Another photoshoot

Lisa stood barefoot in the bright, wood-panelled ballet studio, nervously looking at herself in the mirror.

It was two days after the beach shoot. Steve had told her that the agency wanted to do a second shoot for her portfolio – this time “elegant and artistic”. A ballet shoot in a real dance studio with large mirrors and a soft parquet floor.

She was wearing the outfit they’d given her: a tight, bright red spandex top with thin straps and matching red spandex shorts. Both were extremely tight-fitting. The top clung like a second skin to her full breasts; her nipples were clearly visible through the thin fabric. The shorts were so short and tight that they hugged her plump bottom perfectly – and because she wasn’t wearing any underwear (as the stylist had recommended ‘for clean lines’), the outline of her labia was clearly visible beneath the red fabric. A distinct camel toe.

Lisa tugged at the hem of the shorts several times, trying to loosen the fabric a little, but it sprang back immediately. She felt her cheeks growing warm.

“Isn’t that a bit… revealing?” she asked uncertainly, turning in front of the mirror.

Jan, the photographer, smiled reassuringly. “Not at all, Lisa. That’s modern ballet fashion. The fabric is cut specifically to show off the body’s lines beautifully. You look elegant and professional. Trust me – it’ll be great.”

Steve nodded in agreement. “You have a beautiful figure. Especially in ballet, it’s important that you can see the movements and the musculature. Don’t worry about the camel toe. It’s just part and parcel of tight spandex. Lots of dancers have it. It looks artistic in the photos, not vulgar.”

Lisa bit her lower lip. She was still a little worried that people might see too much, but the two of them seemed so confident and professional that she finally let herself be persuaded.

“Okay… let’s get started.”

Jan raised the camera. He’d screwed on his special filter lens again and was saving everything in RAW format – Lisa knew nothing of this. To her, everything looked perfectly normal.

First, an elegant arabesque: one leg stretched far back, her back gently arched, her arms gracefully raised. The red spandex clung tightly to her body with every movement. Her face still showed a hint of shyness – a delicate blush on her cheeks, her gaze somewhat timid, as if she were aware of how open and figure-hugging the pose was.

Then a deep plié in second position: legs wide apart, knees bent, upper body upright. She moved her arms slowly and fluidly over her head. Her expression remained a little shy, but she was already smiling more boldly.

Next, she performed a wide battement en avant: leg stretched high in front, almost vertical, arms elegantly to the side. The tight fabric stretched as she raised her leg high, but Lisa was now dancing with greater joy. Her face showed a mixture of concentration and slight shyness – cheeks slightly flushed, her gaze somewhat uncertain, yet proud at the same time.

This was followed by a beautiful cambré backwards: her upper body leaning far back, her chest pushed upwards, one leg slightly bent. The red top stretched noticeably across her breasts. Lisa held the pose longer than before, because the Cloud promise made her feel more confident.

Finally, she moved into an open, flowing position: legs spread wide, upper body leaning slightly forward, arms elegantly raised above her head. She turned slowly, made small jumps and a series of pirouettes. With every turn and stretch, her movements now seemed much more natural and beautiful – because she knew that, in the end, she was in control.

Her facial expression remained a little shy and sweet throughout: her cheeks slightly flushed, her smile timid, her gaze sometimes briefly to the side, as if she were still feeling a little self-conscious inside. It was precisely this blend of naturalness and gentle shyness that made the shots so special later on.

Jan praised her enthusiastically: “That’s wonderful, Lisa! Exactly like that – much freer and more beautiful than at the start. The movements are really fluid and expressive now.”

With every movement, the red fabric stretched. The cameltoe became more pronounced at times, less so at others – depending on how she opened or closed her legs. Lisa noticed it every time, but Jan and Steve’s reassuring words encouraged her to carry on.

She didn’t know that Jan was already saving a completely different version in the RAW files: a version in which the red spandex fabric had vanished entirely. In the later pictures, she would be dancing stark naked in the ballet studio – her full breasts exposed, her nipples hard, her labia clearly visible, her bottom plump and round.

She continued dancing, smiled at the camera and slowly even began to feel a little proud.

“One last series,” said Jan kindly. “A bit freer this time. Just do whatever feels good.”

Lisa nodded and moved into a deep, open position – legs spread wide, upper body bent forward, arms elegantly stretched back. The red fabric stretched extremely tight.