not to organise the session as a paid shoot in the first instance. However, as ever there are exceptions to that rule and often when it involves trying out equipment, ideas and/or incorporating a lot of suspension bondage work then I opt for TF, providing both parties are in agreement. The time taken to rig and de-rig can limit the content that you can cover during a session, so too fatigue that the model encounters with strenuous ties and positions, so a TF session takes the commercial pressure off the session and allows you to have a free rein.

A model called Gestalta contacted me via Facebook wanting to know if I would like to shoot some shots for her as she does quite a few exhibitions and demonstrations of shibari rigging and did not have any good images of her performances. Trying to get good images during an onstage performance is very difficult as lighting, background and the ability to direct the action are all against you. I’d worked with Gestalta before back in 2009 so she was familiar with my work and I hers, although I was not aware she had become so involved in the rigging and shibari demonstration and exhibition scene. I was happy to go with the TF session as it would be trying out ideas and using rope work extensively throughout the session. For me I’d just had a re-organisation of the studio to give me more width specifically to shoot suspension and want to see how that worked out, as well as shoot some video content for a showreel which I’d not done too well at in the past. I was also keen to expand on one of my underlying themes that I keep returning to of bondage and ballet, a theme I’d first shot with Joceline back in March 2007. Below are some of the images that we took during the session, rigging was a joint affair, or Gestalta or me doing the rigging.

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Honorable mention in 2012 Bondage Awards

I’ve just been notified that I received an Honourable mention in the 2012 Bondage Awards in the Bondage Photographer Category. This is excellent news as I’ve only recently started getting in to rigging and bondage photography so it is great to be recognised this early on for the work I am doing.

Honourable mention - Bondage Awards 2012

Honourable mention – Bondage Awards 2012

I thought I’d celebrate this achievement by posting some bondage work that I have done in the past for your viewing pleasure. In 2013 I intend to explore the area on bondage even more as I like the look of the rope and how it squeezes and changes the shape of the body and the skin. I also like the way the tie restricts a model’s movements making them work and think slightly differently that they normally would. I feel it pushes both me and the model to try new ideas, poses and ties which can only led to different ideas, creativity and results.

Joceline, model, nude, rope, tied, jute, suspension Kandi Luv bondage Cupcake tie rope, wrist tie, nude, model. bondage rope, wrist tie, nude, model. bondage Bondage, model, nude, nipple sticks Demi Scott

 

 

 

 

Images from a pregnancy shoot with Tibby Muldoon

I recently shot with Tibby Muldoon when she was in her third trimester of her pregnancy and getting towards her due date. She was a real trouper and we had a wonderful shoot, I wanted to do some new things as well as take some classic pregnancy images for her to keep and cherish. Below are a number of the images I took during the photoshoot.

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Time Lapse Bondage Photography version 2

Hot on the heels of our initial attempt at time lapse photography using the subject matter of bondage, we’ve created another version of it, this time using a real model and changing some of the camera angles and directions of travel.

The changes

We felt that the right to left camera tracking in the first time lapse session was going in the wrong direction, plus the framing was a little too close on the subject towards the end of the video. So in this version we moved the camera further back and set it to track from left to right. A left to right motion is much more pleasing on the eye, mainly due to the fact that the Western world reads from left to right so this path of movement feels much more natural to our eyes and brain. Quite often directors and screen playwrights will want the baddies to come in from the right of frame as it builds tension due to the fact the motion path feels more uncomfortable on our vision – it’s not what we’re used to and can be unsettling.

We also felt the lighting in the first video was a little too bright, so we changed the lights from two ARRI 800w heads to a single ARRI 500w head fitted with a fresnel lens. The kicker light remained to camera left and was a ARRI 150w junior again fitted with a fresnel lens. The other stills camera which was stationary was also moved to a more front on position with a slightly wider framing on it. We spent much more time setting up the framing, focus and motion paths than we did in the first video.

There are still elements of this new video that we are not happy with; Taner wants to smooth out the motion some more and I’m keen to try a longer tie including some suspension. I’m keen to see if we can combine a multi camera set-up and incorporate time lapse and camera tracking shots into the one movie – watch this space…

New version

Time Lapse Bondage Tie version 2

Time lapse Bondage tie with John Tisbury doing rigging and John Tisbury and Taner Tatham doing the photography. This is the next version of the original time lapse we did where we used a mannequin. We feel there are element of both that we like and dislike and I’m sure will make another version which incorporates a different tie which will probably be a suspension.

