LET'S BREAK THE ICE!

Let's free ideas that sometimes freeze when female model posing starts!

Has it ever happened to you? That moment when your mind stopped and you asked yourself 'Now what? Where should I begin?'

Female model posing begins with the body...

so let's forget all else and focus our attention on the body in a new light... a shadow!

A shadow devoid of detail...

no buttons...
no bows...
no pockets....

Simply begin to think of the female model body in terms of its silhouette.

THIS SILHOUETTE

is an actual black-and-white photograph. All graduated tones have been eliminated, leaving only the true outline of the female model.

The figure has been sliced to two dimensions height and width

IT'S TRUE

That in silhouette you can't see the female model features, what she is holding in her hand, or the expression on her face...

But...

Notice how the stark simplicity of the silhouette carries your mind's eye directly to the position of the female model.

... body
 ... legs
... arms
... and head!

When you...

Strip the body of distracting trivia and you discover the foundation of all posing - the form in silhouette.

OF COURSE THEY DO!

The slightest twist or turn of the subject, easily detected in outline, alters both the silhouette and its meaning.

When you can translate the rounded human figure into a flat silhouette, and associate its lines with a familiar symbol, you have the key to duplicating or creating any pose.

All silhouettes can be translated into simple lines. Some have long lines; others tend to zigzag. Long-line silhouettes . . . are usually those in a standing or reclining position, or any other stance where the female model body is, or almost is, at its fullest length. Zigzag silhouettes . . . are usually created by sitting or kneeling poses that shorten the female model body into positions of angularity. These, you will agree, are two very general classifications. However, each can be diagrammed for careful analysis and specific identification.

ALL LONG-LINE SILHOUETTES FORM LETTERS

that are easy to remember. Separate the pictures you have diagrammed and you will find that each solid line simulates one of three letters of the alphabet - an T, a 'C or an 'S'!

Vertical 'C silhouettes are simple to execute with effective results. They form the basic poses that the beginner can use without encountering complications and are the basis of creative posing for the more advanced. 'C silhouettes tend to lighten the female model body and manifest a feeling of femininity, grace and ease.

VERTICAL ‘I’

Vertical ‘I’ silhouettes have an exacting quality overlooked by the casual eye. They are the most inflexible of all poses and require experience and skill. Contrary to common belief, an interesting straight vertical silhouette is difficult to execute without giving the female model body a stolid appearance. However, when expertly used to express strength, masculinity, elegance, regality, it is a very effective long-line silhouette.

Vertical 'S' silhouettes are interesting to work with and, although they require more practice, they are worth the extra effort. The slight shift of the head-line or the leg-line to the opposite side that changes a 'C silhouette to an 'S' makes a rewarding difference. The graceful line created by the 'S' silhouette appeals to the artistic eye. It flows with femininity, flexibility and symmetry.

VERTICAL'C

VERTICAL'S'

the hips, arms, thighs, calves, etc., bulge when they are pressed against a hard surface to support weight.

When soft flesh must contact a hard surface with pressure, shift the major weight to the opposite side so that the flesh facing the camera touches the surface lightly, maintaining its most effective line.

DIACONAL SILHOUETTES

may slant at any angle between vertical and horizontal. Still figures, classified as diagonals, usually require specific support other than the feet, while diagonals taken in action do not need additional support. The diagonal silhouette, supported by an object at any height, can present any view to the camera and still form ‘I’, C or S' lines that permit classification.

Diagonal C is the most commonly used diagonal body silhouette. The average female model supported by an object, curves her body naturally in a C. Although this silhouette is the easiest of the diagonal lines to achieve, it expresses grace nevertheless, and gives the effect of being softly feminine and generally pleasing. Many outstanding photographers favor this 'C curved silhouette and beginners would do well to remember it.

DIAGONAL ‘I’

Diagonal I is the most difficult of all ‘I’ silhouettes to sustain in a true line. It is stark and exact - demanding rigid control on the part of the experienced female model. It maintains the feeling of directness and strength which is characteristic of all straight-line silhouettes and can be prosaic unless done with deliberate intent.

