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‘Examples of posing’

Abstract EXAMPLE is proverbially better than precept. ‘Things seen are mightier than things heard’. If this be generally true in relation to manners and morals, it is very specially true in matters of art. The sight of one good picture affords more instruction than many chapters on composition and chiaroscuro or the balance of lines and tones. In relation to posing the human figure, example is an imperative element of all instruction; and variety of example is necessary to suggest varied possibilities of effect, even to fertile minds. There is no piece of advice we have more frequently urged upon the photographic student than this: lose no opportunity of studying the works of great artists and note how their effects of grace, ease, beauty and dignity are secured. Sir Joshua Reynolds has pointed out the great value of this study, and told of his own mode of pursuing it, making an accurate analysis of the proportions of light and shade present, and of their mode of distribution. The aim of this mode of study is to fill the mind with a knowledge of effects, so as to afford material for suggestion in producing original work, not with a series of memoranda to guide the memory in producing imitations. In photography, fortunately, slavish imitation of paintings is scarcely possible, for few artists have painted their pictures so that the effects all come within the range of photographic possibility.