February 1961

This February 1961 Uramado segment consists entirely of Selected Masterpieces of Pleasurable Torment Photography, an eight-page bondage portfolio selected and compiled by the editorial department. The photographs present a single female model in a spare interior equipped with modern chairs, wooden flooring, paneled walls, and minimal furnishings. Unlike a narrative picture story, the sequence contains no captions or prose beyond the opening title and editorial credit. Its emphasis is therefore wholly visual: rope placement, posture, furniture, exposure, and the changing relationship between the bound body and the surrounding space. The opening photograph establishes a tightly compressed reclining pose on a striped-covered table or platform. The model's wrists are bound close to the body, with additional rope crossing the upper torso. The second photograph shifts to a tubular rocking chair, where restraint is integrated with the furniture and the model's legs and torso form a more open composition. Subsequent images alternate kneeling, seated, and partially reclined poses. Several views concentrate on the back of the body and the arrangement of rope across the upper arms and wrists, making the rope path itself a central graphic element. Furniture repeatedly becomes part of the restraint environment. The rocking chair appears in several photographs, while another image uses a wooden step ladder or folding support as a compositional prop. The photographer also alternates between frontal, rear, and three-quarter views, revealing how the same general upper-body restraint changes visually according to posture and camera angle. Clothing is progressively reduced or displaced, and the sequence moves between partial covering and complete nudity without introducing a separate narrative explanation. The final photograph departs from the preceding chair and kneeling compositions by reducing the body almost to an abstract form: only the model's lower body and legs are visible on a raised platform while discarded rope lies prominently in the foreground. This closing image turns rope from an active restraint into an object within the composition. As a whole, the portfolio exemplifies Uramado's early-1960s treatment of kinbaku photography as formal erotic image-making, emphasizing bodily curvature, rope geometry, furniture-assisted posing, and the visual transformation of restraint into photographic design.

This issue has no formal printed table of contents.

The printed heading on PDF page 1 is 悦虐フォト傑作選, rendered here as Selected Masterpieces of Pleasurable Torment Photography. 悦虐 is a period SM expression combining pleasure or delight with cruelty or torment and has no single fixed English equivalent. The credit 編集部・編 means selected or compiled by the editorial department; no individual photographer or model is named in the surviving pages. The segment contains no publication masthead, colophon, printed page numbers, prose article, or other credited feature, so volume and issue number cannot be established from these pages alone.