160 THREE-DIMENSIONAL PHOTOGRAPHYstructure if you wish to avoid poses which are unnatural and
awkward. A whole volume could easily be devoted to this one
subject, so instead of trying to present a too brief resumk, we
shall only advise you to obtain a dependable reference text, (your
local library can possibly supply it) and go through it conscien-
tiously.
When starting the first session with your model, you will both
be somewhat self-conscious. There is no use trying to do any
camera work as long as any trace of this feeling exists. The model
will probably lose it before you do. At any rate, have another
woman present, preferably the mother or a sister of the model.
Put in the first study period by having her assume certain poses
illustrated in the art anatomy. See for yourself the skeleton and
muscles as they function. Once you have the key it is surprising
how clearly you can really see these submerged motions. Have
your model leave off her robe even during rest periods at first.
Cultivate the complete and wholesome normality of atmosphere
in the studio. A single 30 minute period at most should suffice.
The next session can be devoted to elementary figure work. If
you can possibly find a copy of Fred Peel’s Shadowless Figure Por-
traiture study the poses and especially the fragments. Use one
period and at least 15 exposures of the elbow alone. Do the same
with the knees, then to the ankles with feet, the shoulders, the
head and neck from the rear so as to exclude the distracting ele-
ment of the face. Give very careful attention to the hands and
wrists. Of course the model need not be undraped for this type of
study, but it is highly advisable that she be so. Just so long as you
continue to think there is anything in the least abnormal in the
state of nudity you will fail to produce really good work.
The torso from the rear is worthy of several sessions. With each
change of pose there is a shift of the line of the spine. This line
has naturally the recurved form which is characteristic of the
Hogarthian Line of Beauty. Other lines branching to one or both
arms illustrate harmony of line. Alteration of masses by shifting
lights gives opportunity for endless studies.
The torso front introduces more problems. The simplicity of
the back is gone. The breasts make up one distinct area; the abdo-
men another and they are separated by the waistline. This divi-
sion must be handled to eliminate any division of mass, and at