This chapter explores an overlooked aspect of Bloomsbury’s contradictory relationship to embodiment, materiality, and empire: their simultaneous embrace of early twentieth-century nudity and their condemnation of undress when it is expressed by the lower classes and colonial subjects. By focusing on the Studland beach photographs archived in the Berg Collection at the New York Public Library, this chapter considers the wider cultural context regarding nude images, both in terms of historical representation and practices of nakedness asks. Ultimately, the chapter asks: how might we understand Bloomsbury’s fascination with both photography and nudity at a time when nakedness and race together influenced colonial thinking and civilizing imperatives? The chapter argues that a consideration of Bloomsbury’s relationship to nude photography cannot be severed from the history in which whiteness is the normative racial marker for early twentieth-century Britons.