Posing For The Camera Professional Guide

WHAT IS A POSE?
It is not possible to be entirely precise, for definitions vary, the meanings change with the times and a good
deal of healthy controversy exists.
The dictionary says it is, first, a position of the body . . . a n attitude. Its secondary meanings, however, have
negative connotations of artificial appearance - placing or putting, mere affectation, pretense, rigid stance, etc.
The modernist winces and avoids its use, for photography has advanced with the speed of its lenses and
films and left the word pose - as it maintains inflexibly its old meaning - draining life and vitality out of action.
Although, we too, must use the word -we ask you to accept it in its new and broadest sense. Pose (or
Posing) today includes something more basic, a state of composure, balance ... poise before the camera.
A pose may be deliberately assumed with gestures and attitudes designedly adapted to mood or position...
yet that does not preclude candidness.
The manner is which the body achieves a position before the camera (the action can be as candid or
deliberate as you please) is posing in the modern sense, and the state in which it is recorded (in either poised
consciousness or oblivion to the camera) is the pose.

FOREWORD
This book is not a compilation of 'Do's and Dont's.' It seeks to organize thought on the part of photographers,
directors and models as to where posing begins and how it is accomplished. Step by step, we will take the major
and minor components of the posing figure and show how they function in relation to the camera - their possibili-
ties and their limitations.
Once you know how the figure functions, and the results thereby obtained, it is up to you to decide whether the pose
is desirable or undesirable for the job at hand. For instance, a certain hand position may be generally recognized as
awkward or conspicuous. This position would be undesirable if you wanted your picture to express grace and
loveliness. On the other hand, it could very well serve to characterize a gangling teenager or call attention to an
object or important copy in an advertisement.
This book is not meant to impose our personal opinions upon you. Its intent is to increase your awareness of how
symmetry of figure in pictures follows a consistent pattern. That pattern, when analyzed, establishes basic truths that
beat like a motif throughout prize-winning and time-tested pictures. These truths are the fundamentals of which we
speak.
All art (and we do consider posing an art) as well as a science, has its basic fundamentals. Teachers readily
admit that rules have a tendency, at first, to be confining. However, after they are learned well, creativity springs
from the sound foundation they form.
As your skill and knowledge develop, you yourself will burst the confines of these basics to improvise in good
taste. No

longer will you be laden with technicali-
ties; you will be free to create.
There are no rules for the director or
model who know what they are about and
specifically set out to accomplish the ta-
boo with a confident flourish. We realize
that 'murder' for the meek is 'meat' for the
master and encourage you, when you have
the talent, to utilize it on these special
effects.
However, neither personal flourishes,
style changes nor photographic trends will
ever radically affect the value of good fun-
damentals. They can always be intelligently
adapted to fit the times and situation.
Throughout this book, references are
made to the model, the director and the
photographer. Let us define these terms
so that we have a clear understanding:
The model is any person, regardless of ex-
perience, age or sex, who appears before
the camera. Although we refer to the model
as she because the majority of models are
female this term also includes any male
subject who appears before the camera.
The director is the person who has the com-
pleted picture in mind and whose job it is
to call forth the needed position and re-
sponse from the model. Regardless of
whether he is called floor director, talent
director or production director, his specific
responsibility is control of the personnel
and not the camera.
The photographer whether amateur or pro-
fessional, is the person responsible for the
camera's behavior and, in most instances,
is also the director of model action. It is to
this director phase of his photographic
endeavors that this book is addressed.
A quick glance through the illustrations
in this book may provoke the questions:
'Why all the clocks and geometric sym-
bols?' 'What have they to do with posing?'
These objects, familiar to all of us, have
purposely been selected as a means of sim-
plifying, through association, the form and
movement of various parts of the human
body. They evoke clear, indelible pictures
in your mind, pictures that become inva-
luable aids in directing yourself or some-
one else ... camera-wise.
You will also note, this book is divided
into two parts, the basic and the advanced
techniques of posing. The purpose of this
has been to separate the fundamental re-
pertoire of the beginner from the varied
and creative potential of the advanced
photographer and model.
If you are a beginner, start at the begin-
ning. Concentrate on a few basic positions
of each part of the body. Learn them well
and then go on to others. Worthwhile cre-
ation in any art cannot begin until you
have gone through and graduated from
your basic rules and fundamentals.
A good illustration of this happened
several years ago when a disheartened
young model poured out her troubles to
us. She had become a popular model with
no effort at all. Directors and photogra-
phers had been eager to photograph her.
She was wholesomely attractive, vibrant
and spontaneous in her poses. Her pictures
had been an immediate success. Modeling
was the perfect profession for her. Every-
one had told her so.
Then, all of a sudden nothing was right.
Assignments were increasingly difficult and
tedious. Results were amateurish and dis-
appointing. Photographers were no longer
satisfied. Something had gone wrong and
she could not put her finger on the cause.
We could picture what had happened,
10

for it happens over and over again. She
had skipped through one assignment to
another in happy oblivion until one day
she was asked to do something different,
something more exacting - and she didn't
know what to do first. From that moment
on everything went wrong. As she lost con-
fidence, her posing became stiff and frozen.
Fear crept into her pictures and all signs of
her natural ease and talent disappeared.
We explained to the young model that
there is a big difference between being nat-
ural and acting natural. One is a happy
accident and the other is a studied and
consistent talent. Once you know how, this
pseudo-naturalness can be called forth over
and over again at command.
Nothing is so fatal to talent as too early
success based only upon beginner's luck;
nothing is so damaging in the long run, as
the brash assumption that a bright smile,
or flash inspiration can ever be a satisfac-
tory substitute for experience.
A good craftsman must learn his art in
all its dimensions. This girl had the courage
to go back and start at the beginning. She
had to study the fundamentals of what
comprises a natural body position and
what thought will photograph as a sponta-
neous expression. Once these tools and
knowledge were hers, combined with her
individual charm, she had a permanent
combination that was hard to beat. And
today, she enjoys a career as a top-flight
model.
This example also holds true of the be-
ginning director or cameraman whose
first or second series of pictures show prom-
ise, natural flair and are successful. But
no matter who you are, or what your pro-
fession, if you are a talented beginner, and
do the right thing without knowing why,
you must eventually retrace your steps and
learn basic principles if you wish to step
into the ranks of reliable craftsmen and
have your work maintain a consistent pro-
fessional level.
If you are experienced in the posing field
- you can start anywhere in the book. The
beginning chapters will, however, acquaint
you with some of the terminology used in
the advanced section as well as give you
insight into working with a beginner, while
the second section of the book is intended
to serve as source for creative variations of
all basic positions.
You will find these variations in move-
ment and thinking organized into a mental
filing system which makes hundreds of
positions and their changes available to
your searching mind at the moment when
you need them most.
Each of the two sections of the book,
basic and advanced, has been similarly
divided into four major parts - the body,
the legs, the arms and the head. This is no
arbitrary arrangement. It is the logical
order of posing.
Body - because it is the largest and most
prominent mass, is your starting point.
Legs - support the body and must there-
fore be considered next.
Arms - coordinate the design of the picture
and act as liaison between the body and the
facial message.
Head - is posed last because expressions
must be caught at their peak of spontaneity.
Facial expression climaxes the mood and
message of the complete arrangement.
This progression of posing, whether basic
or advanced, makes no rules but states
facts and proven results. Use what you
will and discard what seems unimportant.

A shadow devoid of detail...
no buttons... no bows... no pockets.
Simply begin to think of the body in terms of its silhouette.
Posing begins with the body...
so let's forget all else and focus our atten-
tion on the body in a new light... a shadow!
LET'S BREAK THE I C E !
Let's free ideas that sometimes freeze when
posing starts!
Has it ever happened to you? That moment
when your mind stopped and you asked
yourself 'Now what? Where should I be-
gin?'

THIS SILHOUETTE
is an actual black-and-white photograph. All
graduated tones have been eliminated,
leaving only the true outline of the model.
The figure has been sliced to two dimensions
height and width.

IT'S TRUE
that in silhouette you can't see the model's
features, what she is holding in her hand,
or the expression on her face...
But...
notice how the stark simplicity of the sil-
houette carries your mind's eye directly to
the position of her
... 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.

As you focus your attention on a silhouette,
you begin to notice things you never saw
before. For even in outline the body has
character and feeling.
Notice the position of this model. Her
stance makes her appear broad, heavy and
masculine.
Yet here - when she shifts her weight to
one foot - her pose immediately becomes
more relaxed, lighter and more feminine.
Slight change ... big difference! Do you
suppose that other apparently minor
changes make comparable differences in
the impression communicated by a pho-
tograph?
16

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 famil-
iar symbol, you have the key to dup-
licating 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 body is, or almost is, at its fullest length.
Zigzag silhouettes . . .
are usually created by sitting or kneeling

poses that shorten the body into positions
of angularity.
These, you will agree, are two very general
classifications. However, each can be dia-
grammed for careful analysis and specific
identification.
18

A LONG-LINE SILHOUETTE
is simple to diagram. Find a full-length
picture of a person. Think of it in terms of
its silhouette. With a heavy black pencil or
crayon, get ready to draw the lines that will
permit you to classify it.
Draw a dotted line...
from one shoulder joint to the other. (This
we will call the shoulder-track.)
Draw another dotted line...
from one hip joint to the other. (This we
will call the hip-track.)
Now draw a heavy solid line...
from the center top of the head to the
middle of the shoulder-track. Continue
this line down to the middle of the hip-
track and on to the tip of the foot that is
not supporting the weight of the body. (If
the weight is equally distributed, the line is
drawn to a point half-way between the
feet.)
The solid line you have just drawn is the
long-line of the silhouette.
If you will diagram at least five more
standing figures, you will discover an in-
teresting fact:
HEAD-LINE + BODY-LINE + LEG-LINE
= LONG-LINE

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'!
•c

'S1
20
SOMETIMES C1
AND 'S' ARE BACKWARDS

A long-line silhouette does not always ap-
pear in a vertical position. Sometimes you'll
find an T, *C or 'S' slanted on the diago-
nal.
Sometimes the silhouette will be presented
in a horizontal arrangement.

VERTICAL SILHOUETTES
are formed by the model who stands on
her feet, using the ground as her primary
means of support. In this vertical position
her body is capable of forming an ‘I’, 'C
or 'S' line, regardless of which view is pre-
sented to the camera.
Vertical 'C silhouettes are simple to exe-
cute with effective results. They form the
basic poses that the beginner can use with-
out encountering complications and are the
basis of creative posing for the more ad-
vanced. 'C silhouettes tend to lighten the
body and manifest a feeling of femininity,
grace and ease.
VERTICAL ‘I’
FRONT 3/4 FRONT SIDE 3/4 BACK BACK
VIEW VIEW VIEW VIEW VIEW
Vertical ‘I’ silhouettes have an exacting
quality overlooked by the casual eye. They
are the most inflexible of all poses and re-
quire experience and skill. Contrary to
common belief, an interesting straight ver-
tical silhouette is difficult to execute with-
out giving the 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 sym-
metry.
22

VERTICAL'C
VERTICAL'S'
FRONT VIEWS

HORIZONTAL
SILHOUETTES
HORIZONTAL I’
are created by the body in a reclining po-
sition. In this horizontal arrangement, the
body's silhouette can still be classified by
its ‘I’, 'C or 'S' lines. As the body rotates
to present a different view to the camera,
the individual characteristics of each letter
formed can be noted.
In horizontal posing, the weight of the
body is supported by various parts of the
body other than the feet. Because of this,
opportunity presents itself for certain poses
which the standing figure could achieve
only with considerable strain.
Horizontal silhouettes can be arranged
leisurely. Many poses are deliberately taken
in this position - inverted or tilted later.
For instance, a picture may be set up, with
the model in a horizontal position, for the
express purpose of inverting the picture
later to simulate a standing pose. When this
is the intent, extra attention should be given
certain details. Hair and clothing should
be arranged in the position in which they
would fall naturally. All props and acces-
sories must appear to conform to the law
of gravity if the finished picture is to be
believable and realistic.
The reclining figure is best supported by
hard parts of the body such as the foot,
wrist, hand, elbow or fingers. These are not
distorted by weight or pressure. Soft parts
of the body such as 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 sur-
face 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.

