Espied Pt. 12

Sal was about to get more exposure than she had bargained for. It was not that a pair of walkers spotted the naked trio from around the quarry, or even came walking by; it was not as if a group of local boys came down for a swim and stood gawking; rather it was a sudden rippling of the water not feet from Sal and three masked divers, complete with aqualungs simply surfaced. A shock to them no doubt, rising from the clear depths of the quarry to find three naked people and particularly Sal with half of an erect penis in her mouth right in front of them.

Sal moved back off the cock, leaving, Mr Riley standing, fully revealed, staring at the apparition from the depths; cock up, balls hanging. If it was a little unnerving for Sal, despite her becoming used to and rather liking exposing herself, even performing sexual acts to an audience, how much more must it be for Mr Riley? Not just naked but with that added male exposure of having his penis not flaccid but erect. Three persons unknown, unclear if male or female or both, ages unknown, staring at him and his erection pointing back at them. For Sal a thrill at the exhibitionism but for Mr Riley? And it could have been even worse. What if Sal had sucked a little too effectively? What if she had set off that unstoppable male spasm, what if, despite his shock at the divers' appearance, his penis had begun shooting ropes of cum in their direction - splash, splash, splash into the water of the old quarry?

Lovers, naturists, solo wankers can guard against being disturbed when out in the country and wishing to reveal their bodies but not guard against the completely unexpected. A man or woman or couple wishing to ramble for a time 'sky-clad' can look ahead and behind before stuffing clothes into rucksacks and walking forward feeling secure in their nakedness, but what if another rambler has tucked himself cozily down in the long grass or into a hedge and all at once the naked rambler or ramblers find their nudity and perhaps tumescence discovered? Sal and Mr and Mrs Riley had very much checked the quarry was devoid of other people, had noted a lack of cars at the roadside, had seen no one, but how were they to have anticipated people would appear from below the water of the quarry?

Slowly the three divers disappeared beneath the water as quietly as they had appeared. Sal stared at the ripples thinking of the wide eyes she had seen behind the masks. What had they thought?

"I had not expected that!" said Mrs Riley. Now, where were we?" Mrs Riley clearly keen to continue the photography but Mr Riley rather having other ideas. He was clambering up and out of the water, still erect and his penis waggling.

"Fred, where are you going?" Mr Riley was not permitted to go to his clothes, nor was he permitted to subside. "Keep Fred hard, Sal." Mrs Riley wanted to play with the contrast of light and shade. Insisted Mr Riley stood by a rockface with his body in shadow but his knob poking out into the brilliant light and delighted in photographing it, just with Sal's hand stroking it and keeping it erect. Portraits of hand and cock. Feminine hand tightly grasping, feminine finger just tickling, and the earlier pose Mrs Riley had adopted of palm holding testes whilst the penis reared upwards.

Next Mrs Riley wanted to pose Sal leaning forward over a rock, bottom rather in the air. "I want to evoke a feeling of helplessness." And then she brought the erect Mr Riley into the frame to stand behind her. The resulting photograph effective. Sal was impressed and so were the other club members when Mrs Riley displayed her efforts at the next club meeting. It was very much the light and shade. Mr Riley half in shadow but not his penis which seemed very much to be pointing or even threatening Sal's bottom. A degree of menace in having his face lost in shadow, but not his bald head. Somehow that seemed to accentuate the smooth roundness of his sunlit knob.

"Fred, pretend to copulate with Sal, yes that's it, no further, turn a little towards me."

Mrs Riley presumably intended Mr Riley to just touch her, or slide along her sex. Perhaps it was her wetness, perhaps it was deliberate on his part but his knob had unerringly gone straight to her entrance and was 'in.' There was no question about it. Sal could feel! Mr Riley was having sexual intercourse with her right in front of his wife. There was no 'pretend' about it. No movement from either party as Mrs Riley clicked the shutter of her camera, but no doubt Mr Riley could more than feel the hot, wet warmth enveloping his sensitive glans.

"Would you like to take some photographs now Sal?"

Sal stepped away from Mr Riley. He knew. She knew. But did Mrs Riley know what had just happened? The bright light gave interesting opportunities for shadow. Shadows using the curves and angles of naked bodies and particularly Mrs Riley's ample folds.

