The Head | Three Basic Head Movements | Movable Parts of the Face | Facial Expression | Four Basic Emotions | Building the Pose: Director | Building the Pose: Model

 

 

 

 

 

THE HEAD

must be considered photographically from two completely different aspects: i. its general form and 2. its specific expression.

First, let us consider the physical form of the head in the completed picture. It is a result, not only of the actual form of the head, but its particular view from the camera.

The least movement of the head produces marked changes in its countless planes. For this reason, complete and mutual understanding must be established between director and model as to the exact position meant by the commonly used terms, full-face, profile and three-quarter head.

Full-face in model posing techniques - means a full-faced view of the head. Other terms used are: front-view, full-face angle and full front-view.

Three-quarter head - is called a 3/4 turn, 3/4 view, '3/4 angle, :3/4 face, 3/4 face position; or sometimes a forty-five degree head. These terms are generally applied to all intermediate positions between full-face and profile. However, those who like to split hairs designate the positions between 3/4 head and profile as 1/4 profile, 1/2 profile, split profile and 7/8 turn. Those who make this distinction, usually call the position to the front of the 3/4 head a 5/8 turn.

Model profile - or full side view of the face is also called side position, side view, full profile, full turn, 90 turn, 1/2, view or 1/2 face view.

A change from one basic view to another may be accomplished by moving the camera station, but most frequently it is the model who is required to move into position. Since the terms are established in relation to the model's movement, let us look at the movements that make these positions and subsequent views possible.

MODEL POSING TECHNIQUES FULL FACE (FRONT VIEW)
3 4 HEAD (3/ 4 FACE VIEW)
PROFILE (FULL SI DE-VIEW)

THREE BASIC HEAD MOVEMENTS IN MODEL POSING TECHNIQUES

bring the model posing head into almost any desired position. When the camera is stationary, the model can move to a slight or great degree in three directions. These movements are familiar to all of us. By establishing key terms for these movements, we set the stage for understanding and team work between director and model. The terms are horizontal turn, vertical lift (or drop) and diagonal tilt. These movements may be used singly or in a combination of two, and, perhaps, all three.

The horizontal turn

When the model using model posing techniques posing body faces the camera, the head can turn from one shoulder to the other presenting many views: right profile; 3/4right view, full face, 3/4 left view and left profile.

As one shoulder moves away from the camera, some views drop off, while others become possible - such as 3/4 back and back-view. These back views are used to display hairstyles, back detail or to draw the viewer's attention to something other than the face.

A horizontal turn of the head may be asked for in two ways by the director. He may say, 'Turn your head to the right', or 'I want your left profile', both of which requests would bring the left side of the model's face to the camera's view.

VERTICAL LIFT DIAGONAL TILT
VERTICAL DROP

Vertical lift or drop... is the upward or downward movement of the tip of the nose on an imaginary line perpendicular to the shoulder track. Diagonal tilt... is the slant of the head that puts the chin on one side of this perpendicular line and the top of the head on the other. Notice how the shape of our mask is altered by the vertical lift, by the vertical drop and, to a lesser degree, by the horizontal turn. Also note the appearance of ease and interest added to the face by the tilt. Head placement can be the basis for exaggerating or normalizing head structure and facial characteristics. A round face looks oval to the camera in a 3/4 view. A long face can look round in full-face view when the chin is lifted. An unconventional feature, such as a prominent chin or forehead can be minimized by tilting it away from the camera. A receding chin appears normal when it is extended toward the camera. The slightest movement makes a difference!

The comparative length and width of a face become unimportant in profile which accentuates only the features that appear in its side silhouette. Although the profile is good for hiding faults of model posing techniques structure, it loses impact when it comes to expression. It can project mood, esthetic qualities or serve as a means of directing the viewer's eye.

The full face view offers the best position for establishing direct personal contact, but requires symmetry of features that are hard to find. The 3/4 head can be used most effectively to both physical and dramatic advantage of the model.

FLEXING THE BROWS
WIDE SEPARATION
NORMAL SEPARATION
SLIGHT SEPARATION

SEPARATING THE EYELIDS

MOVABLE PARTS OF THE FACE

are called upon to express or project emotions that the camera can record.

Each feature works independently or collectively with a network of muscles capable of controlling its physical shape. A model must be able to effect natural and smooth co-ordination of the muscles that bring the various parts of the face into model posing techniques.