Diagonal 'S' silhouettes have that extra something that adds flair to a picture. This flowing reverse of curves is reminiscent of Hogarth's classic line of beauty. With a bit more expert handling than is needed for the 'C silhouette, the 'S' long-line is both highly artistic and adaptable to distinctive work.

DIAGONALS'

DIAGONAL ‘S'

HOW TO DIAGRAM ZIGZAG SILHOUETTES

Note: Except for the rare occasions when the camera is centered on the subject in a side view, the actual angles assumed by the female model are not necessarily the same angles that are formed on the ground glass of the  camera, or subsequently appear in the finished picture. Therefore all final corrections of the zigzag pose must come from the man behind the camera.

BODY  LINE + LEG  LINES
ZIGZAG  LINE

ZIGZAG SILHOUETTES

form either a pair or a combination of angles whether their support is higher-than-chair-level, or on the floor. There are four basic zigzag silhouettes:

1. The geometric silhouette...

consists of two right angles, whether the female model figure is sitting or kneeling. Pairs of right angles are usually used when the purpose of the pictures is to create an effect of masculinity, strength, stylization, or, to depict a pose characteristic of certain dance postures. Right angles, unless deliberately used for their geometric form, prove stilted and sometimes even ludicrous.

Note: In bathing suit and nude female model posing, where the form is not covered by clothing, the weight of the body may distort the buttocks. Correction can be made by placing a spacer, such as a book, under the side away from the camera upon which the weight of the body can be supported. The camera side of the body is then lifted slightly to relieve pressure and exhibit a firm line.

2. The acute silhouette...

formed by a pair of acute angles, may also be a zigzag figure in any position. It can be varied by muscle tension to express anything from an athletic crouch to a relaxed curl of the female model body.

Acute angles often close the space between limbs and body causing parts to lose their individual outlines as they press against one another. Thus, great care must be exercised to see that the body maintains a clean-cut outline defining character and situation even in its compactness.

3. The obtuse silhouette...

contains two obtuse angles whether the figure is sitting or kneeling. It has a flowing line and expresses a relaxed, luxuriant and casual feeling.

TYPICAL GEOMETRIC SILHOUETTES-SITTING

4. The mixed-angle silhouette...

 is the most widely practiced form of the four silhouettes used in sitting and kneeling female model figures. It is usually arranged by combining an acute angle with an obtuse angle. A right angle is rarely compatible with an angle of another kind and is seldom used in mixed-angle silhouettes.

TYPICAL   ACUTE   SILHOUETTES-SITTING

TYPICAL   OBTUSE   SILHOUETTES-SITTING

TYPICAL   MIXED-ANGLE  SILHOUETTES-KNEELING

BUILDING THE POSE - DIRECTOR

These notes (and others that end subsequent chapters) are not meant for the casual reader, the detached spectator or the pro-crastinator. They are offered to those willing to analyze their work in a new light.

You're the man with a definite plan. You are ready to start building poses before you take another picture!

Analysis helps you build, for it gives you a target for future shooting. Go into your files and diagram some of your full-length pictures - the not-so-good as well as your best prints. (Those that you do not care to deface may be diagrammed on an overlay sheet of onion skin paper.) Diagram at least 50 long-line female model pictures and separate them into three main groups:

‘I' silhouettes
'C silhouettes
'S' silhouettes

Divide each group into its five possible views.

You'll probably find that you have favored the front view of either the T or the 'C long-line silhouette. In fact, you may discover that you have repeated the exact pose on different occasions. Too much repetition denotes lack of creative repertoire and it is so easy to direct those small changes that make the big difference!

Let's get busy and see how working with the figure in silhouette helps clear your mind for action.

An hour or so of practice with a live silhouette can eliminate countless hours of 'If only -' mistakes, reams of paper and fruitless hours. In no time at all you'll be able to direct the body like a master puppeteer!

A friend, your wife or a female model who also wishes to benefit by the training, can be your silhouette. Your first step is to thumbtack a white sheet over an open doorway. Place an ordinary, unshaded 100 watt lightbulb 9 feet behind the sheet and about 30 inches from the floor.

