THE NUDE IN STEREOGRAPHY 163the projector and study the planar picture. Then change to stereo.
Note the great change. This will do more to teach you the differ-
ence between stereo and planar than could be done by a book
twice the size of this one.
When you have had a little experience, start studying the model
stereoscopically. Study the pose over the camera. Then move to
the left, then to the right. Study the pose from several angles. Try
to obtain a pose which is satisfactory from every angle.
Next obtain a pose which is fully satisfactory from the camera
position, but which is decidedly unsatisfactory from the side
angles. Make this exposure also. Study the two and compare them.
You will find that the pose which was satisfactory from all angles is
decidedly superior to that which was satisfactory only from the
camera position.
This is true because when we look at an object, we make use of
stereoscopic vision subconsciously. It operates all right but we are
not specifically conscious of it. Therefore we concentrate upon the
planar effect. But with the stereogram we remain clearly conscious
of the stereo relief. Mentally we shift our position to look around
corners. We try to estimate the appearance of the subject from
other angles. This seems to be carrying an argument to the hair-
splitting stage, but one trial will convince you of the undeniable
reality of the fact.
In planar work a model is often moved a few inches out of
natural position, or she is instructed to look slightly more toward
the camera to give a better view of the face even though she is
looking off into space. This is known as “faking.” Do not try it
with stereo. The fake is obvious in the stereogram.
Then too there is the oft-repeated statement that women in a
photograph appear shorter and stouter than in real life. Frankly
I do not see it that way, but perhaps those who are not trained to
analytic vision are so deceived. At any rate I have had others speak
repeatedly of the fact that stereo does not have this effect. I have
had several women say about a stereogram, “Oh! I like that. It
doesn’t make me look as fat as I usually do in a photograph!”
Another pbint. Often a model will wear her shoes in the studio
only to kick them off at the last moment. Avoid this. The shoe
marks the foot, and often the dye rubs off upon the toes leaving