HORIZONTAL
'C
HORIZONTAL'S
'
FRONT VI EW

FRONT V I E W
3/ 4 FRONT V I E W

3/ 4 FRONT V I E W
S I D E VI EW

S I D E V I E W
3/ 4 BACK V I E W

DIACONAL SILHOUETTES
may slant at any angle between vertical and
horizontal. Still figures, classified as dia-
gonals, 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 girl
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 pho-
tographers favor this 'C curved silhouette
and beginners would do well to remember
it.
DIAGONAL ‘I’
FRONT VIEW

BACK VIEW
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 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.
26

DIAGONALS'
DIAGONAL ‘S'
FRONT VIEWS

THE ZIGZAG
SILHOUETTE
should be examined only after you have
familiarized yourself thoroughly with the
long-line silhouette.
As you know, the zigzag silhouette is
formed primarily by sitting and kneeling fig-
ures. A simple line diagram of the body in
these positions will do just what the name
implies. It will zig and then zag. Most of the
time it will zig, zag, and then zig again to
form a figure 'Z’.
These are tricky silhouettes and can, if
not carefully handled, look like one big
lump! Good zigzag poses are best directed
by the photographer from the camera po-
sition. When hips and shoulders face the
camera, in a zigzag position, the immediate
impact of the pose is often lost. Therefore,
those unsure of which sitting or kneeling po-
sition to use, will find that side or | views
present a silhouette that defines the body's
outline.
For the clean body-line popular today,
use the arms in a lace-work around the
torso. An open silhouette gives the feeling
of freedom, space and lightness. Arms that
appear glued to the sides, thicken the sil-
houette and can give the impression of an
undesirable bulge or a heavy waistline.
Sitting and kneeling figures cannot be dia-
grammed like the long-line silhouettes.
They are so angular that even their classi-
fication is different.
Ah! There's our key ... angular! Let's
study them by the angles they form.
28

HOW TO DIAGRAM
ZIGZAG SILHOUETTES
Collect at least five sitting or kneeling pic-
tures. With a heavy black pencil or crayon
draw the following three lines so that you
can examine the angles they form:
1.Body-Line. Ignore the head mass and draw a
line from the center of the shoulder nearest the
camera to the center of the hip nearest the ca
mera. (If shoulders or hips are the same dis
tance from the camera, the line is drawn from
the center of the shoulder-track or the center of
the hip-track.)
2.Thigh-Line. Continue the line from the hip
nearest the camera to the center of the knee
nearest the camera. (If knees are equidistant,
continue with a line to each.)
3.Shin-Line. Extend this line from the knee to the
ankle of the same leg.
The two angles formed by this zigzag line
can be used to identify any zigzag pose.
So let's look to see what kind of an angle
any two of these lines form. Are they per-
pendicular to each other? If so, they form a
right angle. If the angle is less, we call it
acute; if it is more - obtuse.
Note: Except for the rare occasions when
the camera is centered on the subject in a
side view, the actual angles assumed by the
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 cor-
rections of the zigzag pose must come from
the man behind the camera.
BODY L I N E + LEG L I N E S ZIGZAG
L I N E
KNEE
ANGL
E

ZIGZAG SILHOUETTES
form either a pair or a combination of an-
gles 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
figure is sitting or kneeling. Pairs of right
angles are usually used when the purpose
of the pictures is to create an effect of mas-
culinity, strength, stylization, or, to depict
a pose characteristic of certain dance pos-
tures. Right angles, unless deliberately used
for their geometric form, prove stilted and
sometimes even ludicrous.
varied by muscle tension to express any-
thing from an athletic crouch to a relaxed
curl of the body.
Acute angles often close the space be-
tween 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
TYPICAL GEOMETRIC SILHOUETTES-
SITTING
Note:
In
bathing suit and nude 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
line
and expresses a relaxed, luxuriant and
casual feeling.
4. The mixed-angle silhouette...
is the most widely practiced form of the four
silhouettes used in sitting and kneeling fig-
ures. 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.
30

TYPICAL ACUTE SILHOUETTES-SITTING
TYPICAL OBTUSE SILHOUETTES-SITTING
TYPICAL M IX E D - A N G LE SILHOUETTES-KNEELING

B U I L D I N G 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 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 fa-
vored 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 reper-
toire 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 sil-
houette can eliminate countless hours of 'If
only -' mistakes, reams of paper and fruit-
less hours. In no time at all you'll be able
to direct the body like a master puppeteer!
A friend, your wife or a model who also
wishes to benefit by the training, can be
your silhouette. Your first step is to thumb-
tack 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 model on what you mean by
an T, 'C and 'S' silhouette. If she is inex-
perienced, all the better ... more oppor-
tunity for you to practice directing!
As your model poses in silhouette, see if
you can direct her in:
3 different vertical silhouettes 3
different diagonal silhouettes
Check each pose for:
(a) Clearly defined T, 'C or 'S' line.
(b)Clean-cut body outline... especially at the
waistline.
(c) Positions that specifically appeal to you.
(d)Slight alterations - twists or turns that im
prove 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 poses for illuminating compar-
ison.
Fashion magazines offer an unlimited
source of full-length pictures by topflight
photographers. As you diagram and ana-
lyze their pictures, you will notice that they
too, favor one type of silhouette over an-
32

other ... but careful observation will re-
veal their flair for the slight changes that
make the big difference.
Practice of the following exercises will
help you plan body positions:
1. Bend an ordinary pipe cleaner to fit the
vertical k
C 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, dupli
cate 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:
a) How far away would she be?
b) What would support her weight?
c) Which direction would she face?
8. Try directing a person 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 model. As
you manipulate and change its position,
see if she can follow its lines with a mini-
mum 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 gym-
nastics of reversing commands.
To familiarize yourself with the direct-
ing of zigzag poses go back to your basic
classifications of zigzags. Direct your sil-
houette 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 fac-
tors that dictate the direction the model
must face - existing light; natural back-
ground; clothing details; pre-determined
picture layout ... or, even the figure liabil-
ities 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 model in clear and definite
terms:
1) The idea we want to get across is -.' (Pur
pose, 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 model might assume.
As you know, the time element in pos-
ing 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 model can rearrange arms,
legs or head deftly before she wilts or rigor
mortis sets in.
33

-MODEL
Have you ever seen yourself in silhouette?
You will be amazed to discover that your
silhouette can tell you more about model-
ing 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 distribu
tion 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 dimen
sional picture.
6. How your silhouette proportions change in
different body positions.
Once you mentally control yourself in sil-
houette, you can create poses or take in-
structions from your director with ease.
A 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 pic-
tures appear in current women's magazines
and fashion catalogues. Cut out and dia-
gram:
25 'S' silhouettes
25 'C silhouettes
25 T silhouettes
Separate each category into vertical, ho-
rizontal and diagonal poses.
To practice duplicating these 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 silhouette a ca-
mera 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 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 inter-
esting 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
34

silhouette, you will now know where weak-
ness lies.
Practice all the 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 an-
other 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 poses and see if you can
reverse each one. Same symbol line - differ-
ent 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 revers-
ed. 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 silhouette, practice arranging your-
self 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 your silhouette
know what you are doing? In other words
. . . i s your 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 pre
tend 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.
Train your body to flow easily into posi-
tions that feel right - and look right. That's
the job half done ... and the rest is fun!
35

LEGS
in
standing
figures,
contribute to the support of the body,
while in sitting and reclining figures, they
serve a more ornamental purpose. Whatever
U P P E R LE G

their prime function, when properly posed,
legs add 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 how-
ever, has extended that meaning to include
... 'that part of the limb extending from
the hip to the toe'. For 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 es-
tablish a common basis for understanding,
let us define the parts of the leg as they will
be referred to from time to time throughout
this book.
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 purposes
will be referred to as one unit.
37
LOWE R L E G
TOE

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) and a swivel-
type joint (which permits motion in almost
every direction.)
Swivel joints
The hip-joint is a swivel-type joint connect-
ing 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 un-
limited freedom.
Hinge joints
The knee-joint is a hinge-type joint con-
necting the thigh and the lower leg. It per-
mits 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. Posing legs is simplified when
you understand and use the many varia-
tions 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.
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 infor-
mality flows into the body form.
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 posi-
tions most frequently adopted and varied
for photographic use. Let us study this
uneven distribution of body weight, how
each leg moves and its individual respon-
sibility ... camerawise.
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 indi-
cates each hour.
The show-leg does not support the body to
any great degree. It performs another func-
tion; 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. 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 po-
sitions at your disposal.
SHOW-LEG
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 posing legs. Remember: basic-
leg - dark, show-leg - light.
39
BASIC-LEG

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.
41

SHOW-LEG
POSITIONS
The toe of the show-leg marks the rim of the clock.
Its movement can be clockwise or counter-clock-
wise. 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 positions the show-leg
may cross either in front of, or behind
the basic-leg.
The unencumbered show-leg is an asset to
creative posing. Its position can add innumerable
qualities to a picture such as grace, ease, length,
strength, design, composition or interest.
43

1) SELECT A STANDING LEG-POSITION
2) DRAW A LONG HORIZONTAL
LINE THROUGH THE HEEL OF
THE BASIC-FOOT
3) DRAW A SHORT VERTICAL LINE
THROUGH THE SAME HEEL
HOW TO DIAGRAM A
STANDING LEG-POSITION
for analysis and duplication.
The basic-leg and the show-leg in com-
bination, 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 foot-
position 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.)
1)Select a sketch or a photograph contain
ing a leg-position you would like to ana
lyze.
2)With a heavy black pencil (or a red one)
draw a long horizontal line through the
heel of the basic-foot parallel to the bot
tom of the page. This line should be of
equal length on each side of the 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
44

the line at the tip of the show-toe and
swing the circle to each end of the cross-
ed lines.
5)Turn the picture upside down and ar
range 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.
Our floor clock says seven minutes
after 1 :00 o'clock. What does yours say?
In order to save time and space, most experi-
enced photographers, directors and models use a
direct method of indicating positions of the feet
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 position
from one of these simple diagrams?
4) E N C I R C L E THE E N D OF THE
C R O S S E D L I N E
5) INVERT THE PICTURE AND NUMBER
THE CIRCLE CLOCKWISE
45

DUPLICATING A
LEG-POSITION
is easy after you have diagrammed it.
Model
When you have turned your diagram up-
side 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 super-
vise 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 com-
mand, to your model. Tell her:
... 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!
MODEL'S VIEW
OF FLOOR-
CLOCK
DIRECTOR'S
VIEW OF
FLOOR-CLOCK

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 con-
trol 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 ef-
fect is associated with the young and awk-
ward. It is often used to characterize a
cocky individual or give a comic impres-
sion. Sometimes this position occurs un-
intentionally 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 ap-
pears 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 ac-
centuates 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.
47

FEET
play an important part in the arrangement
of leg positions and are interesting in them-
selves.
Did you know...
... 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 move-
ments.
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 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:
48

FIRST MOVEMENT
OF THE ANKLE
is an up-and-down action and is best illus-
trated in a side view of the foot. The rela-
tion of the heel to the toe identifies its po-
sition. 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 train-
ed control and is used primarily by danc-
ers, divers, acrobats and other skilled per-
formers 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 position is easily detected.
For naturalness and ease, without sac-
rificing 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 adoles-
cence, pertness, impudence, awkwardness or
comedy are inferred. Regardless of the
camera's viewpoint, these impressions re-
main 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.
49

