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Leg Posing Tips
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
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.
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. 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 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.
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.
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
2. DRAW A LONG HORIZONTAL LINE THROUGH THE HEEL OF THE BASIC-FOOT 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.
If the position is written, it is separated by a diagonal line thus:
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.
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:
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. 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. 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. 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:
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:
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:
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.
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? 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.
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. Are You Ready To Move Onto The Next Lesson? Click Here
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