Our latest photoset, Dominance and Submission, is from my shoot with D and Matt Christie in July last year. I'm remiss in still not having previewed the other scenes we shot that day, but I'm going to make up for it today by sharing a bumper load of free photos from this new gallery.
I wanted to create some iconic male dominant, female submissive imagery, exploring themes of clothed male/nude female, bondage, human furniture and objectification, erotic breast teasing and whipping, nurturing dominance, throat grabbing and breath play, as well as corporal punishment with leather belt and crop. The depth of my connection and chemistry with D provided the ideal opportunity for these explorations, and Matt's trademark evocative imagery bathed in warm, soft light perfectly set the scene. I love every single photo he took, and had difficulty picking out just a few for the thumbnails on the scene page. I'm so delighted with Matt's photography that I just can't resist the urge to show you more here.
Cuffed and collared, naked and vulnerable, she kneels and waits.
She kneels at his feet and he tells her to open her legs - wider - wider. She obeys. He squeezes her nipples and her breasts, wraps a cool hand around her throat.
He arranges her on hands and knees and uses her as a footstool. She is aware of the weight of his feet resting in the small of her back; breathing in and out, concentrating on posture, poise, stillness. Back arched, bottom raised. When she feels the crop land sharply across her upturned buttocks she cries out. She flinches, she can't help it, but as soon as she realises it she arches her back again. Her bottom feels exposed, sensitive. The position is not easy to maintain as he whips her, but she does her best.
Cool hands soothe and squeeze her throbbing skin; their kisses are heated. She kneels to present her bottom again, offering herself to the belt, and he paints her cheeks red.
He does not need to use words to tell her she is his. Serene in her surrender, she lets him direct her, trusting that whatever she does, she will be safe with him. He plays her body like an instrument. Even the pain, when it comes, is a treasured gift, a sign of love.
We've got a new military historical series running at the moment, shot on our location shoot in September and starring Thomas Cameron, Andrew Shada and myself - plus Nimue Allen in a forthcoming episode.
Havelock's Campaign is inspired by our favourite Napoleonic War fiction including the Sharpe books by Bernard Cornwell, and the Flashman series by George Macdonald Fraser, and centres around the character of Major Harry Havelock, a cavalry officer in Her Majesty's Hussars. This character of Tom's creation almost instantly became a firm favourite (especially of me and Nimue, who quickly developed big old crushes on him!), and Tom's skill as an actor, and passion for the period, shines throughout.
The first episode joins the officers the night before they ride out on campaign. Havelock congratulates new Lieutenant Shada on his promotion, and takes the opportunity to introduce the boy to the privileges of rank...
Major Harry Havelock of Her Majesty's Hussars has been assigned a new Lieutenant, commission still squeaky-new. Lieutenant Shada requires introduction to the privileges of an officer and a gentleman: wine, wenching, and whipping! Havelock also takes the opportunity to provide the new Lieutenant with Flash Harry's patent method for domestic bliss: a brisk over-the-lap spanking and, if she needs it, a firm thrashing with the riding crop...
The fantasy of being given by one dominant to another is one I've always had. It combines helplessness and lack of control with the pleasures of being shown off, objectified, and being the centre of attention of two tops at once. When they are both hot young men in military uniform ... well, what more could a lady ask?
I also love being used as a "demonstration model" in a scenario where one top is training or teaching another. This is a theme we've visited before, such as in The New Head Girl. In that story, the "demo bottom" was entirely unhappy about the way she was being treated. My wench in this scene is a little more sanguine about her situation. Maybe she is resigned to her fate and determined to have what fun she can with it. Maybe she has grown fond of the Major and truly wants to please him. Maybe he has chosen well, and picked a girl who genuinely loves to be spanked and whipped. Either way, I enjoyed playing the character of a saucy girl, a tart who enjoys her work, and finds being a camp follower far more entertaining than the other roles available to a woman of her class.
As the scene progressed, I found myself increasingly empathising with her - if I had been in her situation, I would probably have done my best to end up in Major Havelock's tent, too!
The historical military setting happened to fall right within Andrew's comfort zone, and his first-shoot nerves evaporated as he slipped easily into the manners and jargon of the setting. Tom and Andrew developed a rapport on that shoot which really comes across in these scenes, and the behind the scenes videos are a wonderful opportunity to get to know shy Andrew a little better.
It was a good thing that Andrew grew to like and trust Tom over the course of the shoot, because Tom was topping him in his last scene of the day, a harsh riding crop thrashing. Andrew was exhausted by the end his first ever spanking shoot, and opted out of a final scene with him topping the wench (me!) which had been pencilled into the callsheet. But he was happy to go ahead with this one, and take one last beating before some well deserved R&R.
During his first battle of the campaign, Second Lieutenant Shada was tasked with carrying a crucial message, but failed to carry out his duty after his horse stumbled and broke a leg. Major Havelock gives the young officer a firm dressing down, but takes pity and offers him a final chance to save his career. Rather than face a court martial, Shada must suffer the punishment of a cadet, rather than an officer, one last time, and bend over for twenty lashes from his superior.
For me, this scene revolves around two key elements. Firstly, Havelock's genuine affection for the boy, clearly evidenced by the fond exasperation with which he scolds him, and the fact he gives him an option at all. Humiliating and embarrassing as it may be for Shada to drop his trousers and take the punishment which would have been due were he still an ensign, and not, in fact, a newly minted officer, it is certainly better than the alternative.
Officers were not flogged in the British army - that punishment was reserved for the rank and file, and was significantly more brutal than what is shown here. Flogging was administered to the bare back with long leather whips, and a severe flogging could be a death sentence. However, young aristocratic ensigns and cadets, sent to the army or navy in order to be educated and prepared for a career in service, would have been caned by their superiors, just as if they had been at school.
