Nureki Chimuo Archive

The bondage photo book featuring Hiromi Saotome, planned and produced by Tomoshibi, has been titled “The Sunset Room” and our team is currently hard at work on the editing process with great enthusiasm.

Everyone is elated by the excitement and tension of Tomoshibi’s first photo shoot, as well as the excellent results, which turned out just as expected, and their spirits are soaring.

And with their spirits high, everyone is already looking forward to the next shoot.

When the day’s shoot ended and I was on my way home, I thought, “The atmosphere of the Yamanouchi residence, so full of charm and emotion, and the intense masochistic mood, a kind of vengeful eroticism, if you will, that radiates from Hiromi Saotome’s inner self. There’s still so much more we can shoot in this setting. No, we must shoot it!”)

Unlike a deserted rental studio filled with nothing but lifeless objects, the Yamanouchi residence is teeming with living, breathing backdrops.

The garden next to the entrance is overgrown with horsetails, a plant rarely seen these days.

You don’t see it much anymore, but when I was a child, horsetails used to grow in clusters in backyards and vacant lots near the water.

I suppose there are fewer and fewer people who can read the characters for “horsetail (木賊)” and pronounce them as “tokusa.”

It may seem like a digression, but I’ll look it up in the dictionary. Tokusa “木賊”..... Meaning “horsetail.”

An evergreen perennial in the Equisataceae family of ferns. It grows wild in wetlands. The rhizome is tubular, and scale-like leaves grow in sheaths from the nodes. The leaves are hard and are used for polishing objects.

I didn’t understand what “scale-like leaves” meant, so I looked up “scale” and found it.

“Rinpen” is “scales.” “Scale” … A single scale. A thin fragment shaped like a scale.

I grew up in a working-class neighborhood, so there were many craftsmen’s homes nearby. I often saw scenes in their workshops out front where they would bundle this horsetail and attach sanding blocks to it, then vigorously scrub the raw materials for wooden items like chests of drawers.

Basically, the stem is thin and hard, forming a tube, and since the surface is rough, it is used as a moderately flexible file.

The clumps of horsetail growing in the dark spot beside the entranceway at the ends of a narrow alley had a unique, harsh emotional quality, and it seemed like the perfect place to position the bound body of Saotome.

And then, the story goes on…

That’s right, I’ll make it a continuation of “The Sunset Room.”

Machikin, that is, Tamaru, the local loan shark, continued to show up at Hiromi’s house every two or three days, tying her up with rope and subjecting her to relentless, nagging abuse.

Hiromi endures it in silence because her husband feels guilty about having borrowed 1.5 million yen from Tamaru and then running away without paying it back.

Believing that her husband will eventually return to her, Hiromi endures the humiliation and keeps the house together.

Taking advantage of this, Tamaru comes to see Hiromi whenever he has a spare moment.

And he satisfies his own perverted desires.

“Heh heh heh… Well, madam, have you heard anything from your husband since then?

If you find out where he’s hiding, let me know.

him.

Honestly, as far as I’m concerned, I’m just happy as long as he pays me back what I lent

But if he runs off without paying back a single yen, our business is as good as over. I wouldn’t be able to show my face to my friends.

So, sorry to say, but I’m going to have to tie you up again today. Don’t worry, I’ll just tie you up, I won’t do anything else. You know that already, don’t you? Heh heh heh…

Let’s just say tying you up is the interest on the money I lent your husband.

That’s right. If you just stay still while we tie you up, we’ll let you off paying the interest. Don’t you think that’s a pretty sweet deal? Heh heh heh…

Oh my, as soon as I brought out the rope, you quietly put your hands behind your back today, heh heh heh… You’re such an understanding, obedient wife. I like that.

It’s precisely because I like you that I come to tie you up like this. If you were a woman I didn’t like, I wouldn’t feel like tying you up at all.

Oh, what cute wrists. What lovely wrists you have.

To cruelly bind such slender, lovely, wrists with rope… I really am a bad guy… heh heh heh…

Now, raise your wrists a little higher, up to your shoulders. That’s it, that’s good. Now, I’m going to tie you up tight.

How about it? How about it? Does it hurt? It doesn’t hurt, does it?

If it hurts, just say so. I’ll loosen it for you. Maybe the rope around your chest was hurting a little.

I don’t want to hurt you. It’s not like I hate you. It’s your husband I hate. Leaving such a lovely wife at home and just disappearing somewhere like that.

Still, you’re a strange woman, aren’t you?

When I tie you up like this, you suddenly look so alluring.

From your neck to your shoulders, your chest, your waist, and down to your thighs, your whole body becomes soft and rounded, and you look all fluffy, melting, and sexy.

Just looking at you puts me in a good mood and gives me chills.

Ah, just now, you twisted your neck, turned around, and glared at me.

You glared at me with hatred. You glared at me with a look of contempt.

And yet, even that look is sexy.

Ah, I can’t take it. Glare at me some more. You can look down on me all you want. I’m just a pervert anyway.”

I’ve just jotted down some notes as they came to mind, but Hiromi and Tamaru’s emotional arcs are pretty much the same as last time, so let’s just shoot the rest while changing locations.

I still really want to capture Hiromi crouching in a pitiful pose in the garden of the horsetail plants.

I’m thinking it would be nice to place a woman’s body amidst a cluster of horsetail, a plant with a somewhat unusual shape, to symbolize a sense of abnormality.

Photographer Sachi Yamanouchi has been hoping, ever since our first shoot, to realize a romantic vision, hanging two or three teru teru bozu (paper dolls to ward off rain) from the eaves on a rainy day and placing a bound Hiromi next to them. I, of course, am all for it. I’m totally, totally, totally for it.

(That teru teru bozu image perfectly aligns with the concept behind my bondage photos from my Uramado era.)

Producer Nakahara Rutsu said that since the video camerawork was sharp and excellent during the last shoot, we should have the climax scene filmed on video again.

Unlike the professional, practiced style of an AV cameraman, producer Nakahara makes the camera “breathe” in sync with the agonized breathing of the woman being tormented. (The scene where Hiromi is made to bite down on a hand towel tied into a gag.)

It transcends technical skill. This is not a craft that can be taught. It’s safe to say it’s a precious, innate sensibility.

Cameraman Yamanouchi excels at capturing the intense, sensual allure that Hiromi Saotome radiates in an instant as she writhes in bondage.

I discovered that when photographer Sachi points her camera at a bound female body, there is a particular shot she favors.

It is, as expected, the moment when the masochistic psychology within the bound woman reaches its peak and climaxes.

Photographer Sachi, too, possesses the instinct to attune herself to the subject’s inner world, that is, the movements of her heart, before pressing the shutter.

I had noticed this before, but I am delighted to have confirmed it so clearly this time.

Even among photographers who claim to specialize in SM photography and call themselves SM photographers, there are many who capture only the surface and the form of the bound female body.

Compared to such people, both photographers at Tomoshibi accurately and keenly capture and express the mind of masochism.

They are truly reliable.

Now, I wonder how the second shoot will turn out.

There is still more I want to write about, so I’ll save that for next time.