Skyler Grey & Isadora – Dungeon Apprentice:

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Skyler Grey, Mixtress Dee, & Miss Pandora – Dungeon Inspection 2017

The Dungeon Master has ascended to a higher plain of existence, Skyler gave her servants the choice to remain or seek opportunity elsewhere. Some remained to work with Skyler others sought their future elsewhere, one such person was Pandora a rebellious servant. Over time Pandora convinced the local government that taxing dungeons would be a lucrative revenue source. Hence, she became a Dungeon Inspector. Now it is her turn to inflect punishment on Skyler for all the torments she endured. 

http://www.northwindp.com/

Enjoy

DM

Skyler Grey & Mixtress Dee - Skyler's Challenge

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Laughter II - Part 1

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My Experiences Working with Fetish Models

Ever since I can remember, I found the sight of a bound woman exciting.  A woman helpless at the mercy of an evil torturer determined to extract her secrets fueled my imagination for many years. In high school, my interest in photography grew mostly due to a chemistry teacher who shared my interest in the chemistry of developing solutions and photographic paper.

During my last two years of high school, I coated many yards of film stock and paper as photography became a large part of my daily routine. My weekly routine was simple I would coat film stock with our latest concoction on Wednesday; do the same with paper on Thursday, shoot the film on Saturday. Sunday I developed the film and if possible printed the results; Monday we evaluated our experiments. Manny of my high school friends wanted me to shoot their girl friends of course I agreed. This made me popular with the guys in my neighborhood and it made me very popular with the girls. I repressed my bondage fetish desires but whenever I could, the photos I snapped of women did have the appearance of them being imprisoned either by trees or in a cell-like hallway but my desire to see these women bound and helpless was never realized.

I finished graduate school in June nineteen-eighty, promptly found a job and resigned myself to climb the corporate ladder. One night on my way home I passed an adult bookstore, I was far enough from home so I decided to go inside for a look; to my amazement, there was an entire section devoted to bondage art. Back then, there was only print media; I never imagined there would so much in one place. I quickly purchased a magazine and hurried home to enjoy what I found. As time passed, I found that there were bondage models that I really enjoyed seeing while others were just OK. Even the lame captions the editors wrote were tolerable when the model was Tanya or Marti Kay, it did not matter what publication these models and others like them when bound had something that lit up the page. I wanted to make that kind of art, to work with those women, but life as many times it does threw me a curve and my bondage fantasies were just that for a few more years.

In the mid to late nineteen-nineties, I saw bondage art exploding on the internet however, a good digital cameras cost about five thousand dollars unless you had a business to write it off to the digital camera was cost prohibitive. Eventually digital cameras came down in price; of course, I had to have one. Learning how to use my new toy was challenging, a challenge I readily accepted. Once I learned how to take decent pictures with my digital camera, I began my fetish art journey.

Every journey begins with a first step this was no different it began with a paperback book titled: "Working with Models ", I can sum up the entire book with this phrase; be professional and respectful at all times. However, how do I ask a woman to come into my studio/ hotel room, allow me to bind her in various positions and photograph her in those positions? Was that the only question no, another was where do I find fetish models on the East Coast? The above were the simple questions others were more complex for example:

1. What is 2257 and how do I comply?

2. What is a model release, where do I get this document, and how do I use it?

3. What other documents are necessary?

4. Where and how do I market my work?

These were the first questions there were many more; fortunately, I am a voracious reader. After I red and studied all I could I decided it was time to use all the knowledge I gleaned from the books and photograph my first fetish model.

Honestly, I thought locating a fetish model on the East Coast would be difficult, and I did not have the desire or resources to fly someone in from the West Coast (which is where I thought all the good fetish models were). I started looking at modeling sites on-line One Model Place (OMP), Model Mayhem and many more just like those two. I found Model Mayhem difficult to join while OMP gladly welcomed me. I began my OMP search and found four models in the Philadelphia area, I made the initial contact however, none of them replied to my e-mails. Back then, I could not understand why, now in two-thousand fifteen I can. My portfolio consisted of ocean and landscape shots no fetish work at all so I was unknown and if you refer to the questions above they explain the lack of response. I expanded my search to fifty then seventy-five miles and eventually; I found a fetish model willing to work with me.

Her name was Eye-Candy she was very experienced and she had one big advantage over any other fetish model I contacted, she was in my age group so she would understand my references to rock bands etcetera. However, one phrase in her OMP profile gave me pause she brought an escort to every shoot especially first shoots. I was ready to cancel the shoot as visions of an altercation with her escort flashed through my mind. Eye-Candy and her escort/ husband arrived on time they both were very polite and I immediately felt at ease. The shoot went well, as did many others and in time I learned many valuable lessons.