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 ab-
duction 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 position
assumes a straightforward masculine sig-
nificance. 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 re-
minds 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
must not be confused with second move-
ment of the ankle although a quick glance
at these two pages seems to indicate simi-
larity in their action.
The fan of the foot affects only the show-
foot. Its action does not involve any move-
ment 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).
In neutral position the show-foot paral-
lels 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.
Fanned-in 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 awkwardness 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, unsophis-
ticated person of limited intelligence and is
employed by comedians and clowns.
FOOT FANNED OUT
(AWAY FROM OTHER
FOOT)
SHOW-FOOT IN NEUTRAL
POSITION (PARALLEL TO
THE BASIC-FOOT. NOT
NECESSARILY FRONT
VIEW AS SHOWN HERE)
FOOT FANNED IN
(TOWARDS OTHER
FOOT)

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, 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 ideas into her
action, you must have a keen understand-
ing of body balance and leg mechanics.
You must also be able to visualize and
analyze both basic and creative leg posi-
tions.
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 place-
ment of the show-foot has made on each.
Select the leg positions you prefer. Re-
member 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 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 experi-
ment. A gawky teenage boy was selected
as the subject for demonstration. Model-
ing was the furthest thing from his mind.
He was given three simple rules of the
game. He became interested. In less than
five minutes he was complying with every
foot position at command and feeling pret-
ty 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
hour hand (basic-foot) and your other
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:

1) 'Keep your weight on both feet.'
2) 'Let your body face - ' (direction)
3) 'Space your feet - inches apart.'
4) '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 prob-
lems we all meet in working with live mod-
els.
Hips are not facing the camera at a flatter-
ing 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.
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.
Turn her basic-foot away from the cam-
era 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
disturbing, 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 po-
sitions of legs 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 di-
rected the model to make the change to
improve the picture?
Can you detect the difference in 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?
53

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 direc-
tors and photographers by using the same,
unimaginative cliche leg-position over and
over for each pose. Capable models are ex-
pected to be - and are - more creative and
flexible.
Imagine! You can perform dozens of dif-
ferent leg-positions, starting right this min-
ute - without practice - if you only think
of your feet as the hands of a clock. Prac-
tice will teach you how to hold your bal-
ance 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.
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 move
ment and foot positions) without leaving
the spot. Remember, also, at all times, that
12: 00 on your floor-clock is always in di
rect 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 time-posi
tions 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 sev
eral different kinds of magazines. Sort out
all the pictures in which the weight is even
ly 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 direc
tion while the legs are in any one of those
positions.
7) Here are some of the interesting things
you can do with the remaining illustrations
(where weight is on one foot):
(a)Separate them into two groups: those that use
the left foot as basic and those that use the
right.
(b)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 pic
tures aside while you...
(c)Take all the 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.
(d)Shuffle all your marked pictures together and
stand before a full length mirror which re-
54

presents 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 picture.
(e) Now separate your 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?
(f) Memorize, according to time-position, at
least five of these leg positions that you can
use.
(g)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 move
ments 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 profes-
sional 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 in-
step exercises cannot be overemphasized.
Take time to practise and strengthen the
necessary muscles with these exercises and
you will surprise yourself - with feet and
legs that know what they are doing!
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 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
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, walk
ing about or lying down in various positions.
55

can do one of two things: they can add to
or detract from a picture! Legs may carry
the weight of the model, but the arms carry
the responsibility for balance, artistry and
supporting expression.
Arms require more attention in posing
because arms attract more attention in the
finished picture.
Posing arms requires care for they can
wander in many directions, while the cam-
era limits them to relatively few usable
positions.
Sound difficult? Tricky, yes, but not as
COTTER PIN JOINT (AT
THE SHOULDER)
COTTER PIN JOINT (AT
ELBOW)
57
involved as it may seem if you can begin
to think of arms in three segments: upper
arm, forearm and hand.
In your mind's eye, flatten the shape of
the upper arm and forearm so that they
appear to be cut out of cardboard and can
be joined by cotter pins at the elbow and
shoulder joints.
Can you visualize how each of these
two sections can revolve in a circle, like the
blades of a windmill, around its cotter-pin-
axis ... without rising from the page?
If arms actually moved in such a manner,
they would never be a problem either to
you or the camera.
UPPER-ARM
HAND
FOREARM
SWIVEL JOINT
(AT TH E WRIST)

SANDWICH FACES CAMERA
AT ALL TIMES (MODEL
MAY ROTATE WITHIN SANDWICH)
ARM MOVEMENT
CAMERA-WISE
cannot precisely duplicate the flat, flat con-
ception of our schematic cardboard and
cotter-pin figure, but the essential move-
ment is correctly represented by its wind-
mill-like motion sidewise, rather than to-
ward or away from the camera.
The camera's viewpoint must be consid-
ered whenever the arms are moved. If an
arm moves toward the camera, a part may
be foreshortened or enlarged. If directed
too far away, a part may lose its identity
or be grotesquely dwarfed. The closer the
camera approaches the subject the more
bizarre the distortion becomes.
The one-eyed cyclops establishes laws,
restricts movement ...all must conform!
Although modern pictures are allowed
more creative leeway with distortion and
perspective than formerly, smart directors
and models start compressing the pose into
boundaries before it reaches the lens.
Posing boundaries take the form of two
large panes of glass, parallel to each other
and perpendicular to an imaginary line
extending from the direct center of the
lens (lens axis).
These two pieces of glass sandwich the
model and restrict the movement of her
arms. Even so, her arms can swing freely to
either side, meet overhead, or cross her body
in the narrow zone between it and the glass.
Thus we begin to see that these restric-
tions are not absolute. Each arm actually
has great freedom within its limitations.
Even though the movement of the fore-
arm or upper arm is limited so far as depth
is concerned, we discover many interesting
positions still available to each arm.

59
UPPER ARM MOVEMENT
FOREARM MOVEMENT

UPPER ARM
positions can be noted or directed by lo-
cating the elbow. When the body faces
front, the elbow may move, within its re-
stricted area, out (away from the body), up,
in (toward the center of the body), and
down again.
This circuit establishes four basic stops
or positions for the elbow with many in-
termediate positions.
In its normal position the upper arm
hangs down from the shoulder and there-
fore the most used sector for the upper
arm is out and down.
60
NOTE: This circle must remain facing the camera
even when the model turns to ' and side views.
Therefore such directions to the model as in and
out can be changed to front (model's front) and
back (model's back) when the body turns.

FOREARM
positions are established by noting the po-
sition of the wrist in relation to the elbow.
Since the elbow is the pivot point, the
position of the forearm is determined after
the upper arm is set.
In its normal position the forearm also
hangs down and its four basic positions are
designated by the same terms as the upper
arm; out, up, in or down or by indicating
intermediate positions as in and down, up
and out, in and up and out and down.
This circle must also face the camera
regardless of the direction the body turns
while posing.
NOTE: In this schematic diagram the
forearm describes a complete circle with one
side remaining up. In practice the inner
forearm sweeps half of this circle, then twists
to let the outer forearm complete the circle.
61

COORDINATING UPPER AND
FOREARM MOVEMENT
centers in the placement of their common
meeting point - the elbow. Its location not
only fixes the axial point from which the
forearm takes action but it starts the line
of the arm flowing from the shoulder in
a specific direction. The placement of the
wrist can continue this line or it can op-
pose it. When both elbow and wrist are
in the same quarter of the circle, obtuse
angles are formed and the arm is at its
longest. When they are in opposite quar-
ters, acute angles are formed and the arm
is at its shortest. If the two segments of the
arm are in adjoining quarters many dif-
ferent effects can be achieved.
The location of the elbow in relation to
the shoulder joint is the key to determining
the location of the upper arm. It is located
down, up, in or out 'in toward the body or
out away from the body' when the body
faces either in full-front or full-back views.
If the body is in a 4 position (either
front back) or in a side view, the positions
to the right and to the left of the camera
are designated in terms of the model's
front or back, depending upon which way
her body faces.
It is important to remember that both
the upper and forearm circles always re-
main flat to the camera, regardless of
which way the body faces or turns.
When the elbow is placed near the waist-
line several factors must be considered.
If the elbow comes to rest in the edge of
the waistline silhouette the arm often looks
like part of the body, especially if the tone
of the garment is the same at both elbow
and waistline.
If the elbow is moved further away from
the body on the same line, a lacework or
air space develops between the two parts
by separating them so that the background
can show through. Such an area, surround-
ed by parts of the body is usually called a
trap and can be very useful in designing a
pose.
If the wrist and elbow are both placed
on the waistline the forearm comes straight
across the body and cuts it practically in
half. Few pictures of women require such
severe geometric treatment.
On the opposite page you will find a
chart representing the range of possible
views the camera can use of the arms while
the body is facing the camera.
You might direct or try each of the com-
binations shown. Pay particular attention to
the positions which are natural and easy to
use. The impractical ones are marked with
a *
For instance, if the upper arm is in an
out and down position, the camera can see
the:
Inner wrist with the forearm in either of the
out positions or up and in.
Outer wrist with the forearm in any posi-
tion on the circle; however, up and out is
not practical.
Thumb edge of the forearm in any position
on circle (up and out is impractical).
Little finger edge of the forearm in any po-
sition on the circle.
You might want to try these four com-
binations of the upper and forearm while
the upper arm is in the out and down posi-
tion. You might also like to experiment
with the upper arm in each of the other
seven positions shown.
62

COMBINING UPPER AND FOREARM MOVEMENT
PART OF ARM VIEWED BY CAMERA
UPPER ARM
inner
FOREARM ELBOW JOINT
outer thumb edge pinky edge
'DOWN'
'OUT
&
DOWN'
our
'OUT
&
UP'
UP'
UP
&
IN'
IN'
&
DOWN'
inside
inside
inside
inside
back*
back
back
back
back
inside*
The forearm has the freedom of each quarter indicated by the light area.
*An arm can assume this position only under strain, tension or pressure.

TWISTING THE WRIST
3/ 4 FRONT VIEW, P I N K Y L E A D I N G
E I G H T VIEWS OF THE HAND MADE
POSSIBLE BY TWISTING THE WR IS T
64
BACK OF
THE HAND
OUTER
FOREARM
PALM
INNER
FOREARM

THE HAND
is controlled by the wrist camerawise. Since,
at this point, becoming involved with a
handful of fingers might prove confusing,
let's consider the hand as one mass. Imag-
ine it gloved in a flat, pointed box con-
forming roughly to the hand's general out-
line.
This box, like the hand, has broad sur-
faces on the front and back. The narrow
edges are easily identified as the thumb or
pinky (little finger) edge. Many views be-
come possible with two movements of the
wrist called the twist and the break.
Twisting the wrist does not actually twist
the wrist at all! To understand fully this
movement, you must think of the forearm
and hand as a single, flat, continuous bar;
the palm and inner forearm on one side and
the back of the hand and outer forearm on
the other. As the wrist twists it flips the bar
from one side to the other or stops part
way to display the edges.
Breaking the wrist means breaking the
continuous line formed by the hand and the
forearm at the wrist junction.
The wrist can break in two directions
1) sidewise, or 2) front and back. When the
wrist breaks sidewise it can break in (toward
the thumb) or break out (away from the
thumb.)
When it breaks front and back, it breaks
forward (the palm toward the inner fore-
arm) or it breaks back (the palm of the
hand away from the inner forearm).
As these movements are used singly or
in combination, many views of the hand
become possible ... some more acceptable
than others.
B R E A K I N G THE WRIST

HAND POSITIONS
BOLD AND TAPERED
result from movements of the wrist,
the forearm or combinations of the two.
Side views of the hand, that form a long point at the
finger tips and all other narrow positions which add
length to the forearm are said to taper, while any
position that stops the flow of line, foreshortens the
hand or shows the hand as square or boxy is called
bold and shortens the overall effect.
66

Tapered hands . . .
primarily display the long inside or outside contours of the hands.
They add length to the arm and grace to the picture as a whole.
Since they are used to express finer emotion and character, their message is relayed in
subtle differences of position and careful attention to detail is of utmost importance in
their use.
When the tip of the hand points toward or away
from the camera, great changes take place in its
silhouette. Note how the length and width change
proportions photographically as foreshortening sets

Bold hands . . .
display the broad flat palm, back of the hand or geometric shapes, such as a clenched
fist. They are deliberate attention getters ... masculine and massive. Their abrupt bulk
stops the eye. Bulk transmits positive feelings of physical vibrancy, strength, dynamic
emotion or authority. Sometimes bold hands are used to convey negative feelings of
clumsiness or violence.

