Legs | Leg Movement | Legs in Standing Positions | Basic-leg Positions | Show-leg Positions | How to Diagram Standing Legs | Duplicating a Leg Position | The Contour of a Leg | Feet | First Movement of the Ankle | Second Movement of the Ankle | Fan-like Movement of the Foot | Building the Pose: Director | Building the Pose: Model

LEGS
in standing figures, contribute to the support of the body, while in
sitting and reclining figures, they serve a more ornamental purpose. Whatever its prime
function, proper leg posing adds to the natural balance of the body and the design of
the picture as a whole.
The leg, as defined by the dictionary, is 'That part of the lower limb
from the knee to the toe'. Universal use of the term however, has extended that meaning
to include ... 'that part of the limb extending from the hip to the toe'. For leg
posing purposes, we will take the longer view.
Parts of the leg are also referred to in various terms in different regions of the
world and so to avoid confusion and establish a common basis for understanding, let us
define the parts of the leg as they will be referred to from time to time throughout
our leg posing tips.
Thigh - the upper section of the leg from the hip to the knee.
Lower Leg - the lower section of the leg, from the knee to the
ankle, which has the shin in the front and the calf
or fleshy portion in the back.
Foot - the third section of the leg. It tapers from the ankle to
the base of the toes, parts of it include the heel, instep and ball-of-the-foot.
Toe - the five terminal parts of the foot which work in unison and
for photographic leg posing purposes will be referred to as one unit.

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LEG MOVEMENT
is governed by the flexibility of the joints that connect the four sections of
the leg. Each leg has two kinds of joints; a hinge-type joint (which permits the
connected parts to swing back and forth during leg posing) and a
swivel-type joint (which permits motion in almost every direction.)
Swivel joints
The hip-joint is a swivel-type joint connecting the thigh with
the body. It frees the thigh to move in almost any direction.
The ankle-joint is another swivel-type joint connecting the
lower leg with the foot. It permits the foot to rotate in almost unlimited
freedom during leg posing.
Hinge joints
The knee-joint is a hinge-type joint connecting the thigh and
the lower leg. It permits the latter to swing back (1500 arc) then forward to its
original straight position in line with the thigh.
The toe-joint is a second hinge-type joint that connects the
toes with the foot and permits them to bend either upward or downward.
These simple mechanical joints bring the sections of the leg into all
photographic positions. Leg posing is simplified when you understand and use the
many variations that their flexibility allows. |

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LEGS IN STANDING POSITIONS
support the body and are responsible for the natural balance of the picture as a
whole.
They may share equally or unequally in supporting the weight of the body during leg posing.
When both legs carry an equal share of the burden, they give the body a strong,
solid base. This feeling of solidity seems to disappear as the body weight is
shifted to one foot. The body becomes pliant. An impression of elasticity or
delightful informality flows into the body form in this kind of leg
posing.
When the legs share unequally in the support of the body, one leg carries the
bulk of the weight while the other lightly touches the floor. These are the leg
positions most frequently adopted and varied for photographic leg posing use. Let
us study this uneven distribution of body weight, how each leg moves and its
individual responsibility ... camerawise. |
The basic-leg shown here is dark while the show-leg is light. This
difference in tone will be standardized throughout the illustrations to help you
evaluate the position and activity of each leg separately, a very important factor in leg posing. Remember thiis leg posing rules: basic-leg - dark, show-leg - light.
The basic-leg carrying the bulk of the body weight, can pivot on
its heel while its toe can point in any direction. If you should compare it to the hand
of a clock, it would remind you of the hour hand which indicates each hour.
The show-leg does not support the body to any great degree. It
performs another function; it balances the body and adds to the artistic value of the
picture.
This show-leg, in its freedom, can swing around the basic-leg in a wide circle during leg posing. In fact, the
sweeping movement of the show-leg is like the minute hand of the
clock.
This becomes a significant simile, for, as you relate legs to the hands of a clock,
you immediately find dozens of natural leg positions at your disposal.
BASIC-LEG POSITIONS
A FLOOR-CLOCK encircles this model's basic-foot. Her heel is in the exact
center of the clock and her toe pivots around the heel, pointing to a different number
on each clock she occupies. The number to which her basic-foot points, dictates, to a
great degree, the direction her hips will face.
FOOTNOTE:
The HEEL acts as a pivot for the basic-foot.
The TOE gives the foot direction and points to the hour.
The BALL OF THE FOOT, especially the bone behind the big toe, should support
the weight of the body, and can, if used correctly, keep the model from
swaying.
SHOW-LEG POSITIONS
The toe of the show-leg marks the rim of the clock. Its movement can be
clockwise or counter-clockwise. This model's basic-leg points to eleven and her
show-leg stops at each of the twelve numbers on the clock. Her exact leg position in
each picture can thus be identified.
Note that in some leg positions the show-leg may cross either in front of, or
behind the basic-leg.
The unencumbered show-leg is an asset to creative leg posing. Its position can
add innumerable qualities to a picture such as grace, ease, length, strength, design,
composition or interest.
1. SELECT A STANDING LEG-POSITION
HOW TO DIAGRAM A STANDING LEG-POSITION