Model posing techniques: Eyebrows...

are controlled by a set of competent muscles at each end. The brows can move simultaneously or individually, guided by the message they must relay. The inner brows can be brought together and downward to express anger; together and upward for sorrow; upward and apart for fear; and upward in the middle to depict surprise.

Model posing techniques: eyelids...

also respond to control and can range from slightly-parted to normal or widely separated model posing positions. For normal effects each set of eyelids should be parted equally in slight or exaggerated variance.

Uncontrolled squinting is most often caused by bad smiling habits or glaring lights. The habit of squinting while smiling can be corrected by practice before the mirror. When bright lights cause the eyelids to misbehave, it is important to remember: keep eyes open. Get them used to glaring light! Focus them on the brightest spot they can comfortably endure. Eyelids will then remain unstrained and will respond, for the short duration of the exposure with an open eye model posing techniques expression.

The pupil... of the eye is capable of rotating in a complete circle. Without moving the head, the pupil can move upward or downward, from side to side or to any points in between. Care should be taken in model posing techniques. If views and profile positions that the pupil of the eye nearest the camera remains visible to the lens. Otherwise the resulting picture appears to have a blank eyeball!
The mouth... is as elastic as a rubber band and yields to a thousand and one shapes. It can open or close; its corners can be drawn together or stretched apart. The ends can be lifted or dropped. The mouth is capable of minute and extreme alteration. We find certain words and sounds very useful for shaping the mouth. They not only help in setting a predetermined position of the mouth for the camera but they add realism and spontaneity to its appearance.

Notice how the mouth must be parted wide to release the sound of Ah!

This model position can be attained by the use of any word or words ending in the Ah sound such as New car!, Hurrah!, etc.

The humming sound of Mmmmm closes the lips lightly, Oooo puckers the lips and a long Eeee spreads corners wide.

Lip make-up shapes the mouth. It is useful, not only for following fashionable style trends and for correcting irregularities in the original shape of the mouth, but in helping to increase specific model posing techniques expression. The corners of the mouth can be given an extra lift to depict happiness or can be discreetly painted downward to give the impression of hate, sorrow, petulance, etc.

MODEL POSING TECHNIQUES: FACIAL MODEL POSING EXPRESSION

is the movement of the features that tells us what is being felt by the model. With the right model posing expression, her thoughts and emotions are projected through the camera to the viewer.

Many times, however, a model may think she is feeling something - even think she is showing it - but her facial mask has not moved or changed.

An experiment to prove this point was carried out recently in a photography class. A student was put in a chair and photographed gazing into the camera. In a second picture he was asked to feel extreme weight throughout his body. 'You are completely exhausted' he was told ... and the model picture was snapped. When the two resulting prints were compared, no one could tell the difference between the feeling and non-feeling picture!

The answer, therefore, is, not only to feel an emotion, but to move the muscles of the face that will best express and project that feeling. A pout must bring the bottom lip forward. A sneer must curl the corners of the mouth downward or flare the nostrils outward. Hate must tense the jaw muscles, drop the corners of the mouth or perhaps close the eyelids to mere slits that contemplate revenge.

Using model posing techniques for the model motivation must be felt to the degree necessary by the model and portrayed in a manner that can be understood by the viewer. The muscles of the face are used in proportion to the intensity of the feeling, but never exaggerated (unless for comic or grotesque impressions) to the point of over-acting.

A model posing techniques that use in picture tells a story, and the face, by its expression, becomes part of that story.

It may be of prime importance and tell the whole story; of secondary importance and add validity to the story or of minor importance and lend atmosphere to the story.

When the face is of prime importance, (usually true when the head fills a large part of the picture) the expression must depict character or situation. If the model picture is a portrait, the expression must embody the key facet of the personality of the individual. If dramatic depth is to be recorded, the emotion must carry the model posing picture.

When the model posing face is of secondary importance, expression must add to the story. It must coincide with the emotion suggested by the action of the body. The fashion model executes many of these secondary expressions because the garment she wears is of first importance. Model posing techniques expression calls attention to the dress by showing how happy, proud or self-possessed she is in wearing it.