HAND-STOPS
are the places where hands normally stop.
You should have used these ten hand-stops
thousands of times without thinking of
them... but can you remember them at the
crucial moment?
Knowing a few hand-stops will provide
you with a sound basis for interesting, re-
laxed, uncomplicated hand positions when
you begin to wonder just what to do with
a hand.
When a hand stops - creative effort
should begin. Opportunity for origination
presents itself at any given stop. No turn
or movement, however slight, is insignifi-
cant. Never be afraid to explore all of the
subtle differences that can be expressed
with the hand.
Endless variations of actual positions at
each of these stops can be originated by:
twisting the wrist
breaking the wrist
varying finger arrangements
Endless ideas for what the hand can do
at each stop will stem from thinking about
what you have seen and can do. For in-
stance, a hand on top of the head might be
pushing hair out of the eyes, scratching the
head in puzzlement, holding a hat in the
breeze, simply relaxing there, putting a pin
in the hair, etc. If you'll form the habit of
watching people do these things you'll soon
discover that each of these actions can be
done in many different ways ... with the
hand remaining on top of the head!
Once the hand stops - start working with
it to form bold or tapered positions which
help communicate the idea of the picture
accurately yet conform to the limitations
of the camera.
68
AT LAPEL
OR NECKLINE
ON HIP

ARMS IN PICTURES
are the despair of countless directors and models. Some even resort to concealing the
arms, reasoning that 'no arm movement is better than poor arm movement'. And, to an
extent, they are right. You can keep your head above water - but you will never win any
races that way!
Arms are essential to quality posing. Arms can be an asset or a liability and the only
way to obtain effective results is to use them effectively.
If you are apprehensive about the problem - cut it in half. Work with one arm at a
time. Remember that the camera is methodically collecting space and pressing it into a
flat picture surface. You cannot ignore it.
The design in which the three segments of the arm reach this flat surface is of practical
importance. Because the arm is fastened at one end and telescopes to the other, it seems
sometimes to take on properties of direction in its flow of design. At other times it seems
to encircle or bound areas - mentioned earlier as traps.
While some directors are sensitive to the excessive light these traps hold, all find them
ON OPPOSITE ARM
ON TOP OF HEAD

most useful in design.
When the arm makes a trap, its size, shape, location and position can be used to
photographic advantage.
If the arm assumes direction and seems to go somewhere ... it does so in a continuous
line or a broken line.
When you look closely at the arms on these pages you soon see that there are two
kinds of continuous lines. One is absolutely straight: upper arm, forearm and hand in a
line. The other is a flowing line composed of these same parts arranged in a curve.

When the line is broken it takes the eyes
around right-angled corners, or down and
back with acute angles at elbow and wrist.
The direction of the arm, from shoulder
to finger tips, moves:
1) toward the body (up or down)
2) away from the body (up or down)
3) across the body (high or low)
4) parallel to the body (high or low)
5) or, relates itself to the horizontal, diag
onal or vertical lines of props or to the page
itself by crossing, becoming parallel to or
striking it at an angle.
Whether you use dynamic symmetry, a
special formula or your inborn sense of
balance to arrange them - one thing is
sure: there is a myriad of excellent
positions to choose from.
Can you
... recognize the general design of each
arm? Does it make a trap, a continuous
or a broken line?
... spot and identify any rectangular traps?
Many sizes of triangular ones?
... state quickly the general direction of
each line? (Up, parallel to the body; out,
at a right angle to the support, etc.)
... direct yourself or someone else in the
specific position of each upper arm il-
lustrated? (Use basic positions and sec-
tors on page 60)
... recognize each forearm position illus-
trated (page 63)
... recognize each hand position illustrat-
ed? (Use pages 66 and 67)

BUILDING THE POSE
- D I R E C T O R
Arms pose no problems...
if'you remember the following points:
1. All final instruction must come from you,
the director, who can see what the camera
is doing to the arms.
2. Keep the model's arms and hands from
reaching toward or away from the camera
to any great degree.
3. Tapered positions of the hand add length
to the arm and bold positions shorten it.
4. Both arms do not have to show in every
picture. In fact, in £• positions, placing one
arm behind the body often gives clean
delineation to the body's outline. But if the
forearm does not show, it is best not to let
the hand pop out of the outline unexpect
edly. It is quite distracting to a viewer to
see a hand appearing from nowhere at the
waistline or to notice a strange bump in a
pocket.
5. Sharp angles at the elbow can be soften
ed, if desired, by moving the elbow slightly
toward or away from the camera and a
right angle (from the camera's viewpoint)
can be made obtuse by the same action.
6. An arm can always be made to appear
more slender by diverting the wide inner
elbow and flat forearm away from the cam
era. There is a popular misconception
that the full width of the elbow cannot be
turned away from the camera without turn
ing the hand also. Nevertheless, it is possible
and most models can do it naturally or with
a little practice ... whether the hand is sup
porting the body or not.
7. Keep the elbow away from the waistline.
If the arms must cross a standing figure,
they should do so above or below the waist
line. An elbow at the waistline makes the
body appear thick, heavy and masculine
unless an air space or contrast of tone pre
vents the arms from attaching themselves to
the silhouette and adding weight and bulk
to the outline.
8. Soft flesh is distorted by pressure. When
the soft part of the arm presses into a hard
er surface it may lose its smooth outline.
Pressure can be eased by leaning lightly,
or when possible, carrying most of the
weight on the hard parts of the arm such
as the shoulder bone, elbow, wrist or hand.
9. An arm supporting the weight of the
body, should not reveal too much rigidity
or tension. Strain can be eased by better
weight distribution or a momentary shift
to ease it just before the picture is taken.
10. When thought is put into the proper loc
ation of the elbow, no additional adjust
ment of the upper arm is necessary. Also,
with the capricious forearm secure at one
end, all creative effort can be concentrated
on the location of the other end of the fore
arm and the position of the hand.
Have you ever had the perfect picture
-except that the arms didn't look like
mates? One was too thick while the other
was too thin? Did you ever have a hand
look like a stump? If you did, distortion
and foreshortening are not new to you.
You know the havoc they can play with
important pictures. But HOW can you
communicate this to your model without
going into complicated or technical
detail?
It's simple if we take a tip from stage
directors and chalk guide lines right on the

floor. Make two lines parallel to each other
and at right angles to your lens. Place your
model between them and explain that she is
standing between two larges panes of glass
that have been set upon those lines. (The
space between the glass depends upon the
distance from which you are shooting and
shouldn't be more than 14 or 16 inches
apart if you are working fairly close.) Show
her that the glass will limit her movements
to positions acceptable to the camera.
Help her adapt the idea by letting her
move her arms between the imaginary
boundaries. Stop her when she strays out
of bounds! A few minutes of experimenting
will give her confidence.
While she is still mentally between the
glass, ask her to turn her body to a J or
side position and move her arms again ...
reminding her that the glass has not moved.
Then explain to her that although the
glass sandwich does not move when she
moves . . . it does move when the camera
moves. If you move your camera to one
side the sandwich base revolves to face the
lens. If your camera moves low and tilts up,
the sandwich tilts forward. If the camera
goes high and tilts down, the sandwich tilts
back. (The model remains free to turn
within the sandwich, regardless of which
way it tilts or turns.)
In addition to briefing her on perspective
you might also give her a quick review of
hand-stops (five or more) to show her how
many natural places there are in which to
put each hand. The few minutes you spend
explaining the rules of the game puts the
model at ease, so working as a member of
your team. The actual practice you receive
while indoctrinating her will clarify your
own thinking and help you to formulate a
method of clear-cut and simple instruction.
Thus you'll soon turn a stilted subject into
a sympathetic and creative model.
Fortunate is the director who works with
a creative model. More fortunate the cre-
ative director who can guide his subject
into preconceived or inspired attitudes. But
most fortunate is the creative director who
knows how to exploit a model's creativity!
When your model suggests poses by in-
itiating action and you select what you
want, a casual or candid type picture usual-
ly results. In order to save great amounts of
time, you would do well to give your model
a quick summary of key points in arm
movement related to the camera as a basis
for making more of her suggestions pho-
tographically useful.
If, on the other hand, you have a pre-
determined position that you want the
model to assume as naturally as possible,
you must be able to give simple and precise
direction to bring it about.
Close your eyes, think of an arm posi-
tion down to its smallest detail. Direct some
model in the position of which you have been
thinking. Ask yourself this question: Does
it fit the mental image? Teach your mind's
eye to see a picture first... then all you have
to do is direct it. Practise until you have a
bag full of tricks; pet phrases, subtle sug-
gestions, key words, gestures, etc. that form
and transform your model's position quick-
ly and easily to the positions you want.
When these two methods of arriving at
a pose are combined and you have a tal-
ented model who is able to create arm po-
sitions; when you have become a skillful
director, able to select and correct, the
basis for the third method of arriving at
natural and interesting arm positions has
been established. Pictures resulting from
such a set-up invariably rate high.
73

Self evaluation . . .
will show you in which departments you
need to develop more skill.
Go back to those old prints of yours (the
good and the bad ones) and look through
them for examples of:
1) Arms that flow in the right direction.
2) Arms that stop the eye when you want
it stopped.
3) Positions of the arm that parallel the
body, the page, a prop.
4) Arms that seem to balance the body
nicely.
5) Mismatched hand sizes, excessive fore
shortening or distortion.
6) Variety of arm angles. Do you seem to
have any favorites?
7) The upper arm in positions other than
the out and down sector.
8) Soft flesh pressured out of its natural
position.
9) The elbow touching the waistline.
(Is there separation ... either through a
change of tone or through a trap?)
10) Arms crossing the body and not inter
fering with waistline definition.
11) Bulky hand positions used to advantage.
12) Right angles at elbow or wrist used un
intentionally (combined with acute or
obtuse angles).
13) Right angles put to dramatic use.
14) Foreshortening of the forearm.
15) Elbows too near or too far away from
the camera.
In other words, does your use of arms
show variation, creativity, ease and natural-
ness? Have you leaned too heavily upon
one or two hand-stops without suggesting
others? Are any positions masculine that
should have been feminine? Any feminine
that should have been masculine? Are any
sophisticated that should have been ado-
lescent or naive? Are any candid and loose
that should contain dignity and formality?
Further your self-evaluation by doing a
little research into the methods of current
photographers who are having their work
more frequently published than you. From
several different magazines (in order to get
a good cross section of work) clip all the
hand positions you can find.
Separate them into the hand-stops we
have illustrated and make separate piles
for the extra hand-stops you will undoubt-
edly run across.
Now start evaluating the pictures in each
pile. For instance: hand on the hip. Are
some hands placed lower than others? Do
some use the thumb in front of the body
instead of the fingers? Do others, with the
fingers in front, use a different break of the
wrist? Can you see more of the back of the
hand in some? Note the most effective va-
riations in each stack and try to determine
what they add to the picture as a whole.
Did you find any new ideas?
Try to imagine each picture at its incep-
tion and what direction must have been
necessary to attain the result.
In order to evaluate further your ability
as a director, clip a picture from a maga-
zine, study it (body, legs and arms) and lay
it aside. Now, without looking at it again
or letting the model see it, try to move her
with words. Face away from your model,
direct her from your mental image of the
pose studied. When you have finished, turn
around and see how closely your verbal
direction reflects what you want!
74