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for analysis and duplication.
The basic-leg and the show-leg in combination, with slight or great change, are
capable of hundreds of positions.
Certain combinations, however, are more usable than others and it is important
to be able to recognize and remember a good leg posing when you see it.
Many times it becomes necessary, or desirable to know how certain illustrated leg-positions were executed.
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A simple way to analyze a standing leg-position is to draw a rough floor-clock about the feet of the illustration so that you can
quickly estimate leg placement. (Where it is undesirable to deface a fine
photograph or a borrowed magazine, use transparent paper and draw your diagram
over it.)
- Select a sketch or a photograph containing a leg-position you would like to
analyze.
- With a heavy black pencil (or a red one) draw a long horizontal line
through the heel of the basic-foot parallel to the bottom of the page. This
line should be of equal length on each side of the heel.
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2. DRAW A LONG HORIZONTAL LINE THROUGH THE HEEL OF THE BASIC-FOOT
3. DRAW A SHORT VERTICAL LINE THROUGH THE SAME HEEL
3) Draw a short vertical line through the heel of the same foot perpendicular to the
bottom of the page. (When the foot is on the toes, as in high heels, the line should be
drawn through the point at which the heel of the shoe touches the floor or would touch
the floor if it were set down.)
4) Describe an elliptical circle to represent the edge or rim of the floor-clock.
Start the line at the tip of the show-toe and swing the circle to each end of the
crossed lines.

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5) Turn the picture upside down and arrange twelve numbers clock-wise around
the circumference of the ellipse. Put 12:00 o'clock at the center-top of the
page.
6) The basic-foot is the hour hand and the show-foot is the minute hand; read
the time indicated by the leg position you have just diagrammed. |
4. ENCIRCLE THE END OF THE CROSSED LINE
5. INVERT THE PICTURE AND NUMBER THE CIRCLE CLOCKWISE |

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Our floor clock says seven minutes after 1:00 o'clock. What does yours
say?
In order to save time and space, most experienced photographers, directors and
models use a direct method of indicating leg positions instead of saying
the actual time. For example, twenty minutes until one o'clock on the floor-clock
means that the basic-foot points to 1 and that the show-foot rests on 8. Such a
position of the feet is said to be one over eight. |
If the position is written, it is separated by a diagonal line thus:
basic-foot number / show-foot number or, l
If the basic foot is to be designated it might be written R -J or L 1, which would
indicate, of course, that the (R)ight or the (L)eft foot is to be the basic one.
Other positions might appear R "{, L \ or R J, and would be verbalized
as right 3 over 6, left 2 over 1, right 1 over /, etc.
Could you duplicate a standing leg position from one of these simple diagrams?
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DUPLICATING A LEG-POSITION IN LEG POSING
is easy after you have diagrammed it.
Model
When you have turned your diagram upside down, you will seem to be
looking down your own legs to the floor-clock that surrounds your feet.
With your basic-toe pointing to the hour, and your show-toe indicating the
minutes, you can tell time ... time and time again!
Director
It is best to interpret the position of each leg independently so that you can
supervise its movement without confusing your model.
With your diagram in hand, establish the position of the legs
illustrated in your own mind before translating it, by command, to your model.
Tell her:
Leg posing... which foot is to support her weight. ... to which number its
toe points. ... upon which number her show-toe should rest.
It's as simple as that! |
THE CONTOUR OF A LEG
in any standing position, depends upon the degree of tension at the
knee. This affects the physical outline of the leg and influences the viewer's
impression or interpretation of the position.
Too often and too late ... legs do not appear in a finished picture
as you thought they would. The trick is to exercise control of the knee and see
that it adds to the significance of the leg.
After a leg position is established, note the tautness and position of the knee.
Is it tensed until it appears bowed? Does it look straight? Does it curve, or is
it angular?
Actually, none of these positions is wrong ... //it serves the right
purpose.
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The taut knee position with its bowed
effect is associated with the young and awkward. It is often used to characterize a
cocky individual or give a comic impression. Sometimes this position occurs
unintentionally when a model shifts too much weight to one leg and forgets to ease
the knee before the camera clicks.
When both knees are forced back with pressure or undue tension, they appear bowed
like barrel staves.
The relaxed knee is actually a flexed knee. It is purposely
relaxed or slightly bent to keep it from looking stiff. This position appears
perfectly normal in a picture and lends ease and flexibility to a straight
stance. |
The bent knee can present the leg as a long curve or a sharp angle.
A slight curve accentuates the flowing line of the leg and its natural contour. If it
is bent at a sharp angle, the angle usually assumes more importance than the leg's
contour.