When expression is of minor importance and is expected to do little more than lend atmosphere, it must be just as explicit as though it were the prime factor. It must not distract the viewer's eye away from the main point of interest. The emotion must balance delicately between expression and subordination. It must support the main point of model posing interest in feeling and mood, yet possess no obvious characteristics that would call attention to itself.

In order to grasp elusive emotions, let us classify them into four model posing techniques basic groups:

HAPPINESS, ANGER, SORROW and FEAR.

Each has a means of communicating its feeling through facial movement. The immediate impression of each of these emotions is established by the eyebrows. Upon closer inspection the eyes tell the deeper story.

FOUR BASIC EMOTIONS

Happiness... leaves the brows in their natural position. It is the eyes that project the emotion. They must sparkle, brimming over with the inner reason for the outward expression. The glow of happiness extends from a feeling of comfortable pleasure to ecstatic joy.

Anger... draws the brows together and downward. The model eyes "flare with rebellion against the action or situation that has caused this violent emotion. The degree of anger ranges from a feeling of slight irritation to one of rage and fury.

Sorrow... draws the brows together and upward. Model eyes fill with sympathy and longing to be relieved of the burden of this emotion. There is a pressing and twisting from within. The intensity of sorrow can vary from disappointment to utter tragedy.

Fear... lifts and separates the brows. Model eyes reflect disbelief in what they  see. There is a cold gripping sensation in the pit of the stomach. Fear has many degrees and its emotion graduates all the way from worry to horror.

MODEL POSING TECHNIQUES: BUILDING THE POSE-DIRECTOR

No director need be given a list of reasons why a head is invaluable in a model picture. Some directors do, however, welcome ideas on how to bring the model's best face forward - whether it is one of beauty, character and/or expression.

Before we come to our views of the subject, however, we would like to acknowledge the presence of the controversy existing over the candid versus the controlled pose.

Some directors contend they never direct their subject. 'To place a head or a mouth in a pre-determined position,' they say, 'would destroy all of the spontaneity and naturalness of the picture.'

Others, just as vehemently, contend that 'In a business that calls for consistent results, lucky mood and coincidence are not enough. They are not reliable and cannot be depended upon.'

We feel that when both director and model have a working knowledge of model posing technique, each individual job will determine whether the pose requires controlled, candid or controlled-candid treatment.

Experienced directors practice many ways of getting a model to act and react realistically before the camera. Each has developed ways of controlling a model without having literally to push her into position. Adroit use of words, exemplary action, strategic suggestion and psychological motivation all bring forth
expression that is dependable as well as spontaneous. At the same time most directors have found in actual model posing techniques, that with intelligent direction from behind the camera,  any capable model can accept model posing techniques correction and rearrange parts naturally without showing strain and losing spontaneity!

In photography we lean heavily upon the model's capabilities, yes, and in many instances even upon her ability to inspire us by doing something her way from which we can select or perfect a pose.

So, part of a director's success lies in his ability to keep a model suggesting model posing techniques within the scope of the camera's ability to record them.

Many models feel they have exhausted the possibilities for different head positions in their model posing techniques when they have turned their head slowly from the left of the camera to the right of the camera! This can be most exasperating to a director (especially if you believe that you get the fullest creative contribution from a model by allowing her to move freely instead of placing her). Try a suggestion that will take her into several other positions from which you might select a pose. You might ask her to repeat the horizontal turn - this time with her chin up a little higher. This gives you at least six additional positions to choose from. Then ask her to lower her chin and repeat the horizontal turn - six more model posing techniques and positions! By repeating each of these eighteen model posing techniques with her head tilted right and then with her head tilted left, you've added another thirty-six possibilities without yet putting her in any exact position.

If your model has trouble with the tilt, which is the most difficult direction to understand, you might try this. Hold a pencil vertically in front of your model's face.

Let the tip of her nose touch the pencil and divide it equally lengthwise. Ask her to put her chin on one side of the pencil and her forehead on the other as you repeat the word tilt. With encouragement, let her try a few combined movements such as, 'Turn your head slightly to the right... that's good ... now tilt the top of your head right (or tilt your chin left).' If she loses her conception of tilt, hold the pencil before her again and she will usually remember it for the remainder of the sitting.

The model head and its capability for arrangement of form and its ability to produce such model posing technique like expression, is one means of getting your pictures to talk. If you can give direction, you hold the master key to it all.