- MODEL
Adding to your many charms,
You posses two lovely arms.
They must be properly used,
So their worth is not abused;
For assets of utility
Can prove a liability.
So, our best advice to you, whenever you
are modeling for a picture ... come armed
with a working knowledge of what you can
do with your arms!
Physically, arms . . .
... support the body in whole or in part,
... support an object,
... touch an object supported by other
means, ... may be concealed to give
prominence
to other parts of the body, ...
balance the body.
Artistically, arms . . .
... express emotion,
... add design or balance to the composi-
tion,
... direct attention where desired, ... add
interest or story to the picture, ... add
character or color to the model.
Remember, also, that a pre-requisite of
appropriate arm movement for the camera
is a general knowledge of how the lens ap-
praises arms. In order to appreciate its
viewpoint - go to your mirror. Put your
face ten inches away from the glass. Hold
each hand up beside your face, palms to-
ward the glass, thumbs touching the lobe
of each ear. Compare the length of your
hands, from the wrist to finger tips, with
the length of your face, from the bottom of
your chin up to your hairline. They are ap-
proximately the same size.
Now, move your right hand about five
inches toward the mirror and your left
hand about five inches away. Close one eye
and compare the difference in the appar-
ent size of your hands. With but few inches
difference, the hand that moved toward
the mirror will appear much larger than
your face, while the hand that moved away
will appear much smaller. The hands, in
comparison to each other, will show even a
greater difference.
The camera sees things in relatively the
same manner. Movement to or away from
the camera can play havoc with your pro-
portions, or if you know how to use it, can
help you.
Your natural question then is, 'what can
I do when I can't actually see myself, and
I don't know just how far I can move with-
out distortion?' The answer is easy. First,
listen to your director and think before
you respond. Secondly, when you are ex-
pected to suggest poses yourself, mentally
set your boundaries and keep parts from
straying to or away from the camera.
Feel yourself sandwiched between two
parallel panes of glass. (Illustrated and
explained on page 58.) These panes of
glass will enable you to move your arms
sideways as your body faces the camera,
or forward and back as your body is in a
side view.
To familiarize yourself with this move-
ment and establish an indelible awareness
that will serve you well, take the time to
make your own cardboard and cotter-pin
figure as shown on page 148.
The arm will consist of three parts; the
75

upper arm, the forearm and the hand. In
fact, make two versions of the hand... the
broad flat hand like the one illustrated on
page 64 and a taper-thin hand on page 149.
Start manipulating the elbow first, then the
wrist. Reproduce the arrangements you
have originated before your mirror, or in
silhouette practise.
Suggesting poses . . .
with ease and assurance, before the camera,
results from concentrated observation and
actual practice. Observation can be started
by clipping forty to fifty £ or full length
pictures from magazines and spreading
them before you on a large table. Get ready
to separate them several times. The first
time into two stacks,
1) Continued-line arms
(straight and flowing) lines
2) Broken-line arms
(acute, obtuse and right angles)
Where the arms are in different positions,
cut the figure in half so that you can put
each arm in its correct pile. While you are
sorting them notice ...
... how long the arms look in the continued-line
pile,
... the masculine look of those at right angles,
... the graceful obtuse-angled arms,
... how every forearm reaching toward the camera
is foreshortened,
... the position of the elbow in relation to the
waistline,
... how the arm becomes shorter when the forearm
meets the upper arm at a very acute angle,
... the expressive qualities of the arms in each pose,
... the different patterns of the traps formed by the
arms in relation to each other and the body;
triangles, rectangles, squares, trapezoids, etc.
Now, shuffle your pictures and separate
them into another two piles, this time ac-
cording to the position of the wrist.
1) Straight wrist
2) Broken wrist
Further separate the broken wrists into
those that are broken in (toward the body),
out, up, down, toward and away from the
camera.
Look closely at the last two; broken
toward and broken away from the camera.
Can you detect the wrist movement or
combinations of movement that produced
these positions? (Look for the thumb and
palm of the hand to key the identity of their
movement.)
Notice in all of the wrist pictures how
some make a slight break, while others
make an extreme break.
Do the straight wrist pictures seem ath-
letic, crisp and strong to you? Do they de-
pict assurance?
Do the broken wrist pictures give you a
feeling of grace, of relaxation or flexibility?
Now, reshuffle your pictures a third time
into examples of:
1) Bold hands
2) Tapered hands
Do you notice that tapered hands of
women are used frequently? And that bold
hands rival the expression and importance
of the face?
Can you detect any picture in which
either hand is displayed poorly but could
have been improved by a simple movement
of the wrist?
Fourth step is hand-stops. Reshuffle and
separate your illustrations again into hand-

stops (some of which appear on pages 68
and 69).
Which pile has the most variations of
hand positions? (Do not count positions as
different that are duplicates in reverse.)
Get in front of your mirror and see if
you can originate at least five different hand
positions at each hand-stop for which you
found an example.
In your collection of pictures, have you
noticed...
... any display of the broad inner elbow
that could have been made more attrac-
tive by bending the elbow slightly and
rotating it so that the narrow side faces
the camera?
... any display of unnecessary tension,
sprung joints or distorted flesh when the
arm supports the weight of the body?
(Double joints at the elbow or on the
fingers also appear to be sprung in a
picture unless arranged to look nor-
mal.)
... how the majority of arms and hands
crossing the body are usually in a con-
trasting tone or color so they do not ap-
pear as part of the body?
... the casual, yet expert placement of
hands and elbow to preserve waistline
profile?
... any picture of the arms crossing the
body at the waistline? If so, do they
seem to cut the silhouette in half and
make it appear heavier than if they
crossed above or below the waistline?
... that a hand extended toward the camera
looks like a stub at first glance?
... how much faster you can detect what a
figure is doing when the hands and arms
are separated from the body with air
spaces?
Taking direction...
is an important phase of your being useful
before the camera - particularly where
arms are concerned. You, as a model, are
composed of many individual parts. How-
ever, you also must be composed when
given direction as to which part to move.
Becoming flustered may result in the
loss of a perfectly wonderful picture,
should you change a whole arm when all
the director asked you to do was to break
a wrist or twist a forearm.
Therefore, complying with direction ac-
curately is of utmost importance. You must
know how every part of you is capable of
moving camera-wise. When given a cor-
rection, of arm or hand placement, think
before you move, 'Does he want me to
move my whole arm or just part of it?'
'Should I twist it completely or just slight-
ly?' Then move that part naturally into
position without looking at it. And one
other thing, so simple we hesitate to men-
tion it, but it is also so important, that we
must ... do learn to tell your right from
your left. When the director says right he
means your right. If he says left, do not
move your right!
A very worthwhile way of learning to
take direction is to practise giving direc-
tion. Pretend you are the director. Take your
pile of pictures, with a friend for a model,
and one by one, see if you can give direc-
tions for reproducing the arm positions of
the subject to the finest detail.
77

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 - 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.
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.

FULL FACE
(FRONT VIEW)
3 4 HEAD
(3/ 4FACE VIEW)
PROFILE
(FULL SIDE-VIEW)
79

THREE BASIC HEAD
MOVEMENTS
bring the head into almost any desired po-
sition. 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 horizon-
tal turn, vertical lift (or drop) and diagonal
tilt. These movements may be used singly
or in a combination of two, and, perhaps,
all three.
3/4 BACK V I E W FULL
BACK V I E W
3/4 BACK V I E W
3/4 FRONT V I E W
LEFT
PROFILE
RIGHT
PROFILE

3/4 FRONT V I E W
The horizontal turn
When the 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.
8o

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 hori-
zontal 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 struc-
ture 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 mini-
mized by tilting it away from the camera.
A receeding chin appears normal when it
is extended toward the camera. The slight-
est 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 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.
VERTICAL LIFT
VERTICAL DROP
DIAGONAL
TILT
81

FLEXING THE BROWS
WIDE SEPARATION
NORMAL SEPARATION
SLIGHT SEPARATION
SEPARATING THE EYELIDS
MOVABLE PARTS
OF THE FACE
are called upon to express or project emo-
tions that the camera can record.
Each feature works independently or
collectively with a network of muscles ca-
pable 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 play.
Eyebrows...
are controlled by a set of competent mus-
cles at each end. The brows can move si-
multaneously or individually, guided by
the message they must relay. The inner
brows can be brought together and down-
ward to express anger; together and up-
ward for sorrow; upward and apart for
fear; and upward in the middle to depict
surprise.
Eyelids...
also respond to control and can range from
slightly-parted to normal or widely separat-
ed 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 eye-
lids to misbehave, it is important to re-
member: 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 re-
spond, for the short duration of the ex-
posure with an open eye expression.
82

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 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 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 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.
ROTATING THE P U P I L
OPEN AND SHUT
S HAP IN G THE MOUTH

FACIAL EXPRESSION
is the movement of the features that tells
us what is being felt by the model. With the
right expression, her thoughts and emo-
tions 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 photo-
graphed gazing into the camera. In a sec-
ond picture he was asked to feel extreme
weight throughout his body. 'You are
completely exhausted' he was told ... and
the 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 pro-
ject 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.
The motivation must be felt to the de-
gree 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 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 im-
portance 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 picture
is a portrait, the expression must embody
the key facet of the personality of the in-
dividual. If dramatic depth is to be recorded,
the emotion must carry the picture.
When the face is of secondary impor-
tance, 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 ex-
pressions because the garment she wears is
of first importance. Her 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 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 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.
HAPPINESS
Anger...
draws the brows together
and downward. The 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.
ANGER

Sorrow...
draws the brows together
and upward. 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.
SORROW

Fear...
lifts and separates the brows.
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.
FEAR

BUILDING THE POSE
-DIRECTOR
No director need be given a list of reasons
why a head is invaluable in a 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 ac-
knowledge the presence of the controversy
existing over the candid versus the control-
led 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 re-
sults, 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 tech-
nique, 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 psycholog-
ical motivation all bring forth expression
that is dependable as well as spontaneous.
At the same time most directors have found
in actual practice, that with intelligent
direction from behind the camera, any
capable model can accept 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 ideas
within the scope of the camera's ability to
record them.
Many models feel they have exhausted
the possibilities for different head positions
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 posi-
tions 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 positions! By repeating
each of these eighteen positions 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 re-
86

peat 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 head and its capability for arrange-
ment of form and its ability to produce
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 her) you
can use.
Study the features of each face to see
whether the corrective positions we men-
tion on page 81 are necessary. Many
craftsmen welcome opportunity to drama-
tize disproportionate features. They find
the results more gratifying than compliance
with conventional ideas.
By persistent concentration on the vary-
ing shapes of the face and the impressions
relayed to the viewer by each change of pos-
ition, you soon begin to grasp qualities that
otherwise escape your attention. The cur-
ious 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 addi-
tional 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 trans-
mission of feeling.
Completely undirected movement by a
model seldom transmits exactly the feel-
ing desired, especially as far as a head is
concerned. So most directors prefer to keep
inherent 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 her 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 impression
of intellect will be stressed or implied.
Sometimes obtaining the exact expres-
sion 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 mo-
tivation 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 practise 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 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 emo-
tional 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. Experi-
ment ; see if you can get a better 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 expres-
sion encompassing each of these 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 par-
tially 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 ex-
pression.
Thoughts can be introduced either by
you or the model to augment physical ex-
pression and help coordinate the parts of
the face with an appropriate photogenic
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 remem-
ber 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, twenty differ-
ent expressions that you like and might
sometime want to use.
Divide all the pictures you have cut out
into groups of the four basic emotions,
happiness, anger, sorrow and fear. Under
each picture write a sentence that would
help motivate such an expression. For in-
stance : 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 ineffec-
tual expressions as they appear.
Here is an exercise that will require more
time to do than is apparent at first glance,
but your efforts will be rewarded with
something that can be of great use to you
later:
Terminate at least five of the sentences
you wrote under the facial expressions with
a single word or simple phrase that: 1) sets
the position of the mouth correctly and
2) holds, for the model, some meaning
related to the sentence or expression.
When you have found these words, save
them to try on at least three different
models.
88