The Escort:

The debate about escorts has raged on for as long as I can remember. Whenever, a producer/ photographer has a bad experience the debate begins anew. There are pros and cons regarding escorts and every photographer has a horror story about the escort from hell. Almost all of the escorts I have had the pleasure to work with were ladies and gentleman. Many times, I found that if the model is into the lifestyle her escort normally was her Master or Mistress this information is easy to obtain just ask. If the answer is yes, ask them to do the bondage. I realize you want to display your bondage skills. I accept that but, the dominate already knows how to bind the model the way you desire so she is comfortable and the rest depends on the model's acting skills and your photographic skills. Further, with the actual bondage positions taken care of you can focus on lighting, exposure, and the other time consuming chores of the shoot. One more point, you can learn different bondage skills from that dominate many of whom are happy to share their knowledge as they bind their submissive.

I wish I could say that all my experiences with escorts were great but I would be lying. Once I photographed a model who wanted to break into the fetish market, she did hardcore pornography. She had experience so I decided to work with her. She entered my studio and began complaining the dressing room was too small, she didn't like a black background, the air conditioning was not high enough to name a few. Her escort looked like someone out of a poorly done biker movie I did a double take to make sure he was standing upright and not dragging his knuckles. I was at best apprehensive I showed her escort a chair, he choose to stand and I advised him that I would be moving around and asked that he keep out of my way since I will not be looking at the shot and not him. The shoot went well for about fifteen minutes, I was using a primary lens so I had to move around the studio as I am backing waiting for the model to fill the frame I bump into him and almost drop the camera. I asked if he was OK, he grunted again I motioned to the chair. Ten minutes later I bump him again, at this point I am having a difficult time holding my temper. Once again, I am framing a shot and for a third time I bump into this escort, this time I felt a gun in his pocket. I took a few more shots and called an end to the shoot, paid the model her full fee, and escorted both of them to the door; it was a cheap lesson. Things do have a way of working out; as I drove home, I saw the model and her escort being loaded into a Police van.  

Still reading good, now for lessons I spoke of earlier:

1. Act professionally and do all you can to put the model at ease, it will show in the finished product you produce and if you are lucky, you will make a friend.

2. Decide on your escort policy and if necessary put it in writing.

Should a model choose to bring an escort send her your escort policy at least two-weeks prior to the shoot.  However, if you are working with a new model and she brings an escort, review the policy with her and her escort; have them sign it prior to the shoot. Then all concerned know and agree to the rules. At worst, they both refuse to sign and walk out. Yes, you lost a shoot but the model lost something more valuable her time and income. As a point of reference here is my escort policy, feel free to use it or alter it to meet your needs:

1. Escorts are welcome to observe the shoot they must stay out of the way.

Should they be asked to help with the shoot for example hold a light, or

prop off to the side that is at the escort's discretion.

2. Should the escort interfere with the shoot in any way, or if they are carrying a

weapon of any kind for example a firearm or a knife; the producer reserves the right

to call off the shoot without compensation to the model.

Shoot Records & Photo Sorting:

My first shoot was easy and for about six months, I was able to know which model did which shoot. Why well for every shoot there was a different model therefore, if you mentioned a model's name I could go directly to those photos. As my photo library grew, knowing which model was in what shoot or shoots became more challenging. Once a model who I regarded as a friend asked for a print from a particular shot, it took me two weeks to identify the shoot and photo number. Fortunately, her window of opportunity had not closed.

I realized I needed a record keeping system designed so I could locate any photo, document, receipt, or model quickly and easily. I researched software that would organize my records some were quite impressive and quite expensive. Further, they were someone else's system that I had to learn and if possible adapt to the way I thought. The best compliment anyone ever gave me was, "you're a numbers guy" and I am so I began designing my record keeping system using numbers and letters.

Each shoot number had to be unique so I devised a system based on industrial lot numbers. The following is how they work:

1. The first two numbers designate the year - 2011 would be 11

2.  The month is represented by a letter either a twelve-month system, for example, April would be 

       represented by the letter D hence 11D would represent 2011 in April

3. The third number in my system is the day of the shoot for example: April 15, 2011 would be 11D15.

    Now if you had more than one shoot on a particular day just use a dash and the shoot number for

    example second shoot on April 15, 2011 would be 11D15-2 etcetera.

Is this an end all and cure all system, no but it is a place to begin and as time progresses adapt this or another system to fit your needs.

The above gives you a means to label and organize your shoots. The photos also need a system of organization. During a shoot the model is generally hogtied, chair-tied, suspended, and any other bondage pose my devious mind can contrive. The pictures must me organized and cataloged such that if the model likes a particular shoot and you choose to give her a copy, you can locate the picture and send it quickly; Windows makes this process easy. I organize my photos by shoot according to the scheme above and the pictures from that shoot by pose. For example all the hogtied poses have one number while the chair tied poses have a similar number but different number. I will explain, once I have processed all the hogtied stills using the control (ctrl) key I click and highlight those shots; right click on the highlighted area and select rename. The top entry should begin to flash enter the shoot number in this case enter, 1D15. This identifies the shoot now you enter the pose designator I prefer letters too many numbers can be confusing. The number now looks like this 1D15-A, hit enter and the numbers become 1D15-A, 1D15-A(2), and so on for all the images you highlighted. Now each picture has a unique identifier that enables you to locate any picture quickly. As I said before this system, works for me feel free to use or modify it to meet your particular needs.