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FEET
play an important part in the arrangement of leg positions and are interesting
in themselves.
Did you know this about leg position...
.. the position of the feet can make the legs look
cither long or short?
... that feet can make the legs appear graceful or awkward?
... that feet can indicate whether the legs are
relaxed or tense and can express many other
qualities important to you pictorially?
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It is hard to realize that even though the ankle joint is a swivel-type joint,
capable of moving in almost any direction, the important views, so far as the
camera is concerned, all stem from simple movements.
There are just two of these movements; one is the hingelike action that elevates
the heel or the toe (its action can be detected best from the side view or the
foot). |
The other leg posing movement is best seen from the front view of the foot: the ankle
rolls in and out - from side to side.
These movements of the ankle, whether used singly or in combination, affect the
appearance of the foot regardless of the camera's viewpoint.
Let's examine these simple movements of the ankle in detail:
FIRST MOVEMENT OF THE ANKLE
is an up-and-down action and is best illustrated in a side view of the foot. The
relation of the heel to the toe identifies its position. The heel moves from a position
higher than the toe to a position lower than the toe.
With the heel in its highest position, the toes curl back and form a continuous
curve with the instep. This position denotes trained control and is used primarily by
dancers, divers, acrobats and other skilled performers because it adds maximum length
to the leg.
It is often misused by models in would-be spontaneous or candid-type pictures;
tension in this leg posing is easily detected.
For naturalness and ease, without sacrificing the length of the leg to any notable
degree, the toes remain relaxed while the instep alone arches down. This streamline
position is popular whether the foot is bare or encased in high-heeled shoes, whether
it touches a support or is suspended in space.
As the heel drops closer to the ground, the length of the leg diminishes. When the
heel touches ground, the leg looks quite stubby.
When the toe rises above the heel, a more abrupt angle is formed and the leg appears
even shorter. The effort exercised by the model to hold her toe up, gains prominence,
and qualities such as adolescence, pertness, impudence, awkwardness or comedy are
inferred. Regardless of the camera's viewpoint, these impressions remain the same. For
instance, an arched instep (from any camera view) makes the leg look longer and more
graceful than any of the other positions.
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SECOND MOVEMENT OF THE ANKLE
is revealed primarily in the front view of the foot. It is
identified by the position of the ankle in relation to the toes. The ankle moves
from a vertical position over the toes either to the inside or the outside of the
body.
Artists use the term adduction and abduction to
indicate the movement of the ankle either toward the axis of the body or away
from it, but because the terms are too similar, they are not useful in
photographic work, either for determining or directing the position of a model.
We talk about the model rolling her ankle in (toward the other
foot) or, rolling her ankle out (away from the other
foot.)
Like other movements of the foot, the three positions resulting from this action
have definite meaning for the viewer. |
The ankle rolled - in toward the big toe side of the
foot - makes a graceful curve that is used for very feminine positions.
When the line of the foot and leg becomes one and the ankle is straight, the leg posing position assumes a straightforward masculine significance. Though this position is
often used by a female model to depict hoydenishness, formality or stylization; the
top (feminine) position is never used by a male.
An ankle rolled-out conveys immaturity. |
In ballet, the position with the ankle rolled out is called sickling because it reminds one of the shape of the sickle used on a
farm to cut grass. Most directors find the position sickening as it
destroys poise, balance, grace and the form of the leg. If you use this position, be
sure you are after adolescent, primitive or comic effects.
FAN-LIKE MOVEMENT OF THE FOOT
FOOT FANNED OUT (AWAY FROM OTHER FOOT)
must not be confused with second movement of the ankle although
a quick glance at these two pages seems to indicate similarity in their
action.
The fan of the foot affects only the show-foot. Its action does
not involve any movement of the ankle at all; it stems from a twist of the whole
leg.
Because its limited action involves only a twist of the leg, hips do not follow
its rotation (remember, rotation of the basic-foot sometimes requires a change of
hip position).
SHOW-FOOT IN NEUTRAL LEG POSING POSITION (PARALLEL TO THE BASIC-FOOT. NOT NECESSARILY FRONT VIEW AS SHOWN HERE)
In neutral leg posing position the show-foot parallels the basic-foot. When it fans-in, the toe of the show-foot points toward the
basic-foot; when it fans-out, it points away.
The degree of fanning is measured from the neutral position and although the
show-foot can fan 900 to the right, or 900 to the left, it seldom does so. In
fact, it is used almost exclusively in neutral position or slightly
fanned-out.
FOOT FANNED IN (TOWARDS OTHER FOOT)
Fanned-in leg posing positions are seldom used, for when the show-toe passes the line
parallel to the basic-foot it appears pigeon toed.
We often associate the fan-of-the-foot with other characteristics and
feelings:
Fanned-in it denotes wkwardness and inexperience, shyness. |

