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.

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.

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

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.

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.

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.

	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
	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?

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.

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.

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?

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.

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.

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:

1. Equal (weight evenly distributed)
2. 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:

1. Methods of directing a model you never thought of before.
2. How to think clearly and quickly from your viewpoint and that of your model.
3. 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:

1. 'There is an imaginary clock encircling your feet on the floor. 12:00 o'clock is directly in front of you'.
2. 'Pretend that the foot in the center is an foot is the minute hand on the clock.'
3. '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 time and the class watched him respond. Try it with your next inexperienced model. It is easy. And interesting.

Direct someone who has never heard of a floor-clock. Direct her into the positions you like. This will help you remember the leg positions that you prefer (or variations you have seen and liked) for the next time you want to use them.

If, instead of having your model's weight unevenly distributed, you want it equally distributed on each foot - give her these four simple directions: 'Keep your weight on both feet.'

Leg posing rules.

1. 'Let your body face - ' (direction)
2. 'Space your feet - inches apart.'
3. 'Bend (or straighten, or cross) your knees.'

Such leg positions, you'll notice, are generally used with the straight, long-line body and carry out the characteristics of the severe T silhouettes.

When the weight is shifted to one leg, you will probably use 'C and 'S' curves with the silhouettes carrying out their flow of line and character.

Here are answers to some of the problems we all meet in working with live models.

Hips are not facing the camera at a flattering angle.

If the change is to be great, assign a new number for her basic-foot. If it is slight she will be able to twist her hips without disturbing the position of her basic-foot.

Feet look 'pigeon toed\ Simply ask her to fan-out the toe of her show-foot until it is either parallel to, or pointed away from the toe of her basic-foot.

Foot appears too long. (Usually when the foot is at a right angle to the lens axis) Ask her to point it directly toward or slightly away from the camera. This will present the foot at an angle rather than at its greatest length. Ankle looks thick in leg posing.

Ask your model to roll her ankle in carefully as she turns its narrowest line to face the camera. Legs look heavy and masculine. Select finer and more feminine positions for her. Get her to lift her weight off her heels, relax her basic-knee slightly. Ask her to break or flex her show-knee and curve her instep (roll her ankle in).

Unsteady on her feet and swaying while trying to hold even a simple pose. Direct her to lift her heel physically and to suspend her weight mentally on  the large bone at the base of the big toe of her basic foot. Legs look bowed in leg posing.

Turn her basic-foot away from the camera so that its tell-tale inner or outer curve cannot be compared with the other leg. Then ask her to bend her show leg slightly at the knee. You can also arrange the leg nearest the camera in a flattering position so as to hide the leg supporting her weight. Body position isturbing, even though her legs are not showing.

Approximate the foot position she is using, determine its faults and start all over with her body correctly balanced on her legs.

As you become more conscious of the leg posing in pictures, books, movies, magazines, TV, newspapers, etc. do you find any which would have been improved if:

The toe had been fanned out?

The heel had been raised a little?

The ankle had been rolled in?

One knee had been bent slightly?

The pose had been properly balanced?

In other words, how would you have directed the model to make the change to improve the leg posing picture?

Can you detect the difference in leg posing pictures, between the models who feel their balance instinctively and those who do not?

Can you detect the difference between models who were properly and improperly directed?

BUILDING THE POSE- MODEL

You value your legs ... but, do you value them enough - picture-wise? Do you realize how very important it is know exactly what they are doing and how they look to the camera?

Inexperienced models exasperate directors and photographers by using the same, unimaginative clich leg posing position over and over for each pose. Capable models are expected to be - and are - more creative and flexible.

Imagine leg posing! You can perform dozens of different leg-positions, starting right this minute - without practice - if you only think of your feet as the hands of a clock. Practice will teach you how to hold your balance and to choose the ones best for you; but, just by thinking of the clock at your feet, you're off to a creative start. You won't even have to spoil every pose by looking down to see what your feet are doing. The correct arrangement of legs starts in your mind! So let's start your mind thinking about legs and leg posing.

