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She stood and turned to face him, her face flushed from bending, her expression pleading for leniency. ‘Bend over my girl,’ he ordered flexing his slipper between his chubby hands. ‘Come along now, let’s get on with it,’ he added placing his free hand on the back of her neck, forcing her over back into position. 'SWATT!' ‘Yeeeeooowwwcchh! Five, Sir,’ she gasped, her bottom weaving side to side. 'SWATT!' ‘Oooowwwccchhh! S … s… six Sir,’ her voice a whisper. He held her over for a short time before allowing her back to her feet. She swivelled on her high heels to face them, a rueful look on her bright red face as she fanned both hands up and down the back of her skirt. The excitement in the office was palpable; both men sported erections they could not conceal whilst both women stood contritely, hands behind them clamped firmly to their bottoms, breasts heaving inside the tight school-blouses, nipples hard and prominent. To the intense gaze of Denise and Suzi, Mr Johnson unbuckled. The same is true of the modern photographer, but our brush-wielding Italian is at a distinct advantage. If he wishes to paint an apple but has only a rotten one, he can choose to paint red where he sees brown, firmness where he sees softness, freshness where he sees decay. In the studio, the photographer has no such luxury. He must choose his model with great care, for no amount of lighting or retouching can correct a figure who cannot model. I once knew a pair of identical twins (Plate 4) whose bodies were indistinguishable, but one had the demeanor of a model and the other did not. She seemed awkward and forced, while her sister was lithe, supple and confident. It would be unfair to say that a single blemish will make a body unsuitable. My studio is very near the Milwood Theatre, and I was once (early in my career) fortunate enough to be introduced to Miss Alana Mullins, one of their most accomplished young actresses. I had seen her on the stage, but it was only in the bright.
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