THE NUDE IN STEREOGRAPHY 161the same time you have a complicated problem of contour. When
you have mastered the elements of a static pose, go ahead to others
and note the change of both breast and abdominal lines as the
model leans forward, or raises her arms, or when she lies supine.
When you have made at least 100 fragmentary studies you are
ready to start serious figure work, Again simple, natural poses are
the best. From your study of anatomy and the fragments you have
made you should be able to see grace or awkwardness of line in
any part of the figure. If the line is right, note the masses, study
contours and the effect of lighting upon them.
If space were available it would be possible to give a num-
ber of possible poses, and to give several warnings as to what to
avoid, but if you find you need them, there are several such texts
available on the market. The better figure photographers however
have developed their own taste in the matter. It is advisable how-
ever to present a few “don’ts”:
Avoid dramatic poses, theatrical ones. Despair, worship, fear,
adoration, any strong emotion should be avoided. Your model
might be able to give a fair facial expression to such emotion, but
not to her body and always remember the body tells far more of
the mind than does the face! The same thing applies to the pre-
cious and artificial poses so popular a half century ago. Avoid the
allegorical pose as you would the plague. Stick to the normal,
everyday pose. You have a model, for the moment the archetype
of man’s indispensable and adorable helpmeet. Photogaph her in
character. Do not ask your model to be an accomplished actress
as well as a model.
So much for the question in general. Now what about the nude
as it appears specifically in stereo? Stereo does impose an addi-
tional load upon the photographer of the nude, just as it does in
all pictorial work. The planar photographers have repeatedly said
that in stereo the nude ceases to be a nude and is simply a naked
woman. Surely that is what any nude should be!
In all stereo work we are faced with the task of making reality
beautiful. The artist simply omits objectionable features; the
planar pictorialist hides them in some “dramatic” shadow, the
stereographer either removes the element or works it into the
harmonious whole of the composition!
The stereographer is forced by his medium to abandon the