Your silhouette, dressed in a form-fitting bathing suit or leotard should stand close to the sheet on the same side as the light, while you direct her from the opposite side of the sheet in a darkened room.

Brief your female model on what you mean by an T, 'C and 'S' silhouette. If she is inexperienced, all the better ... more opportunity for you to practice directing!

As your female model poses in silhouette, see if you can direct her in: 3 different vertical silhouettes 3 different diagonal silhouettes

Check each pose for:

1. Clearly defined T, 'C or 'S' line.
   
2. Clean-cut body outline... especially at the waistline.
   
3. Positions that specifically appeal to you.
   
4. Slight alterations - twists or turns that improve figure proportions or the pose.

When you have gained insight into the positions you repeat through preference, study the work of others and analyze their favorites. Magazines and catalogues are filled with female model poses for illuminating comparison.

Fashion magazines offer an unlimited source of full-length pictures by topflight photographers. As you diagram and analyze their pictures, you will notice that they too, favor one type of silhouette over another ... but careful observation will reveal their flair for the slight changes that make the big difference.

Practice of the following exercises will help you plan female model body positions:

1. Bend  an ordinary pipe cleaner to fit the vertical kC body-line on page 20.
   
2. Straighten this extreme 'C slightly to form a modified 'C\
   
3. Change this modified   C into a very subtle or slight 'C.
   
4. Reverse the 'C position by flipping the pipe cleaner between your fingers.
5. Change the 'C to an 'S' by placing the head-line on the opposite side of the body line.
6. With the same or other pipe cleaners, duplicate some of the long-line poses in your collection.
7. Now visualize a model against the back ground before you.  Hold one of your pipe cleaner figures at arm's length in front of you pretending it is she. Answer these questions:

1.  How far away would she be?
   
2. What would support her weight?
   
3. Which direction would she face?

8. Try directing a female model into the position you have visualized.

This pipe-cleaner figurine is almost a magic wand in planning body-lines. In actual directing, the pipe cleaner can also be a great aid. Arrange it in a 'C long-line.

Hold it between you and your female model. As you manipulate and change its position, see if she can follow its lines with a minimum of further explanation. Try
reversing some of the positions. You will find that although she views the line from a different side, her response will be exactly what you want - greatly simplifying the mental gymnastics of reversing commands.

To familiarize yourself with the directing of zigzag poses go back to your basic classifications of zigz

ags. Direct your silhouette in each of the poses shown. Create and direct her in some positions not shown:

acute kneeling obtuse
kneeling geometric
kneeling mixed-angle
sitting

Now that you are actually ready to start taking pictures you will be able to break the ice as well as cope with unchangeable factors that dictate the direction the female model must face - existing light; natural background; clothing details; pre-determined picture layout ... or, even the figure liabilities of the model.

After you have weighed the importance of these factors establish her general body direction, plan approximately what she will need to support her figure and what she will be doing.

Now is the time to communicate your plan to the female model in clear and definite terms:

1. The idea we want to get across is -.' (Purpose, picture format, how much of model will be revealed, what she will be doing, etc.)
2. 'You will be sitting on the stairway.' (Relate a long-line or a zigzag silhouette to the existing staging.)
3. 'Face the camera,' (body view)

With all these decisive steps in the right direction, you are ready to start building the pose, accepting, rejecting or adding to positions the female model might assume.
As you know, the time element in posing is important. Some models fatigue easily and sag with loss of interest. Others tense and become immobile. If the basic position you have chosen permits easy balance, your female model can rearrange arms, legs or head deftly before she wilts or rigor mortis sets in.

BUILDING THE POSE-MODEL

Have you ever seen yourself in silhouette? You will be amazed to discover that your silhouette can tell you more about modeling than your mirror! Your silhouette, more than anything else, can give you a clear idea of many points:

1. The variety of positions your body is capable of forming.
2. A workable understanding of weight distribution and poise.
3. The changes, resulting from slight movement.
4. Basic conveying of mood and character.
5. The vital changes that result when the camera transforms your rounded figure into a two dimensional picture.
6. How your silhouette proportions change in different body positions.