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The foot fanned-out about 900 presents the inside of the leg (when the body is in
front-view) and is typical of ballet's precise control.
Fanned-out excessively and used loosely it is associated with the
flatfooted, unsophisticated person of limited intelligence and is employed by comedians
and clowns.
BUILDING THE
POSE-DIRECTOR
Footwork is best initiated by your model because she usually knows her own balance
and can, in most instances, suggest a stance that is not impossible to maintain while
other parts are being adjusted. Before you begin to tell her exactly what to do in leg posing, see if
she herself can approximate a position. If you are striving for a more creative or
unique leg position than she can offer or suggest, it becomes advisable and necessary
to help her construct her leg position through your direction.
In order to translate your leg posing ideas into her action, you must have a keen understanding
of body balance and leg mechanics. You must also be able to visualize and analyze both
basic and creative leg positions.
Collect, for observation and evaluation, at least 50 illustrations of leg positions.
Separate them into two piles according to weight distribution:
- Equal (weight evenly distributed)
- Unequal (a basic-foot and a show foot)
Invert pile 2 and diagram each picture with a floor-clock. Separate the pictures
into piles that indicate the same hour. Note and compare the difference that the
placement of the show-foot has made on each.
Select the leg positions you prefer in leg posing. Remember them in terms of time. Try to execute
them yourself. Of course you are no model, but if you will experiment with each
position in private, you will learn several leg posing things:
- Methods of directing a model you never thought of before.
- How to think clearly and quickly from your viewpoint and that of your model.
- Exactly how the legs balance the body as weight shifts from point to point.
Several years ago this floor-clock method of placing feet was used as a class
experiment. A gawky teenage boy was selected as the subject for demonstration.
Modeling was the furthest thing from his mind. He was given three simple rules of
the leg posing game. He became interested. In less than five minutes he was complying with every
foot position at command and feeling pretty proud of himself!
The three-point briefing he received was this:
- 'There is an imaginary clock encircling your feet on the floor. 12:00 o'clock is
directly in front of you'.
- 'Pretend that the foot in the center is an foot is the minute hand on the
clock.'
- 'Put one heel in the center of this clock and shift all your weight to that leg.
Notice how the toe of this same foot can point to any hour on the clock without
taking your heel from the center.'
The instructor began to call...
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