Mr and Mrs Riley against the rock face. Two X shapes with legs spread and arms outstretched, one hand and foot of each partner touching. Mrs Riley's fulsome bush, Mr Riley's shaved genitalia -- erect.

"No smiling," said Sal, "serious faces." What an unusual photo. Somewhat Leonardo Da Vinci's Vitruvian Man in a circle and square though neither just a man nor perhaps perfect proportions either. Maybe more a useful photograph for school lessons illustrating the male and female without the subjects being young and perhaps overtly titillating. But would the male in a state of turgid arousal be satisfactory for school, even for a lesson on human reproduction and sex? A whole mixed class looking at the photograph up there on the screen, perhaps life size. Not young persons in the photograph but, nonetheless, the sexual differences very much there. Mrs Riley's matronly bosom and full nipples contrasting with Mr Riley's vestigial ones, Mrs Riley's generous triangle of tangled curls and Mr Riley's upstanding penis. Sal had them repeat the pose facing away. Bottoms now on show.

It was perhaps a bit naughty and Mrs Riley expressed disapproval when she saw the photographs and Sal did not, therefore, show them to the photography club, but there was a great deal of reality in having the couple face each other with stomachs touching. It was even better with the sun directly behind them, so they showed as a silhouette, Mr Riley's knob reaching out but nowhere far enough to counter the significant distance between their genitalia imposed by their rather prominent stomachs. Sal liked the inference -- the difficulty of sexual intercourse when anything but slim. Stomach touching stomach but male sexual organ just not reaching or touching anything. Sal's arousal was up and it pushed her to more sexual poses. The apparent difficulty of copulation rather easily solved by having Mr Riley playing 'spoons' against his wife's back. Again, good in silhouette. It led to Sal having Mrs Riley behind Mr Riley by way of contrast and, of course, that pose invited Mrs Riley to hold her husband's extended penis. Good in silhouette. Sal could not but think it would look even better had she brought her young friend along as well. Sal was sure Mrs Riley would have enjoyed that, but would the young man? Would he be prepared to adopt sexual poses with Mrs Riley? What would he think with Mrs Riley behind him, her pubic hair tickling his buttocks and her hand grasping and, inevitably, manipulating his lovely black and so large cock?

And what would Mr Riley think of all that? The contrast of his penis and the young man's. Little and large indeed! Sal knew how much she would enjoy photographing the two cocks together. Portraits of two tumescent penises in a landscape. Thoughts of shots using great depth of field so against the blue sky, water and rocks soared both pine trees and cocks. Cocks in the foreground, trees in the background. Verticality. What would the club think of those photographs blown up by a projector on a big screen? Might, and Sal could well imagine it being by Mrs Riley, a proposal be made to have a club evening in the hall solely devoted to the male organ. Men -- and it would just be men -- well, perhaps - exposed upon the table for the photographers. Might there even be a call to photograph ejaculations -- bright lights and very fast shutter speeds to capture the ejaculate. Would such an evening excite the female photographers -- a ladies night indeed!

What would Mr Riley think had Sal's friend been brought along? Sal smiled as she clicked the shutter once more. Mrs Riley was sure to want Mr Riley and her friend to pose with her. Perhaps one man either side of her against the rock face. All those shadows and the interest of having her holding both cocks erect.

But there were just the Rileys. Sal felt a trickle of wetness run down her left thigh to her knee. She did like being outside and naked. She liked seeing others naked.

"I wonder, Sal, if we might try that pose with you kneeling -- like you did on the table at the club with your young man behind you and holding your breasts?"

Sal had not forgotten. How could she? But it was the shiver from Mr Riley, the jerk of his erection that told her it was not just Mrs Riley and herself who remembered. It was clear Mr Riley had seen the photographs and it had not just been polite interest he had shown in his wife's hobby and work.

They chose a flat slab of rock not that dissimilar to the mahogany table. "Which way do you want me facing, Edith? Where do you want the light coming from?" Sal was looking up at Mrs Riley from her pose atop the rock whilst Mr Riley was walking around the rock. She was sure he was inspecting what was between her legs. She was facing away from the sunlight and knew with her open legs he would be seeing 'everything,' was sure, even though she could not see him, that he was very much examining her, perhaps even leaning forward for a closer look, examining her sex.

"Fred, don't do that," said Mrs Riley.

Sal was sure she meant her husband to stop wanking, or stop over wanking, and that was confirmed by Mrs Riley adding, "we don't want you going all soft on us."