- MODEL
Gone are the days when a beautiful face
was the only requisite for still and moving
pictures. Pretty features do not always
make a good picture nor do irregular fea-
tures necessarily produce a bad one.
Today, a face is deemed photogenic if
it is flawlessly beautiful, or if it is interest-
ing, or if it is expressive. The model with
perfect features has increasing competition
from the model who may not have as much
to start with, but can use what she has.
Intelligent movement of the head can
often hide or transform undesirable fea-
tures. But all movement, due to the intri-
cacies of lighting and camera technicali-
ties, should be adjusted from the camera's
viewpoint. You must have confidence that
your director will see and modify anything
that might detract from the kind of pic-
ture he wants.
It is necessary for you to know and un-
derstand the movements of the head so
that you can suggest positions when called
upon to do so, or comply with any changes
he may ask for.
The flexibility of the head must be great,
but your control of that flexibility must be
positive. For the slightest movement of the
head changes camerawise every aspect of
its features. You must not only know how
to move your head in any direction, but
know how to move it to the exact degree
needed.
A limber neck determines how much you
can move your head without disturbing
other parts of your body such as your
shoulders or arms. Practice this neck-lim-
bering exercise before your mirror...
1)Roll your head slowly in a complete circle first
to the front. Drop your chin as far as you can.
2) Relax and shake your head. Drop it lower.
3)Then roll it, still relaxed, to your left shoulder,
then to the back (with your chin stretched high).
4)Lower the chin again as the head comes over
your right shoulder and to the front again.
5)Do this very slowly... three times to the right
and then three times to the left. Every time you
can see yourself in the mirror, check to be sure
that you do not raise your shoulders especially
while the head is passing over them.
Be sure that your shoulders remain station-
ary. In the words of a famous director,
'Get your neck out of your shoulders and
your head out of your neck!'
The above exercise frees the head for two
major movements: the horizontal turn and
the vertical lift (or drop). Do you think you
can combine these two movements at
command?
Turn your head to the right and then lift it.'
Turn your head slightly to the left and drop
your chin.' 'Lift your head and turn it to the left.'
Try them!
Then you might try this simple exercise
which will limber the muscles used to tilt
the head - muscles which are seldom lim-
ber enough for creative posing.
1)Tilt your head to the right; your right ear
toward your right shoulder.
2)Strain three times, relaxing between each try,
to get more space between your left ear and
your left shoulder.
3)Do only a few of these the first day but continue
doing a few on each side every day.
The tilt of the head is something all of us
do many times a day unconsciously, but
few of us can execute it consciously upon
command. Try tilting the top of your head
to the right (your right ear toward your
right shoulder). Now tilt the top of your

head to the left. With shoulders remaining
stationary wag your head like a pendulum
-the top of your head making a greater arc
than your chin.
Now do you think you could combine
any two of the three movements, turn, lift
and tilt upon command? Try it:
Turn your head to the right and tilt the top of
your head to the left.'
'Lift your head and tilt the top of it to the left.'
'Drop your head and tilt the top of it to the
right (chin to the left).'
Now combine all three movements with
this command:
'Turn your head to the left, drop it slightly and
then tilt left.'
Can you mix these commands further and
still not become confused? Learn to listen
to the exact command given by your di-
rector and think in two terms: direction
and degree.
A mobile face is your next goal, it is an
absolute necessity for the projection of e-
motions. It is your means of communicat-
ing feeling to the viewer, for only by read-
ing the signs of emotion upon your face
can he get your message.
On the other hand, facial expression
without feeling is as empty as feeling with-
out facial expression ... one can go no-
where without the other.
Whether the action of the face is pro-
nounced or subdued, control of all muscles
must be maintained. A model, like an
actress, must know what her face looks
like at all times. She should be so familiar
with it that she can visualize every change
in expression accurately without having to
look in the mirror.
Before practicing expression, see if you
can move your face - feature by feature.
Eyebrows may be moved together and
downward. Together and upward. When
you find that you have no apparent control,
use a fingertip to move them into place
until the muscle can take on its duties a-
lone. Move them up and down. Try to lift
one while dropping the other. If one doesn't
work ... try the other. (Raising one brow is
excellent for a quizzical or tongue-in-cheek
expression.)
Eyelids prove quite interesting when you
experiment with them. Think of them as
shades that can be pulled up or down over
the eyes. Close them and try to open them
very slowly, stopping with each infinitesi-
mal movement. Close them the same way.
Can you raise your upper lid so that it
no longer touches the top of the pupil of
the eye? Try it by parting the lids as wide as
possible in surprise or by raising your chin
slightly while looking down and at the
same time lifting the upper lids as high as
possible.
Can you lower your upper lid until it
covers the iris in your pupil without mov-
ing the lower lid? (This provocative move-
ment should not be confused with the
squint which raises the lower lid to get the
same spacing - but not the same effect.)
Pupils of the eyes should not be confined to
any one position. Are yours? Practice look-
ing at the rim of a huge clock very close to
your face. With your face to the front (do
not move your head) stop your eyes mo-
mentarily at each of the twelve numbers.
Focus your eyes on the distance and see if
you can get the same degree of movement.
90

Turn your face to a 'I view in your mir-
ror and practice rotating the pupils of your
eyes to the numbers on the same clock.
Now try the exercise in profile. Note how
you can use only about half of the numbers
if you keep the pupil in view of the camera.
Mouth flexibility, though easy, must be
channeled in the right direction. Mumblers
will find these exercises more difficult than
the enunciators for they have become lip-
lazy. A good exercise to get those muscles
working (and this will improve your speech
too) is to:
Hold a cork the size of a quarter, between your
teeth and enunciate these vowels out loud: A-E-
I-O-U-and repeat them 3 times distinctly. Next,
open your mouth to accommodate three of your
fingers (one over the other) between your teeth
and enunciate the vowels Ah-Aw, Ah-A Ah-Aw,
Ah-Aw. With one finger: ee-oo, ee-oo, ee-
oo.
Can you make the corners of your mouth
go down in a sneer or a pout? Can you
make them go up in happiness?
Before you start assembling the move-
ments of these separate parts into actual
facial expressions take a few minutes to
arrange two mirrors in a special book-fash-
ion. If you will open it about 750
at the
hinge and put your head up close, you will
learn much about the action of your face
... especially in J and profile views which
you would otherwise never have an op-
portunity to see.
When you bring the various parts of
your face to bear upon a single expression
you must first consider your feelings and
emotions. Consider the four basic emo-
tions fear, sorrow, anger and happiness.
Think of the thoughts and situations that
go into creating those emotions.
What produces such reactions within you
personally?
Start a scrapbook of expressions. Gather
pictures that express the four basic emo-
tions from magazines. Paste them in a book
under their appropriate headings with
others of like emotion for comparison.
Keep adding to your collection at every
possible opportunity. Then go before your
double mirror and think of the thought the
model in the picture must be expressing ...
the word her lips must be forming ... say it
aloud as you imitate the illustration. Lose
your self-consciousness before the mirror
and you are on the road to losing your self-
consciousness before the camera.
Cover the lower half of your face with a
sheet of paper (so it cannot assist with the
expression) and project the emotions of
fear, sorrow and anger. Do your eyebrows
show the marked difference in each? Prac-
tice, and after you feel they are flexible see
if someone else can correctly read the emo-
tion you are expressing with your eyes and
brows.
Imagination is essential to the creation
of expression. Exercise your imagination
along with your face. Give yourself vivid
pictures that make you feel the emotion
you must express.
The ability to suspend or hold an ex-
pression is an invaluable asset to any model
and it, too, can be yours with a little well-
aimed practice.
Repeat all the basic expressions again
and this time see how long you can hold it
or suspend the expression without letting it
sag or fade away.
Seriously practice projecting emotion
physically (to the right degree) and you will
be rewarded with sparkling spontaneity in
all of your pictures!

92
THE TIME HAS COME
to weigh anchor! By now you have perused
or used the basic elements set forth in
section one of this book.
You know how the body mechanically
performs and the camera transforms ...
how, together, they create a tangible image,
visually and psychologically impressive.
Inspiration is always at your fingertips
-if you but reach for it. You will find some
points of departure for creative ideas in the
advanced section of this book. As you hold
to your course and increase your sensitiv-
ity, other ideas will reinforce your ability
and speed you in new directions
When you go beyond the boundaries of
this book, revitalize your creative thinking
from time to time, by observing significant
movement in the human beings near you.
You are now ready to set sail into a sea
of creativity, impelled by your enthusiasm,
directed by your goals and sped by your
knowledge.
All aboard ... the best is yet to come!

ADVANCED P O S I N G
TECHNIQUE
The mind loves to smoulder in familiar pat-
terns. A single creative spark may set it
aflame with ideas.
You, the advanced worker have devel-
oped discernment. You know that there is
nothing new, nothing unusual, except in its
presentation - a different twist or an un-
usual flair. That why-didni't-I-think-of-it
change that makes some work outstanding.
Therefore, whether you personally prefer
to discover or devise poses ... whether you
like to determine them experimentally,
diagramatically or mathematically; whe-
ther you are trying to project a feeling of
symbolic elegance, charm and dignity, or
present a static, chiseled, stylized, inscrut-
able or enigmatic distortion, you know
that a source of inspiration is invaluable to
you. You are always looking for new points
of departure.
This advanced section of the book is con-
cerned with the photographic potential of
the human body. It seeks to develop insight
into the interplay of shapes and lines
through arrangement of the photographic
figure. Our aim is to examine this figure and
its parts in an organized manner, to present
possibilities for variation of each, and to
inspire exploration along these, or your
own ideas. What follows then, is not a dis-
cussion of individual poses, but a signif-
icant cross-section of possibilities.
The illustrations and their accompany-
ing notes will not say to you, Do this! or Do
that! They will merely serve as mental con-
tacts for associating fresh principles of
creation with work or situations you have
already experienced.
93

We hope to thread your individual pre-
ferences for posing in orderly progression
so that one tug at your memory will bring
forth a string of consecutive ideas faster
than the shutter can click!
At this point, the astute observer will
wonder if this book is going to remain
oblivious to poses in space - poses that
occupy depth. He will also wonder if all
posing, throughout the book, is to be repre-
sented in the light of a two-dimensional
shadow. Yes, actually it is ... and for several
very good reasons.
In art, principles of foreshortening 'may
be enlarged upon, modified, or discarded as
the artst desires' as Burne Hogarth states in
his Dynamic Anatomy.
In photography, principles of foreshort-
ening may also be enlarged upon or modi-
fied, but they cannot be discarded. The
camera optically determines every propor-
tion of the transposed image. For this
reason, a director ordinarily limits his
model to the area of minimum perspective
(unless utilizing lenses of abnormal long
focal length that permit the camera to work
at the extensive distances required to pre-
sent realistic proportions regardless of the
depth of the pose).
No photograph of a girl, is like the real
thing. She just cannot be pinned down on
paper as she is. However, once her image
has been transferred to a two-dimensional
surface, either by a silhouette or a photo-
graph, you are free to consider it in terms
of flat lines, angles and shapes. You can
cope directly with its basic movement as
well as arrange it sensibly and sensitively.
In this light it is possible to compare
the silhouette with the photograph, and
when necessary, it becomes relatively sim-
ple to substitute one for the other by add-
ing or subtracting tone. (Although we re-
cognize and respect the importance of
textures, complex form, lighting and other
technical considerations, many books have
been written on those subjects. We wish to
keep our sights focused on the figure, its
simplicities and intricacies.)
For analytical study or actual arrange-
ment of the body, the silhouette simplifies
and eliminates all distracting trivia and
brings you directly to the things that mat-
ter camera wise.
Impact, or immediate impression, which
is so primary a requirement today, is gain-
ed through the figure's outline as it pushes
through space and background. Thus, pri-
mary action and feeling must be expressed
in the basic silhouette. All other things fall
into being as the camera automatically
records the tone, texture and line (within
the outline) necessary to amplify the reality
of the subject.
All the subtle surface textures and planes
(that define change within this outline) are
of interest to you, but need not preoccupy
you, as they do the artist.
This does not mean that you can go to
the other extreme and ignore lighting
(which, after all, is the essence of the photo-
graphic image) but at this point, keep your-
self free to do more creative thinking about
the outline of the body than about its com-
plex surface form.
Nor does the fact that you are free to
concentrate on the silhouette mean that the
subject must be cut out like a gingerbread
man. The rim of the subject (even though
brought into a flat surface by the camera)
can still twine through space ... advance
and recede as its edges are lost and found
against the background... if you want it
to.
94