Original version

Time Lapse Bondage Tie version 1

There’s a blog article I’ve written which details all the camera settings and approach for version 1. We did not change the camera settings for version 2, apart from the aperture due to less light from the single head: Time Lapse Bondage Photography Version 1

Motorised glide track

Time Lapse Photography Bondage Tie

This post follows on from a post a couple of days ago stating my friend Taner and I were planning to do some Time Lapse Photography which would also include camera movement using the subject as a bondage tie. We spent most of yesterday working on this and I’ve posted a video of the results below. If you’re not familiar with time lapse photography it involves taking a series of still images and then using software to play them back in sequence in quick succession to create a movie, very similar to those old flick books, where’d you’d flick through the pages to see the animation. This session was a practise and experimentation session before we used an actual model for the final film. After about 6 variations on our set-up we managed to come up with an output that we are both very happy with, we’d appreciate your comments and any thoughts too.

Duration, Speed and Intervals

Through trial and error we came up with camera settings that worked for us which I’ve detailed below. To make the finished movie more interesting we wanted to include some camera movement during the sequence. Camera movement was achieved by having the camera mounted onto a motorised slider which in turn was mounted onto a glide track. Below you can see the motor and the silver slider  on to which the camera was mounted, the slider was pulled along by fishing line wound on the pulley which is missing from this image.  The motor rotates very slowly and pulls the slider along the glide track slowly and most importantly very smoothly; a gliding motion helps to iron-out any jerky movements when the film is played back. Taner built the motorised glide track which performed faultlessly.

Motorised glide track built by Taner

The speed of the camera movement needs to be controlled so this was one variable we had to get right. The second variable was the interval in seconds between each shot. Having too longer gap between shots causes jerky movement when played back as there aren’t enough individual images to give a smooth motion. Conversely having too many shots means it takes longer to render in the computer to create the finished movie file. In the end we settled for 1 second between each shot. We started our tests at 4 second intervals but that was just too longer gap between each shot and resulted in very jerky movement between frames. Another variable is the playback frame rate of the finished video, we agreed to set ours at 24 FPS (Frames Per Second) which is the same a normal cinema films. Yet another variable is the shutter speed on the cameras, setting this too fast means each image is sharp which perhaps sounds ideal, however when you blend them together into a sequence it again produces jerky motion. Far better to have a slower shutter speed which has some motion blur allowing each frame to blend better into the next one when they are run as a sequence. Below are two frames from the final film showing the motion blur between consecutive frames on my right arm.

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Camera Settings

Time Lapse photography has a major impact on shortening the service life of the shutter mechanism of the camera, for this reason Taner and I used our old backup cameras. The final piece of video which is 1 minute long is made up from 1,000 frames, as we ran two camera positions this meant 2,000 frames in total. With all the practise runs and experimentation we both must have shot about 7,000 plus frames on each camera. With a shutter service life of around 200,000 plus on the D2x that’s probably not that bad, but on a D550 ii’s about half that at 100,000. So you can see if you’re frequently shooting long time lapse sequences you’re soon going to hit that 100,000 or 200,000 threshold. I don’t recommend using your brand new top of the range camera as you’ll soon wear it out.

Nikon D2x and Canon D550

  • Small jpegs
  • White Balance 3200 Kelvin to match ARRI constant lights
  • Shutter speed : 1/10th second
  • Aperture : F14
  • ISO 200
  • Tripod mounted

Time Lapse Bondage Tie from John Tisbury on Vimeo.

Time Lapse video showing motion tracking included as well as a still camera. Shot with two cameras, 1 second intervals between frames.

 

Model is KatyCee

Suspension & partial suspension the story so far

It’s been a while since my bondage tuition sessions with Rod and Clover and I thought it was worth re-visiting some of the partial and full suspensions I’d done since then. I’m still learning and improving my techniques and the speed of my rigging. I’ve still got a long way to go until I’m able to say I’m a confident and experienced rigger, but with each new rigging session I learn new things and add to my skills and repertoire. Below are a range of different ties I’ve been doing with various models, they are shown in no particular order.