Mr Riley came back into view, hands not touching himself but his erection hard and pointing upwards.

"Come around a little this way so your face and breasts are in the sunlight but not so you are squinting against the sun. Yes, that's it. I do like how your boobs hang." The camera clicked. "Now, Fred, you get up on the rock behind Sal... that's it, lean over her and pretend you're copulating whilst you grasp her breasts."

Good to have hands on her breasts, good to feel the touch. Sal was sure it would be very much the same for Mr Riley, his fingers digging a little into her soft flesh, the hard points of her nipples at the centre of his palms. He was close behind her, she could feel his thighs against her bottom, could feel his hard cock, just the tip brushing against her clitoris, a steady bumping against it, the rhythm of his heartbeat. She looked up towards Mrs Riley and opened her eyes wide in the pose she remembered from the table. Was Mr Riley closer to her, just touching her with his knob, than Mrs Riley would want? A click of the shutter and then Mrs Riley crouched lower.

"Oh, bother, I can see Alfred's cock hanging there. It needs to be out of sight if it is to look like copulation."

"Just tuck it out of sight, Edith, tuck it in there."

"You don't mind... having Alfred's old thing...?" It was not Mr Riley or Sal who caused the penetration, the entering of Mr Riley's cock into her vagina, but Mrs Riley. She put down her camera and moved to pose her models. Sal felt Mr Riley pulled back a little way and then the tip of his penis touching her again and being moved towards her opening; Mrs Riley's hand against the skin of her thighs, clearly holding her husband's cock and bringing it to her entrance and then pulling it inwards. Sal could feel the smooth rounded shape opening her as if Edith Riley was pushing a dildo into her. It was not a dildo but her husband's cock! There was even a slap to his buttocks encouraging Mr Riley forwards, a thrust into her indeed. It was not the thrust of her young black friend. It was neither as long nor as thick, but it felt good, nonetheless.

"That's better, it now looks like you're copulating... I suppose you are! Well, not really," Mrs Riley's giggle was almost that of a girl, "your phrase, Sal, it's just 'tucked out of sight!' Now hold still... Fred you're not meant to be moving."

Clearly the man was having difficulty not doing what came naturally when his penis was inside a hot, wet sheath. It was a pleasant feeling for Sal as well.

"Now, wide eyed, Sal, and look like you're coming, Fred." A click of the camera and then another. "I think a bit of perspiration would look good." She reached inside her pack for a water bottle and dabbed water upon Mr Riley's bald head and Sal's forehead. "Perhaps your breasts a little damper as well. Hands out of the way, Fred." And Sal found instead of Mr Riley's she had Mrs Riley's hands all wet with water, massaging her boobs. It was an unusual scene. Not photographed -- unless there was some hidden voyeur -- but there was Sal with a man not so much with his penis merely 'tucked out of sight' but very much engaged in copulation with her whilst a woman, his wife, was massaging Sal's breasts in what looked a very sexual woman/woman act. How very naughty. What would the club have thought to such a photograph?

Mr Riley's hands returned as Mrs Riley bent to pick up her camera, her eyes momentarily not upon either Sal or her husband.

The naughty man drew back and gave Sal a couple of strokes whilst he thought his wife was not looking. Should Sal complain? Hardly! Sal could feel her wetness running down her thighs. It was not at all water from Mrs Riley's bottle. She bit her lip and found herself being told to hold the expression by Mrs Riley. Months before Sal would not have conceived of being naked outside even on such a beautifully sunny day, even well-hidden and wishing to sunbathe, still less posing naked in the act of copulation out in the countryside when anyone could walk by. Really anyone! Nor would she have felt so free with her body. She had not met Mr Riley before, yet within a couple of hours of meeting him here he was with his organ right up inside her -- copulating with her. Not merely tucked up out of sight!

The reality, though, was that when aroused her inhibitions started dropping from her as easily as her clothes had fallen. She would have been more than happy to have had other members of the club sequentially posing with her -- climbing turgid up onto the rock - indeed fucking her one after another whilst Mrs Riley recorded the action, would very much have enjoyed sucking one whilst another thrust at her. If Mr Riley was enjoying having her breasts in his hands, so would she have enjoyed holding and stroking a pair of cocks.