Professionalism and Paperwork:

It is said that no job is done until the paper work is finished. So what paper work do you need for a fetish shoot? Before I go any further please be advised that with the exception of the 2257 rules which are federal regulations the laws governing photography and paperwork differ from state to state so be sure you have a working knowledge of the  laws in your home state and the laws of the states where you are currently or will be working. Further, from here on anything, you read herein is based on my experience, opinion, and nonprofessionals' understanding of the law it is not legal advice and should not be taken as such, always consult with an attorney if you are unsure about any legal point.

Once I had the privilege of working with a very popular fetish model named Kendra James. Kendra was extremely knowledgeable and willing to share what she had learned, we were discussing her shooting with a producer for the first time she recounted this incident, she booked a shoot with a producer who was unknown to her, when she arrived at the shoot site, and he informed her he was using his cell phone camera. She walked out.

I cannot stress this enough we are placing these women in bondage the more comfortable they are the easier and fun the shoot will be. To that end, I recommend the following:

1. Equipment - Have a real camera it does not have to be a top of the line DSLR but a cell phone camera may raise a few red flags.

I remember working with a model about twenty-five times, we were friends. One day I decided to do an experiment using film, my film camera shows its age nevertheless I called the model asked if she was available and told her my idea I had a model release but no other paperwork. However, we had a business relationship and she knew I was serious. The unplanned shoot worked out well; she experimented with her look in front of my camera and I experimented in the darkroom after the shoot. Because I always treated her respectfully and in a professional manner, she trusted me, I would never attempt such a shoot with a first time model.

2. Documents - Besides the model release have some kind of shoot plan even if all you have is a handwritten sheet of paper listing bondage positions you wish to use. That paper will show the model that you have a plan many times that is enough to put her at ease. If your model has not seen the shoot plan prior to the shoot show it to her and discuss it make sure she is comfortable with all the bondage positions you chose, and if she is not discuss this with her on the spot and listen to her proposals the results may surprise you.

I worked with a model named Candle Boxxx, Candle did both glamour and fetish shoots. After a shoot I was packing up and we were chatting I asked which type of shoots she preferred glamour or fetish, her answer and reasons gave me pause, she preferred fetish work over glamour because when she does a fetish shoot she knows what she is getting to happen and fetish producers she worked were ladies and gentleman.

3. Payment Receipts - The models I worked with have all been great people but money can bring out the worst in everyone so unless you are paying the model by check you must have a payment receipt. Personally, I use the shoot plan as the receipt; the night before, I add a signature line to the shoot plan and say how much money the model is to receive for the shoot; she signs the document, and that is proof the model was paid.

4. The Model Release - Anyone who photographs models knows what a model release is and how to get them so I will not waste time explaining their use. However, there are two points that need to be stressed:

a. When in doubt get a signed release even if the only thing you see in the picture is the person's hair. The signed release will save you many headaches in the future. I know a photographer who has everyone in the room even his assistants' sign a release before the shoot begins.

b. When in doubt about any legal issue regarding models or photography consult an attorney. I know there are many books that explain the legality of photography in nonprofessionals' terms. Many of them are very accurate and very good but they are not a substitute for legal counsel.  

5. 2257 Documents - Many fetish models I work with tell me that the 2257 laws are not being enforced, that may be true, but enforcement can begin at any time. Therefore, it is prudent to be in compliance. Once again there are volumes written on this topic and many opinions floating around the industry, most of which are accurate but many are just plain wrong. The best way to be certain you are in compliance, seek legal counsel.

An attorney advised I create a compliance packet after every shoot the contents are as follows:

a. The model release,

b. The 2257 form, this document is readily available on the internet,

c. A copy of the model's valid photo ID, this can be a driver's license or passport,

d. A clear headshot of the model holding her photo ID,

e. A contact print of the entire shoot.

I always check the model's photo ID before the shoot begins; if the document is expired, I cancel the shoot immediately. Fortunately, this has never happened.

6. The Property Release - If you are lucky enough to own a studio then this does not apply to you, but if you ever need to rent space to shoot you will need the referenced document signed by the owner of the space. Simply stated this document is an agreement between you and the owner of the space allowing you to use the space for photography and subsequently marketing the pictures produced in that space. Further, it confirms that the owner was paid for use of the space. As with all releases, you need to find or create one that meets your specific business needs.

As I said, earlier this is not intended to be a definitive document on how to work with fetish models; and since I am not an attorney anything I have written here is my opinion and not interpreted as legal advice. Thank you for reading this your opinions are always welcome and above all keep shooting.

Dungeon Master

Nick

Skyler Grey & Miss Pandora - A Day in the Dungeon

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Kristyna Dark - The Dungeon Master (Remastered)

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