The source of your knowledge, as mentioned before, is immaterial. Why put a model through the ordeal of trying to keep a vivacious smile on by the hour? No one can hold such a pose. We can learn more about a smile from the camera in five minutes than we can in five years of trying to "catch" it with the eye alone. Limbs move too fast for the naked eye to record. Expressions change and are gone in an instant. The camera is the one means of nailing these down so that we can study them by the hour. It is an unpardonable sin merely to copy. If you have nothing of your own to add, have no feeling about it, and arc satisfied, technically, with the manner of treatment and have no desire to change this, then throw away your pencils and brushes and use the camera only. There will be many instances where you won't know what else to do but to copy, but these instances will be fewer as you try to express what you feel and like through your increasing technical knowledge.
Use your camera for all it's worth as part of your equipment. But keep it as equipment—not the end, but a means, just as your knowledge of anatomy is a means. Every successful artist whom I know, though it may be heresy to say so, has a camera and uses it. Many artists I know are expert photographers, taking their own pictures and developing them. Most use the small or candid variety of camera and enlarge their prints. The camera broadens their scope tremendously in securing data outside the studio. Start saving for a camera right now if you have not already made it one of your "means."
Going 011 with our line of balance, diere are times when this line may be curved. In a sense, then, the line of balance is like a spring. For instance, a figure may be pushing very hard against something. The pushing would bend his figure backward. Again, if he were pulling hard, it would bend the figure the other way. Dancing poses can be built on the curved line, as well as
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