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&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Sandow’s guide is richly illustrated with photographs, reproduced by the &lt;/span&gt;&lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3044"&gt;halftone process&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;&amp;nbsp;and supplemented&lt;/span&gt; &lt;span style="font-weight: 400;"&gt;with engravings that contribute additional meanings. For example, notice how the two different media on pages 28 and 29 complement each other by making an implicit connection between the idealized nudes of classical sculpture and Sandow’s living&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;body, with Sandow’s active&amp;nbsp;body clearly superseding the inert stones portrayed in the engraving. These connections continue throughout the book, with Sandow striking poses borrowed from classical sculpture. &lt;i&gt;&amp;nbsp;&lt;/i&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;The photographs of Sandow’s body also call attention to a persistent problem with the nude in photography. While nude figures were welcome in painted representations hanging on the walls of art galleries, representing the nude in photography—in all its &lt;a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography"&gt;indexical&lt;/a&gt; glory—was another story altogether.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;A full scan of Sandow's guide is available through the &lt;a href="https://archive.org/details/sandowgetsphysicl00sanduoft/page/n1/mode/2up" target="_blank" rel="noopener"&gt;Internet Archive&lt;/a&gt;.&lt;/span&gt;&lt;/p&gt;</text>
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