Once you mentally control yourself in silhouette, you can create poses or take instructions from your director with ease. A female model who does not know how her body moves and balances itself, seems to fall apart when asked to shift a hip or move a hand. Working with your silhouette at home will give you an understanding of what the camera sees and practice will help you call forth what's needed to adjust or hold any pose.

Long-line practice...

is started by first analyzing the work of some of the successful models whose pictures appear in current women's magazines and fashion catalogues. Cut out and diagram:

25 'S' silhouettes
25 'C silhouettes
25 T  silhouettes

Separate each category into vertical, horizontal and diagonal poses.

To practice duplicating these female model poses in silhouette, set an unshaded table lamp on the floor. The bulb should be about hip high and about 10 feet from a smooth, light colored wall. Darken the room by turning off all other lights.

In a form-fitting bathing suit or leotard, stand about two feet from the wall, facing it. The shadow you cast on the wall is a pretty good replica of the female model silhouette a camera sees. Notice how each move alters your form. Remember — every alteration represents a change the camera will record in the outline of a real position. Spread your collection of diagrammed magazine poses before you on the floor. Duplicate each in turn. Note the following in each pose:

1. The direction the body is facing.
2. Which leg supports the bulk of the body weight.
3. The identity of the letter formed by its long-line.
4. The position and proportion of the hips and shoulders.
5. Clean-cut waistline.
6. Lowered shoulders and definite neckline.
7. Expression of character.

Close your eyes and think of a female model silhouette in an 'S' or 'C long-line. Make your body conform to the mental picture and when you think you have achieved it, open your eyes. Notice how close or how far you were from what you thought you were doing. Make the necessary changes that would give you what you pictured and any minor adjustments that will create an interesting or flattering silhouette. Remember those changes ... how little or how much movement was necessary.

If you find after considerable practice that you tend to repeat posing faults in silhouette, you will now know where weakness lies.

Practice all the female model silhouettes in this first section. Memorize the front view and one of the 3/4 views of the 'C and 'S' long-lines and practice balancing in each while moving your arms around. Practice these four body positions in silhouette until they become part of you. Don't put this off another day ... remember that body positions are the basis of all your posing. Practice frees you of mechanics and soon you will be able to go full speed ahead.

Another practice exercise: take your four basic long-line female model poses and see if you can reverse each one. Same symbol line - different direction. If this is hard at first, trace an outline of the pose on a sheet of thin paper and turn it over. Hold it up to the light and you will have the position reversed. It is important for you to know how to do this in case the photographer wants the exact pose in a reverse view. A view, impractical from one position because of unalterable background, props or lighting conditions may be exactly the position wanted - transposed left to right or vice versa.

Practice duplicating the silhouettes in your collection and gradually add to your posing repertoire.

Zigzag practice is important too. Find and diagram at least:

5 acute sitting figures,
5 obtuse sitting figures,
5 geometric sitting figures,
10 mixed-angle sitting figures.
Also find at least:
5 acute kneeling figures (these may be on one knee or two),
5 obtuse kneeling figures,
5 geometric kneeling figures,
10 mixed-angle kneeling figures.

If you are unable to find the required number of each of these figures, roughly sketch the zigzag line you are looking for and you will find that you can work from it just as well as from a picture.

In female model silhouette, practice arranging yourself in a sitting or kneeling position with your eyes closed and after you think you have  the  pose  ...   open  your eyes  and examine what you have done. Would your silhouette be improved if you ... . . pulled in your tummy? . . raised your chest? . . dropped your  shoulders for a  better neck and chin line? . . shifted your weight slightly? . . separated your arms from your waistline?

Would anyone looking at female model silhouette know what you are doing? In other words ...is her silhouette more than a blob?

A good exercise to get you thinking from the camera's point of view:

1. Select any spot in the room and pretend that it is a camera.
2. Face it.
3. Present a side-view to it.
4. Present a 3/4 front view to it.
5. Select another spot and try to present a 3/4 back view to it before you can count ten.
6. Mentally compose a sitting position. Select another camera spot and see if you can arrange your body easily from that viewpoint.

Female model should train to flow easily into positions that feel right - and look right. That's the job half done ... and the rest is fun!

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