1. With your left foot as your basic-foot, execute 1:00 o'clock. Remember that your show-foot should barely touch the floor. It must be free to make changes (ankle movement and foot positions) without leaving the spot. Remember, also, at all times, that 12: 00 on your floor-clock is always in direct line with the camera regardless of the direction your body is facing.
2. With your right basic-toe at two, stop your show-toe at each number on the clock ... repeating the time out loud as you do so. Try each of the positions you just did and use the short-form for telling the time, as: right 2 over /, 2 , 3, 4, etc.
3. Ask a friend to call out some leg posing time-positions and see if you can comply readily with them.
4. For practice in holding leg positions, see if you can balance without teetering while you count slowly to 100.
5. To help you plan ahead what you will do with your legs, watch the second hand on a clock and see how many times you can change leg positions every 10 seconds without losing the count or repeating the same position.
6. Clip at least 50 leg-positions out of several different kinds of magazines. Sort out all the pictures in which the weight is evenly distributed on both feet and note how some of the legs are close together, some slightly separated and others are wide apart. Also note that the body can face any direction while the legs are in any one of those leg posing positions.
7. Here are some of the interesting things you can do with the remaining illustrations (where weight is on one foot):

1. Separate leg posing them into two groups: those that use the left foot as basic and those that use the right.
2. Invert and diagram all those in which the right foot is basic. With half of these still upside down, write the time indicated along with a big 'R' (Right foot basic) at the bottom of the page. Turn the rest of this group right side up and print 'R' again at the bottom of the page
   with the time beside it. Set this group of pictures aside while you...
3. Take all the leg posing positions in which the left foot is basic (separated in step a) and put a big 'L' (Left foot basic) at the bottom of the page. See if you can estimate the correct time for each picture without inverting it or diagramming it.
4. Shuffle all your marked pictures together and stand before a full length mirror which represents the camera at 12:00 o'clock. Cover the illustrations one after the other except for the time you have written. Let your own legs be the hour and minute hands as you execute each time. After you have taken each position, hold the illustration in front of you (right side up and facing the mirror) and check to see if your position is the same as that of the leg posing picture.
5. Now separate your leg posing illustrations according to the ones you prefer. Ask yourself why you like some more than others.
   Is the body balanced right? Do the legs add to the over-all effect and character of the pose?
   Can you think of a slight movement that would have improved the positions you do not like?
6. Memorize, according to time-position, at least five of these leg positions that you can use.
7. Select any one of these five positions and try varying it with every possible foot movement; fan-like sweep of the toe, the two ankle movements and combinations of these three.

8) Experiment with leg positions in which your show-foot can cross either in front of, or behind your show-leg.

Conditioning Exercises

Strong and flexible ankles, displaying well curved instep are essential to any professional model. Strong ankles will help you hold any position your mind can conceive or your director can dictate.

To begin with, get in the habit, even when wearing high heels, of working as much as possible on the balls of your feet. Toes should be relaxed and not pointed stiffly downward unless you are directed to this.

The importance of actual ankle and instep exercises cannot be overemphasized. Take time to leg posing practice and strengthen the necessary muscles with these exercises and you will surprise yourself - with feet and legs that know what they are doing!

Leg posing exercises.

1)Stand barefoot, feet two inches apart and parallel. Rise high on the balls of the feet, ankles well forward and still evenly apart.  Now bring ankle bones together while still on the toes. Keep your heels apart! Separate the ankles and return your heels to their original position on the floor.

Now, starting with the feet in the same position, roll each foot on its outside edge, back onto its heels with the toes off the floor, down on to the inside edges, up on the toes and down. Repeat this leg posing about twenty times each day.

2)Place one foot in front of the other, toes slightly out, weight on the balls of the feet, heels high and ankles well forward. Let heels down, almost touching the front heel to the back toe. Rise to the fullest height on the toes again and walk around the room keeping your stride and rhythm even. This movement should lift your body up ward rather than forward.

3)For fluid ankles, pretend that you are stirring a cake with your big toe. Stand erect and with your leg stationary and your toe pointed, move your ankle in circles. This will increase the flexibility of your ankle and condition your knee muscles. (Imperfectly   formed   legs   need   flexible knees to correct their natural formation as tense knees accentuate any discrepancy in shape.)

4)Put your toes and the balls of each foot on the edge of a fairly thick book. Leave your heels on the floor. Pull your heels up slowly until you are in the tallest possible leg posing position. Do not let your ankles roll out at any stage of this action.

5)Form a habit of holding your instep in ward and downward at all times. Learn to do this naturally while you are sitting, walking about or lying down in various positions.

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