As you become more adept at posing the head you will mentally fit certain types of faces into the positions that normalize or dramatize them. When you can anticipate changes that will take place with each movement, you can mentally arrange the pose before you ask your subject to try it. Thus, you can steer her into movements that result in suggestions (from model posing techniques) you can use.

Study the features of each face to see whether the corrective model posing techniques and positions we mention on page 81 are necessary. Many craftsmen welcome opportunity to dramatize disproportionate features. They find the results more gratifying than compliance with conventional ideas.

By persistent concentration on the varying shapes of the face and the impressions relayed to the viewer by each change of position, you soon begin to grasp qualities that otherwise escape your attention. The curious fact is, that once you begin detecting these subtleties you find yourself injecting a certain amount of atmosphere into a picture even before you call upon your subject for facial expression. When you find these additional means at your command for infusing a picture with meaning (over and above the use of expression) you can emphasize any given emotion dramatically and make any picture remarkably effective in its transmission of feeling.

Completely undirected movement by a model seldom transmits exactly the feeling desired, especially as far as a head is concerned. So most directors prefer to keep inherent model posing techniques control.

Built-in guide marks on the model's face tell you quickly just what position her head is in from the camera's viewpoint, and give you a clue as to the probable impression forthcoming.

When she faces the camera, the tip of her nose in direct line with the bottom of each ear, you know the position is centered. When model mouth or chin appear in the line of her ear lobes, her head is lifted, the mouth is emphasized and the mood of the picture will probably intimate sensuousness in some degree.
If the eyes or the bridge of the nose line up with the lobes of the ears, the head is tilted downward, the emphasis will be on the eyes and forehead and an model posing techniques impression of intellect will be stressed or implied.

Sometimes obtaining the exact expression may depend to a great extent on how well you can produce it instead of how well you can explain the mental process that goes into producing it. The most direct approach to obtaining expression when your model cannot understand motivation is to let her imitate it.

When that becomes necessary, you are probably the one she will imitate. Therefore it is not stepping outside your realm to practice the expressions that communicate ideas you might want to put across. Thus you can sometimes set the mood and features of your model for camera at model posing techniques in presentation.

In order to familiarize yourself with the physical movements of the parts of the face shown on pages 82 and 83, get a model to sit for you and see if you can direct her into the variations of each part shown (or suggested). Try them yourself. Notice how much easier it is to shape the mouth by using positions necessary to make certain sounds and words with emotional content.

One reason for this is that the mind has begun to coordinate each of the different movable parts of the face when you use words and sounds with meaning. Experiment ; see if you can get a better model posing technique expression by asking your model to use the word Hurrah! than you can by asking her to say the word thaw. Can you go a little further with this idea and give your model a thought upon which to build an expression encompassing each of these model pictures?

For years it has been a half-joke for photographers to ask for the words cheese and prunes in order to get a smile; this was the only way they knew to relax grim jaws and lips. Now we know that they were partially right and that sounds can relax the mouth position. We have also discovered that the right sound can give us accurate control of the actual position of the mouth, and that the right word can also provide meaning that ties the mind in with the model posing technique expression.

Thoughts can be introduced either by you or the model to augment physical expression and help coordinate the parts of the face with an appropriate photogenic model expression. However, you must have a model with a flexible face. Her ability to express herself is limited by her ability to operate and control interrelationship of parts.

Broaden your own ability to direct by teaching yourself to observe and remember expressions you see every day so that you can use them.

Write down at least five situations you have seen in the last twenty-four hours that brought forth one of the four basic emotions. (Watch children for uninhibited and true expression.) Can you visualize the position of the mouth? What did the eyes say? Can you imagine a thought that would help you get that particular expression from a model?

Choose, from magazines of model posing techniques, twenty different expressions that you like and might sometime want to use.

Divide all the pictures of model you have cut out into groups of the four basic emotions in model posing techniques, happiness, anger, sorrow and fear. Under each model picture write a sentence that would help motivate such an expression in model posing techniques. For instance : some of your pictures might say, 'Won't he be surprised when he gets this gift!', 'Mmmmm, that smells so good!',

Direct a model in each of the expressions you have cut out.

Be ready to evaluate and correct ineffectual expressions as they appear.

Here is an exercise... [Chapter Incomplete]

Click Here to download the complete PDF ebook (including the rest of this chapter).

Or are you ready to move onto the next lesson? Click Here