Fawn linen-covered boards 100 x 129 mm which originally contained 32 pages of cream medium-weight wove paper 100 x 126 mm in four signatures of eight. Twenty-eight pages remain, all unsigned and numbered in pencil (not in the artist's hand) from 1 to 57 top right on the recto and top left on the verso from the first remaining page to the inside back cover. The inside front cover is decorated with a scribble and dot design and has a blue label printed Reeves & Sons, Ld./LONDON fixed at the lower right corner.

The first five pages of the notebook HMF 34(1)-34(5) detail Moore's experiments in photographing his own sculptures and various pebbles lying around his studios. For most photographs he recorded aperture size, length of exposure, light conditions and distance of the subject from the camera. Occasionally he also noted the results of developing the film. Many of the sculptures cannot be identified with any degree of certainty, but among those which can are four stone carvings of 1934, Carving LH 139 and 142, Head and Ball LH 151, Four-Piece Composition: Reclining Figure LH 154, and from 1932 Relief LH 118 carved in wood and gesso but subsequently destroyed. The words 'Mrs Ventris Wonderstone' on HMF 34(3) verso may refer to Reclining Figure 1934 (LH 141) in African wonderstone; Lois Ventris began collecting Moore's works in the mid-1930s. Although the sculptures referred to are dated 1934 or earlier, a reference on HMF 34(4) to a 'sunny winter day' followed by a heading on the verso 'At Burcroft' - the cottage in Kent bought by the Moores in August 1935 - emphasises the difficulty of assigning a precise date to this notebook.