Lovely Missey enjoys and endures the embrace of the straight-jacket - in this cruel single-glove armbinder variant!

Her mouth filled with a big black ballgag and her ankles strapped together with a tight pink leather strap, she provides

a very decorative view... and adding the strap to turn it into a hogtie was a stroke of cruel genius!

Hywel's note: as part of RestrainedEleagnce.com's 18th birthday this month, I'm releasing a selection of previously-unseen

sets from the early days. This glorious set of Missey is from 2006, and I think it was shot in my studio, when I had an

industrial unit in Reading. It's a little difficult to be sure because I used this white-backdrop-cloth poor-man's infinity

cove lighting set-up in the corner of my living room at home from the earliest days of the site, but I'm pretty sure we shot

this at the studio.

Technology had progressed to one of the all-time great digital cameras: a Canon 5D (Mark I). I'd got a

nice collection of prime lenses for it by this point, which are still in use today for some stuff we shoot on the RED and

the occasional retro set with lots of lens flare shot on the Sonys. Which just goes to show it is worth investing in lenses

rather than cameras, as I've had several camera bodies since then but the lenses are still useful, even if their resolution

and flare resistance is not up to modern standards (especially wide open).

On the plus side though the 5D was the benchmark design for dSLRs in many ways- pick up a 5D Mark IV and you'd be right

at home coming from the 5D Mark I. The only real innovations since then from Canon were video in the Mark II, and a bit of

a resolution bump (from 13 to 30-ish megapixels). This is a design classic for a reason - you still find plenty of commercial

bondage websites shooting on 5D Mark I's to this day. 13 megapixels is something of a sweet spot for shooting web content-

enough megapixels to play around with a bit of a crop if you need it, and enough oversampling to guarantee nicely crisp images around

full-HD sort of pixel resolutions, without the heavyweight data pipeline of shooting 40+ megapixel RAW.

It's also around the point that camera tech and storage tech really shifted to make shooing RAW worthwhile to get the best

results, even for the web where one's output is an 8 bit JPEG. With earlier cameras there was a bit to be gained from RAW if

you screwed up your settings a bit - but there just wasn't that much extra information coming off the sensor. By the 5D Mark I,

a good post production chain could tease quite a bit more from the sensor, but not so much more than shooting RAW was an

absolute no-brainer. Which I think is why a lot of JPEG shooters have stayed with 5D Mark I's and cameras of a similar era

shooting for the web- it gives great results straight out of the camera and no need to fuss around.

By the era of the 5D Mark II there was absolutely no question that there was SO much more detail and dynamic range in the RAW files

that it was almost counter-productive to shoot JPEGs unless you were a photojournalist. But if you're reducing everything to a JPEG

and scaling it down to web/HD sort of image sizes, and you control your lighting and your setting in camera, getting that information out

in a meaningful way for display might just not be be worth it for the extra work. So you might as well stick to a 5D Mark I as bother

upgrading to a Mark IV or a modern mirrorless camera at the cost of 3000+ pounds if the workflow works for you and your customers.

I of course am incapable of following my own sensible business advice because I have a fetish for image quality and detail which

even medium format digital and modern Sony mirrorless is only just barely able to sate.

Bondage, hogtie, straight jacket, arm binder, leather straps, ballgag, barefoot, blonde, PVC, single glove