In this story, Shada's character attended a military academy (Sandhurst or Addiscombe, probably) and so did not serve in the army as an ensign. If he had, however, and if he had been entrusted with a task which bad judgement or bad luck prevented him from carrying out, he might well have found himself on the receiving end of a thrashing from his commanding officer.
As a lieutenant he is supposed to have grown out of that sort of foolishness, and cannot now expect the leniency of corporal punishment. Havelock, however, has grown fond of the boy and believes he has promise. The punishment here is not only an embarrassing return to a juvenile mode, it is also a second chance, a gesture of affection, and one that the young lieutenant is willing to receive.
The second thing I love about Military Discipline, the key moment that makes it really hot for me, is when Havelock exhorts Shada to take his punishment "like the gentleman I know you to be". Shada nods, summons his courage, and takes twenty strokes hard enough to leave his bottom welted and bruised as stoically as he possibly can. Andrew's expressive features and body language make it clear how much it is hurting, but as he exhales and fights for control you can also tell that he is trying as hard as he can not to show it.
I love restrained reactions, courage and dignity in a spankee. It's not politically correct, but I find it especially hot in the context of male/male punishment, where gendered expectations are a factor and the bottom is trying to "man up" and retain their manly pride in the eyes of their disciplinarian. Andrew really felt this whipping, you can tell, but the hottest thing is the way he tries to be brave. And, I should add, succeeds: given this was his first ever spanking shoot, he really did do amazingly well.
I've just uploaded a photo set which I associate with a lot of happy memories, in which D strings me up from a high timber beam on my tiptoes and whips me all over my body with the flogger.
Abducted, held captive in an echoing barn, Pandora is stripped naked, her wrists bound. Shivering, she waits. Sooner or later the man will visit her and take his pleasure, pressing her up against the wall. She does not know how long she's been here, but she's learned not to resist.
He strings her up from the ceiling on her tiptoes, and punishes her with the whip. She twists and struggles, unsteady. No part of her body is spared; he lashes her back, her buttocks, her thighs and stomach and breasts. Afterwards, she is made to kiss the whip as if thanking him.
She will be made to kiss other things, too. And in time, she will learn to feel truly grateful.
The flogger's thongs are square and leather, both stingy and heavy, with a vicious bite in the tips. Used on the back and buttocks it makes me jump, but on the sensitive skin of my tummy, sides and breasts it's unbearable.
Despite the pain, I loved every second of shooting this scene. Having enough height to be properly tied upright, with my arms and calves straining to support my weight, was utterly delicious, and left my naked body all the more vulnerable to D's attentions.
The mood was set when he strode across the barn, boots ringing on the wooden floorboards, to where I was waiting in the corner; hauled me up by my bound wrists and shoved me against the wall, one of his hands lifting and pinning my wrists and the other starting to explore my helpless body. His face was very close to mine, but he didn't say a word. My senses were filled by the weight and scent of his leather trenchcoat, the solidity of his clothed body pressing against my naked one, and what his free hand was doing.
It was very, very hot. Although we were playing with consent and pretending that I was unwilling, I was helplessly turned on throughout the shooting of Captive ... and I suspect D was too.
Photography by Roy Tersley
Today's update is one of my favourites of the scenes we've shot so far, and one of the edgiest. Darker and nastier than your usual spanking scene, this noir interrogation scenario includes struggling, stripping, bondage/takedown, groping, breast slapping and breath play as well as belt whipping. After all that, the belting needed to be fairly convincing, and it was. I'm not sure what I liked most: struggling on the floor with my wrists bound and D kneeling in the small of my back, or being tied down over a bar stool while he continued his work.
Shooting this was hot, hot, hot. D and I both enjoy this sort of violation roleplay, but are both a bit self-conscious to go for it in private most of the time. Taking photos offers us the perfect excuse to explore some of our darker fantasies.
Unlike many of my fantasies, this one is more or less context-free. It's an interrogation, and I think my interrogator might have sadistic impulses outside the strict remit of his brief (unless he's playing a very long game), but other than that, there's no back story to this one, no plot exposition. Like D's topping style, this scene moves from moment-to-moment, and is all the more intense for it.
There's a part of me that loves struggling, resistance and takedown, but my inner sub likes being a good girl too much to do it for fun most of the time. I love D in a long leather coat, and I love (and hate) the cold distance he establishes between us when he's taking me on a real rollercoaster ride. I love, love, love having one of his hands over my mouth while the other explores my body, and I love that he took me up on my old, filthy fantasy of having my head trampled into the floor with the sole of his boot.
Shooting this was exhilirating, a slow wordless dance following D's lead. I had no idea what was coming, although we'd talked about the appeal this sort of fantasy had for each of us before, and he knew what I was likely to enjoy. Roy Tersley, the Janus photographer we were shooting with, had no clue what he was in for and had just expected to be shooting some nice spanking scenes, so I hope we didn't upset him too much! It was rough, violent, cathartic and absolutely drenched in sexual tension. By the time we'd finished I was flushed with arousal, and more or less failing to pretend I hated it (this is a problem I often have with ravishment scenes!)
D and I took a moment to reconnect in the changing room, and before we really knew what was happening we were fucking right there on the dressing table. Turns out he'd found it just as hot as I had. It was one of the most raw, intimate, downright unprofessional moments I've ever had on a shoot - normally I manage to retain a modicum of self-control, no matter how much fun I'm having! - but it's also one of those precious memories which I think I'll look back on with a grin for the rest of my life.
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