It does mean that a director ordinarily
likes to exercise control over the depth of
the pose and prefers to establish the illusion
of depth on the two-dimensional surface
by interrelated arrangement of...
color,
texture,
tone (lighting),
overlapping shapes,
and/or line.
No director can afford to release his model
recklessly into the deforming third plane.
Thus, we too will continue, in our illus-
trations and references, to restrict the body
(as much as possible) to an area bounded
by two parallel panes of glass perpendicular
to the camera's lens axis.
The artist's work, with charcoal, pen or
brush, unlike that of the photo-director, is a
one-man operation. With only tools and
technique he can paint a picture of a model
with or without a model. His results come
directly from palette to page.
The director with a camera, on the other
hand, cannot make a picture of a girl
-without the girl. On the other hand,
neither can the model produce an
illustriously eminent photograph of herself
without some photo-direction. Neither one
can function effectively without the camera
and the other.
Thus by necessity, we have a two-person
team with the camera as the referee. A hit
is made only when both recognize the cam-
era's authority and the fact that it is going
to do its duty in a certain methodical way,
recording what it sees while the shutter
remains open.
The model's job is to present the most
perfect position and expression possible.
The director's job is to co-ordinate, recog-
nize and record this decisive moment of
perfection. Both work together with the
camera and through the camera to attain
the same end result - the right picture.
Hence, from here on, all references to
posing will be made to both the model and
the director, for at this stage you are a team
and all information relates to you both.
As this book turns from basic mechanics
for the beginner to creative variations for the
advanced, it aims to stimulate posing ideas
and so to move you to creation. There are
unlimited physical and psychological pos-
sibilities of each part of the body.
It's true that no masterpiece was ever
created by concentratingonthearrangement
of the separate parts of the subject with-
out first considering the whole. Thus, as
you examine the movements of each part
of the body, you might reasonably wonder
if you are becoming too involved with
minute detail and losing sight of the whole.
Do not concern yourself. Absorb detail
after detail. Study each part as though it
were a subject in itself. Explore it. Exhaust
its last possibility and then forget about it.
When you eventually concentrate on as-
sembling the whole, each part will naturally
fall into correct and even creative positions.
For when you probe curiously into each
basal root of the potential pose you un-
earth ever-increasing aspects of variation
with which to create whatever your need
demands. A unity will result that combines
static parts and blends them in a symphony
of right movements and meanings - re-
corded at the right moment.
Use each deviation as a springboard or
point of departure through which trans-
formation of the whole comes about. All
nuances made possible through assorted po-
sitions, through the physical balance and
action of parts of - the mechanical figure.
95

CREATIVE VARIATIONS
of the body do not stem from thinking only in terms of being drastically different.
True creativity is the art of doing the usual in an unusually effective fashion ...
with a shade of distinction.
When this is accomplished your work has an intangible rightness and no one
but a fellow creator can detect what has made it so.

A creative body position is enchanting. You do not stop with a critical eye at
any one part. It is a fresh interpretation of a position you know is possible, but
haven't seen very often. It is just right and right up to the last detail.
You, who have already delved into creative posing, have you ever stopped to
wonder at what point something ceases to be ordinary and takes on the qualities
of the craftsman? If you are like most creators, you have been too busy
producing results to understand how you arrived at that point. But if you are
among those who probe the hows and the whys, you have probably found that
creativity stems from digging deeper and deeper into a subject. Curiosity seeks
out basics and their potentials for change down to minutiae and then - not by
luck, accident or happenstance -you have achieved great sensitivity and can sense
every subtle change that makes the big difference. For when you can recognize
wisps of attitudes and can see variances through detail they become yours to
use.
The body-line is the first and most prominent stroke on the page. It is the
theme-line of your picture. It is established with a specific purpose in mind and
serves as a basis of creative departure for other parts of the body. It can be a
long-line, a zigzag

or perhaps a borderline combination of the two.
Have you noticed that all of these theme-lines create both physical and mental
impressions? To a fine degree, you sense attitudes, character and vitality in each.
For that reason we say that the body talks. It is much more than a trunk to
which the limbs are attached, it is the stem through which design and story must
flow smoothly ... enhanced rather than hindered.
To the discerning eye (and most eyes that read a picture are more discerning
than we realize) every mood and expression is evident in the body.
Every movement made by a model is read by the way it relates (in conformity
or opposition) to ...
other parts of the body, elements surrounding the body, story or
purpose of the picture, picture mood and feeling and composition of
the page.
As you carefully study or scan our dia-gramatic illustrations, you find that
even in silhouette, you do sense attitudes and can feel life within and
throughout the body, and when necessary, you can complete the details from
your heightened imagination.
So, whether you prefer orthodx or offbeat attitudes, you find, of necessity,
that you must be a kind of photographic physician with the ability to examine a
pose, diagnose it quickly, and prescribe correction without disturbing its unity.
Let us expand our original T, C and 'S' concepts of body-lines and examine
the mental attitudes each reflects as well as their possibilities for physical
change.
97

DIAGRAM OF
FRONT V I E W
VERTICAL ‘I’
SILHOUETTE
THE LONG-LINE
OF THE BODY
to the inexperienced eye, offers but little
opportunity for change or variation. The
reason being, that those who cannot re-
cognize what is basic, cannot measure
change. Basic long-lines of the body, as we
have mentioned in the first section of the
book, conform to three symbols the body
can duplicate: an T, a 'C or an 'S
Each symbol can assume a vertical, hori-
zontal or diagonal position in relation to
the frame of the picture. Thus, basic long-
line potentials for body position are nine:
Diagonal
1 --------

(
/
Horizontal
These nine basic long-line body positions
have infinite possibilities for variation.
Here is a list of five ideas for creative de
parture which are easy to remember when
you associate each variation to the number
of parts of the body to be changed.
Try this simple count-down before shooting.
5............4.........3.........2.........1.........click!
5 views which change the outline of the body as it
turns (front, -J front, side, | back, back).
4 limbs (two arms, two legs) which vary the basic
silhouette with their placement.
3 'p's - (P)urpose, (P)rops and (P)osition of the
98
Vertical
'S'

Camera. Three external influences for change.
2 tracks (shoulder and hip) which affect subtle
changes in proportion and meaning.
1 body-line which varies by how much the head
and leg-line bend the basic silhouette.
For instance, here is the count-down applied
to the first of the nine positions.
The vertical 'I' silhouette
The diagram itself has a feeling of formali-
ty and elegance. Our count down on this
basic T gave us the following variations:
5. Front view used (others were possible).
4. Arms conform to the vertical and horizontal
edges of the page. A few diagonals were used to
spark interest. Legs were separated in different
degree, used together or crossed.
3. Purpose... to maintain the feeling of formal
elegance, high style design. Props... none.
Position of Camera... same for each pose.
2. Shoulder-hip movement... none.
1. Variation of body-line... none.
By varying only numbers 5, 4 and a part of
3 we created the panel of vertical ‘I’
posi
tions to the right.
The long-line T silhouette is an interest-
ing paradox; the novice can think of noth-
ing else to do, while the experienced wel-
come its exciting possibilities.
Its appearance varies with the skill with
which it is used. For a beginner it often
comes out stolid, heavy or awkward, while
those who handle it expertly bring out
vibrancy, strength and assurance.
It is the oldest of all body positions; the
long, vertical line has been associated with
elegance, spirituality and grandeur down
through the ages ... and yet, it is as ultra-
modern, as timeless as tomorrow.
Vertical T silhouettes are quite adapt-
able when the body is to be part of a design,
for their straight line can repeat the lines
of columns, doorways or other properties.
99

Before we apply a count-down to the
Horizontal 'C Silhouette . . .
we should recognize the fact that it may
appear (as illustrated to your left) with
both ends up or with both ends down.
The count-down for varying the 'C long-
line in these positions, produced the follow-
ing variations:
5 views were possible. We restricted all positions
to the side-view, relying upon other sources for
variation.
4 limbs added much. Legs repeated each other to
help complete the 'C. Arms were varied to sup-
port objects or the body .. .some extended, some
repeated the body's line while others added re-
laxation or expression.
3 important 'P's. Props included a rounded mound,
a hammock, a springboard, a step and the floor.
Position of the camera... raised, lowered.
Purpose of the panel was to show the horizontal
'C in side-view only.
2 tracks (show shoulder and hip change in the
first illustration only).
1 body-line (curve remained approximately the
same in each picture with the head and leg lines
angled in inverse proportion to maintain it.)
The 'C is an easy line to work with, for
the body bends naturally at the waist with
the head forming one end of the curve and
the show-leg completing it. Its flowing line
puts movement in a picture even when
the action of the subject is restricted to
repose.
100

Diagonal'S' silhouette . . .
variations with the 'S' in a regular position
or flowing backward.
The diagonal 'S' silhouette is an artistic
line in itself. Its set of reversed curves im-
part a feeling of variation even before
other parts are placed. It has aesthetic
grace and expresses fluid action (especially
evident in the diagonal position).
Our count down (below) produced the
sample variations to the right:
5. As the previous illustrations did not incorporate
it we used a 3/4 hack view.
4. The show-leg, used on the opposite side of the
body from the head balances it. The arms were
used in some of the positions to elongate the
'S' curve, in others, to balance it both pictorially
and physically. Some support the body ...one
set of arms repeats two lines of the page while
the body flows between them.
3. Props (a ladder and a cane) were used to sup-
port the stationary diagonal positions while the
others, balanced in action, maintain themselves.
Position of camera - raised, lowered.
2. Shoulder and hip tracks were varied to control
body proportions and add flexibility.
1. The body-line was varied by tilting head and
show-leg tilt for balance and action.
101

102
IDEAS FLOW F R E E L Y FROM BASIC

VERTICAL OR DIAGONAL BODY-LINES
103
B A S I C DIAGONAL S'

3/ 4 FRONT V I E W
BACK V I E W
HORIZONTAL ‘I’
SILHOUETTES
IDEAS ALSO FLOW
from basic horizontal body-lines and can
surpass the vertical and diagonal positions
in variety since both the legs and the arms
are free to multiply arrangements.
Every picture made is subject to limi-
tations of many kinds; poor props, impro-
per lighting, lack of time, wrong equip-
ment, problem backgrounds, client, layout,
etc. Whatever the conditions may be, how-
ever, that impose restrictions and close the
door on any one position of the human
body, several variations will always be
available when you try the count down ...
5 views (through which the contour of the body
can be changed as it turns by degrees from its
slender side view to its broadest full-front or
back view).
4 limbs (which can conform to the attitude or
line the body has established or can oppose that
line and add emphasis or interest. Limbs can be
used to correlate the body's relationship to
other parts of the picture).
3 'p's (Purpose, Props and Position of Camera)
which are the important external elements that
add to the final appraisal of the picture. Purpose
must be established - it's like taking aim. Props
must be selected for utility or artistry or signi-
ficance. Position of Camera must take advantage
of all technical and physical considerations
relevant to a good picture.
2 tracks (shoulder and hip) offer subtle and vast
opportunity for body change. Explore them!
1 body-line (which can be varied in any of its nine
basic positions by increasing, decreasing or
reversing its curves).
Remember, when one of the above sugges-
tions becomes an invariable, it is time for
another variation to enter your picture.
Have you experimented with the changes
that become possible through count down
number 2, for example? Have you tried
varying hip and shoulder tracks for differ-
ent effects?
104
S I D E V I E W
3/ 4 BACK V I E W