I’d like to thank all the models who have put their trust in me and my rigging, thankfully my approach to safety is the most important thing and model safety and comfort is  paramount. Comfort is an interesting concept that I’ve come to learn more about when dealing with bondage and suspension work.  It is interesting to experience people’s different thresholds of discomfort and pain. During all my bondage work the model is the one who calls the shots so to speak, no photograph or rigging is worth injuring someone for or subjecting them to a bad experience.

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Bondage, suspension, Shibari and erotica

I booked KatyCee for a weekend shoot, one day was for her to be our model on one of my tuition days, which she did with much expertise and empathy with the delegates. The second day we got to shoot – which was excellent. I love working with KatyCee as she is an awesome model with great moves, emotion, ideas and creativity. Below are some of the shots we took, they are all lit with my new LightTools Soft Egg Crates fitted to a pair of Elinchrom 50×130 softboxes , this whole setup I am falling in love with. They are so controllable and give a wonderful light source, well I’ll let you all judge for yourselves.

Katy has updated her blog too and it can be found here: A box of Frogs

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Bondage tuition – 2nd session

Session two

The second day of my bondage tutorial was to cover how to suspend someone, this is often seen as the pinnacle of bondage work and like many other people I wanted to know how to do it – but safely and with the correct background knowledge. If you missed part one you can find it here

I’d purposely left a whole month in between the first and second tuition session for two reasons, firstly so I had time to practise what I’d learnt in the first session. The old adage of ‘use it or lose it’ is so true with new learning and I felt I needed to put into practise what we had gone through. I’m glad I did as I realised I’d forgotten some of the more complex ties, and I noted those down to review them during the next session with Rod. The other reason for the month gap was to replace the current anchor points in the studio as Rod felt, and I agreed with him, that they did not appear too strong.

Wrong brackets

I placed an order for some custom fabricated brackets with my friends at Bound4bondage who were only too pleased to help. I drew up a detailed plan of the 3 brackets I needed and they set to work in making them – and what a super job they did. The 3 brackets duly arrived and once I’d un-wrapped them I knew straight away they were too small. It was such a shame because the brackets were beautifully made with a stove enamelled finished. Hmm, I consulted my drawing and noticed that I’d given the wrong dimensions to Mel for the width of the bracket. So a quick email with an apology. Mel replied to say that they would be able to make them again to the new size – I felt rather stupid and kicked myself for not double-checking the dimensions that I’d transferred to my drawing. A replacement set of brackets arrived in good time for the second tutorial session and this time they fitted – hurrah.

Anchor point bracket

One of the 2 new brackets installed - the old bracket can also be seen here

Day two started with a quick re-cap on day one and what I’d been doing in between the two sessions. My tutor Rod and Clover our rope bunny talked about the safety side of things, like asking the subject if they have any injuries, broken bones, medical conditions. We talked about the need for having something to eat beforehand as suspension can make people dizzy and light-headed so it’s best to eat something - but not a full English just beforehand!

Demonstration and practise

The session was structured around Rod showing and talking through a tie, stopping a key points to allow me to take photographs for reference. Then once he had demonstrated the tie, it would be my go to do the same tie, with guidance and correction by Rod as and when needed. It was great to have him there to expand on points and correct me when I went wrong. I became faster with some aspects of ties, but I was still fingers and thumbs in other areas. Often Rod would suggest an alternative way to hold the rope or approach a tie as he would see that I’d perhaps not taken the easiest method of doing the tie.  As the day progressed it soon became apparent that I was making progress, but as with all things I still need more practise to improve my speed and knowledge. I often get stuck in what comes next in terms of where to take the rope, but I guess that’s just practise and experience.

More pictures

I made a conscious decision to take more pictures this time as during the last session I’d taken some reference shots, but not from all sides. This proved a little frustrating when I started to practise the ties and whilst I had a great shot of the front of a tie, what was happening around the back was a complete mystery!

I’ve included some of the shots from the 2nd session below, do bare in mind that these are only for reference and ‘quick & dirty’ shots rather than carefully crafted lighting set-ups and backgrounds. They are intended for my reference purposes only, but I though you might like to see them so you can get an idea of the types of ties we rigged. I need to practise these ties and techniques and improve on my rope skills and neatness.

Finally, I’d like to thank Rod for his patience, skills and knowledge and the same goes to Clover, who endured being tied up twice each time. Both Rod and Clover were a joy to work with and it was great to work with experienced people who knew what they were doing – thanks again guys.