Yolanda stands and pulls on one glove (#1), and then the other (#2).  I crouch and shoot up at her, making her more imposing, more intimidating (#3).  She looks like a black female warrior hired gun, hands on her hips, as she tugs up the chastity (#4).  Ah, the rear view (#5), as she walks over to the basin and leans into the mirror (#6).
   Out to the studio, Yolanda sits on a table.  Her hands are propped behind her, one foot is on the floor as she mimics an illegal Balinese nude painting (#7).  The painting in the back is an enlarged tracing from a 1930's science fiction comic (#8).  I switch to a short telephoto lens and drop down so I can put their heads closer together (#9).
   Yolanda lays on a table covered with white rabbit's fur hides; black diaphanous cloth covers her legs (#10).  She leans forward; note how her breasts swell out of the bra cups (#11).  This is her elegant form (#12).  The Nubian princess shows us long legs (#13, #14) and forms shapes with her feet (#15).