Mrs Riley's shutter clicked and clicked, she was taking varying shots of the supposed copulation -- only it was not supposed but real and it seemed to come to Mrs Riley that there was no reason not to show the cock as actually in the vagina. "Fred, draw yourself out a little, a little bit more, that's it. Could you both shuffle a little to the left, that's it. I want the light on, er, Alfred's shaft. Yes, so shiny. Sal! That's great, aren't you wet!" The shutter clicked again and again. "It really is just as if you were having sexual intercourse."

Was Mrs Riley being disingenuous, there was no question it was not a fuck!

Sal closed her eyes, she was trying to do what Mrs Riley said but the urge to push back and ram that cock into her was strong. She was beginning to 'lose it.'

"Edith would you like to have a turn posing, then I could use my camera?"

Mrs Riley looked momentarily surprised, "If you like, Sal, though I don't think I have anything like such a photogenic body as you. Wouldn't you like to carry on?"

"Ah, but all those curves and interest that come along with age, Edith."

"Maybe, but kneeling with my tummy all hanging?"

But Sal was insistent. Perhaps a wisp or two of silk would have added to the scene. A more classical pose in a Rubenesque painting, the wisp just covering the model's particularly feminine bits. Edith Riley's pose was not so modest. There, upon the rock, knees and hands supporting her, her tangled thicket was not at all obscured by carefully placed drapery.

Undergrowth that had seemed mysterious before, now somewhat opened to the watchful lens of Sal's camera. But that was not Sal's particular interest. It was Mrs Riley's voluptuous body, her wide hips, the undulations of flesh here and there, yes indeed, the hanging stomach and more than ample breasts elongating with weight. Edith moved and they swung -- really swung. A movement not to be seen in a painting or photograph though the artist or camera could certainly imply that movement. Sal thought Mrs Riley, contrary to her own estimation, very photogenic. The contrast of hard grey rock and her soft, creamy pale, more than ample skin pleasing. The soft curves to the shadows a delight. The young, nubile woman is pleasing but there is a great deal of character and fascination that comes with age -- and experience.

And then by way of contrast again, Mr Riley. The man and the woman. Husband and wife. Before the resumed copulation -- resumed in the sense of it being a resumption of sexual intercourse on the part of Alfred Riley, albeit now with a different woman -- Sal took an unusual set of photographs with Mrs Riley carefully posed upon the rock, not kneeling but as if on the move on all fours across the rock; one knee a little forward of the other giving the impression of movement, so there was no obscuring her ample curls; one hand and arm in front of the other so both breasts were visible; and Mr Riley not upon the rock but standing beside it, hand resting on the rock, simply standing there but with his cock erect.

It proved a remarkable portrait, the one of several nearly identical photographs she chose to exhibit at the club. We have all seen photographs and, indeed paintings of couples. There is that famous painting of a couple before an old-fashioned house, the man with a pitchfork -- 'American Gothic' by Grant Wood. Innumerable stiff Victorian and Edwardian photographs can be seen of couples with or without children and other relations staring out from the past in sepia.

This portrait quite different. The couple not even overlapping, one of Mrs Riley's feet not, for example, hidden from the viewer behind Mr Riley. The connection though made by the rock and -- and this was certainly discussed at length at the club -- the erect penis. The photograph could not really be seen in the same light as typical hardcore pornographic photographs. The club members examined a number of these by way of contrast. In the pornographic photographs erect penises are very often present but, as Mr Soames commented with his usual incisive analysis, rarely seen simply 'there,' almost always 'grasped, sucked, poking at female anatomy or in the act of ejaculation.' It was a pithy summation that stuck in Sal's mind. Once made the club could see what he meant. The man virtually never posed simply erect with the woman.

Sal's portrait had Mr Riley simply standing there with his cock hard and upright, facing directly to the camera. Not at all a sexual pose, if the tumescent capability was taken as given; Mrs Riley's pose, on the other hand, strangely sexual, almost catlike as she stalked across the rock. It was Mr Soames, again, who suggested she should really have had a tail!

The rock provided a very solid connection between the two but, as Mr Soames again observed, there was also the penis -- the marital penis. Not overly large but very much there as a symbol of the couple's union. Sal had smiled, pleased at the reception of that and other photographs at the club, and had not liked to point out that the particular symbol of the marriage had actually been inside her only minutes before, indeed still betrayed her wetness upon it!