FRONT VI EW
S ID E VI EW
3/ 4 BACK VI EW
BACK V I E W
•C SILHOUETTES
BACK V I E W
•S1
S I L H O U E T T E S
105
3/ 4 BACK V I E W

SHOULDER AND H I P
TRACK VARIATIONS
add style to a picture. Only the expert
suspects or knows the full extent of their
elasticity. The pictures that reflect their
adept use are seldom a result of lucky acci-
dent, but the distinct mark of know-how
and can-do.
Their relationship to each other and to
the horizontal edges of the finished picture
warrants deliberate inspection. Let us
examine the turn, tilt, twist movements
which establish the positions of shoulder
and hip tracks and vary their relationships.
T U R N IN G
Shoulder and hip tracks
remain in a single plane which revolves
before the camera. If the body were a pup-
pet or marionette, it would require but two
strings to effect this simple turn.
One string would be attached to the left
ends of the shoulder and hip tracks and the
other connect the right ends of the tracks.
A movement of either string, toward or
away from the camera, would move the
hip and shoulder on the same side in unison
... parallel to each other and the floor.
Even though the tracks remain parallel
to each other as they turn, they appear to
tilt toward each other as the body moves into
any 3/4 position. The greater the turn of
the model, the more noticeably the tracks
tilt in the picture. If the lines were
extended, they would meet each other at a
vanishing point whose location would
depend upon the amount of turn and the
proximity of the camera. The camera is
busy flattening the third plane into two
dimensions. Perspective can alter shoulder
and hip tracks that have not actually
changed.
106

When a puppeteer has but few strings on a
doll it can walk, bend, turn in jerky stilted
movements which repeat frequently; the
lack of strings limits its action. The more
strings the more independently and smooth-
ly the parts move.
If, in arranging a pose, we want to enjoy
greater freedom of movement, more varie-
ty of positions and have more control of
the body in operation, we must also attach
more strings and learn where they go and
what they can do.
Let us attach four strings instead of two
to our model, one to each end of the hip
track and one to each end of the shoulder
track - and see what we can do.
TILTIN G
Shoulder and hip tracks
Very interesting! We find that we can tilt
them at an angle with the floor (yet keep
them in the same plane and parallel to
each other) with either end high.
They can be tilted toward each other (at
either end) and remain one over the other
or with one sliding out from under the
other (still in the same plane).
For delicate differences, we can tilt the
shoulder track and let the hip track remain
parallel to the horizontal line of the page.
We can reverse this procedure and tilt the
hip track and let the shoulder track remain
horizontal to the page.
For even more variation, we can com-
bine any of these positions with the turning
body and let the camera add some varia-
tions of its own in the ? views. A great
number of usable variations are at hand
when your imagination or creativity pulls
the strings.
Interesting effects also result when we
move the shoulder in one plane and the
hips in another ...
107

H IP S FACING CAMERA
SHOULDERS T U R N E D AWAY
TWISTING
SHOULDER AND HIP
TRACKS
independently puts fluidity into any body-
line. The torso, in its elasticity, picks up a
sense of action that makes the picture a
living, vibrant thing.
We will not need to attach any new
strings to our marionette to experiment
with this twisting movement. In fact, we
can simplify the manipulation of the strings
by attaching a control-bar to the tops of
each pair of strings.
One control-bar for the shoulder track
and one for the hip track.
With our puppet, each control-bar
would be capable of revolving in a com-
plete circle. In humans, however, the
degree of twisting done by the shoulders
and hip tracks is limited by the flexibility
of the model.
As each control-bar revolves, the hips
or the shoulders revolve with it and the
circumference of the imaginary circles (in-
scribed by the ends of the tracks) are
parallel to each other, even though one
track may turn to the right, the other to
the left.
Use these bars parallel to each other as
you explore the possibilities of this wonder-
ful movement.
Remember that as one shoulder twists
away from the camera, perspective will
automatically make that shoulder appear
tilted, while a reverse movement would
make a tilted shoulder appear straight and
parallel to the bottom of the picture.
When you arrange a pose, do you take
advantage of the possibilities of this twist-
ing movement and its effect on the body's
attitude and outline?
108

With this twisting movement you can
change the two-dimensional proportions of
the body or the relationship of the parts to
each other.
In a picture we think of the body not
only in relation to external objects appear-
ing with it, but in relation to its own pro-
portions. We measure the size of the hips in
relation to the size of the shoulders: the
size of the waistline in relation to the hips,
head or shoulders.
Notice the illustration on the left. The
hip track is facing the camera and is paral-
lel to the floor. The shoulder track has
revolved, bringing one shoulder toward the
camera and one away from the camera.
Although the shoulder track on the subject
remains parallel to the hip track they ap-
pear tilted toward each other in the sil-
houette because of the turn ... and some-
thing more important happens. The shoul-
ders, that were at one time wider than the
hips, now appear smaller in outline and
proportion!
To the right, the illustration shows that
the twist has been reversed; the shoulders
face the camera and the hips are turned
away. This again alters the proportions of
the body. The shoulders now appear broad-
er and the hips have been slenderized in
turning away from the camera.
Some use the shoulders and hips to add
fluidity to the body, some to correct defects
in proportion, some to dramatize parts.
We all know that a man's shoulders should
appear wider than his hips (fashion*s-fleet-
ing-fancy may demand that a woman be
pictured this way). We also know that a
voluptuous bustline and rounded-out hip
puts forth that fully-feminine-feeling. We
should never forget that the picture we
want comes from pulling the right strings!
SHOULDERS FACING CAMERA
HIPS TURNED AWAY
109

LEGS APART LEGS CROSSED
TRACK VARIATIONS
( S H O U L D E R AND H I P )
created upon a pre-determined pattern,
provide a source of variation that can be
unique. By setting up an imaginary problem
we can illustrate with a very real solution.
The problem
To create twelve different 'S' body-posi-
tions.
Unique solution
Build each pose on a diagram of shoulder-
hip track variation.
First, draw three pairs of lines to represent:
These represent three very different positi-
ons for the shoulders and hips. If you thread
a forward 'S' body-line and a backward S
body-line through each pair of lines…
... you have doubled possibilities and now
have ideas for six different poses.
110

At this point we decided to construct a
pose on each diagram in which the girl's
body faced in a certain direction. In the left
panel each pose is directed left and in the
right panel some look right and others are
front-view. By adding the model's right and
left stance we have arrived at the required
twelve different basic ideas for the poses.
In order to follow these patterns, all three
movements of the shoulder-hip tracks
-turn, tilt and twist - were employed. (By
setting the pattern on the flat picture surface
it is easy to get what you want.)
Just for good measure, we decided to get
further variety by letting all of the pictures
on the left side of each panel have the feet
apart and all of the pictures in the right of
each panel have the feet crossed: then we fit-
ted a pose into each pattern or diagram. Vari-
ety? Of course! They all have to be different.
Perhaps you'd like to try some poses of
your own on these same patterns. It's fun!
Also try:
shoulder-track slanting up
to the right, _____
hip-track horizontal.
shoulder-track horizontal, _____
hip-track slanting
up to the right.
Interlace a forward or a reverse 'S' body-
line through each set of lines, decide what
body view you want and in which direction
the model is to face. Fit a pose into each
one. Don't overlook the 'C and ‘I’ body-
lines that might also be used.
Possibility for shoulder-hip track change
can never be exhausted. Countless posi-
tions can be created by pre-determining
shoulder-hip track patterns on the finished
picture. LEGS APART

THE ZIGZAG BODY-LINE
found in sitting, kneeling and other con-
tracted postures, offers a definite challenge
to a director's adroit manipulation of his
model and camera as well as to the model's
ability to create and visualize her position
from the camera's view.
Much has been written, and your own
experience has brought the knowledge to
you first-hand, on what can happen to the
body-lines (especially the leg-lines) in these
positions. You have watched distortion
dominate the picture as the feet come closer
to the camera and the head shrivels away.
You have seen how in response to slight
movement perspective (in the finished pic-
ture) has altered straight shoulder tracks
that were posed parallel to the floor. One
end appeared tilted or angled as the body
turned. Sometimes only a matter of inches,
away from the camera.
True, perspective problems decrease as
the distance increases between the subject
and the camera. But haven't you found that
it isn't always possible to work at a suffi-
cient distance to prevent distortion? Thus,
to help with the majority of your actual
sittings (in which you would like to posi-
tion the body without distorted effects) let
us continue to confine our posing area,
as much as possible, between imaginary
panes of glass. Within this sandwich, we
will find ample opportunity to expand
posing ideas.
As you study these zigzag body positions
you see that their contracted postures can
no longer conform to the long-line body
symbols (I, C and S) but must be considered
and classified by the angles they form: the
degree of each and their relationship to
each other and to the page.
112
KNEE
ANGLE

TWO KEY-
ANCLES
FIVE KEY-
VARIATIONS
in zigzag silhouettes are formed, one at the
hip and one at the knee. These angles are
evaluated either from the camera view or
from the two dimensional picture surface.
They cannot be determined by the degree
at which a model bends her knee or hip
(unless she is in a direct side view), because
the camera changes these angles when it
transposes her to the flat surface. There
are nine primary combinations possible.
HIP A N G L E S
acute obtuse right
Each little figure can be tipped in any
direction on the flat picture surface...
effective departures for varying a pose!
THREE KEY-LINES
in zigzag silhouettes (controlled by the de-
gree and position of the two key angles)
vary visually in importance by their rela-
tionship to other elements in the picture.
If at least two of these lines are parallel to
the page or prop-lines (vertical, diagonal or
horizontal) their position acquires signifi-
cance and impact.
The length of any one (or all three) of
the body lines is at its fullest when it is
presented in a side-view to the camera. If a
line is foreshortened, be sure the change is
compatible with the rest of the picture.
in zigzag silhouettes are established by
placing any primary angle combination on
a point, or points of support and exploring
the five considerations for change in nu-
merical sequence. With emphasis now
centered in different areas, let us review the
count-down quickly, keeping the zigzag
figure in mind:
5 views. The body must be changed gingerly from
side to 3/4 or full-front and back views, as dis-
tortion can become quite a problem. While a
front view causes the least problems in a long-
line silhouette, you'll find the sideview pre-
senting the fewest problems in the zigzag sil-
houette. (The direction the body faces is deter-
mined by the position of the upper part of the
torso or chest box.)
4 limbs. Both the legs and the arms offer maxi-
mum advantages for variation in zigzag po-
sitions. Since the full length of the body is con-
tracted, they usually take up a greater portion
of the picture space also.
3 p's (all external elements). Purpose, Props and
Position of the camera each assumes vital
meaning, especially the last two. The support
from which the position stems is the most im-
portant prop in the picture and we shall examine
it more thoroughly in the next few pages. Camera
station is also important and some of its varia-
tion of position are explored on page 141.
2 tracks. Shoulder-hip relationships are of ut-
most value in varying the zigzag figure.
1 body-line. Although the body-line in the zigzag
silhouette is in another form it is still extended
and contracted by varying the degree of the
angles (hip and knee, in this instance).
In summarizing, it seems that in the zigzag,
number 3 of the count-down becomes of
foremost interest, numbers 2 and 4 hold
their own and numbers 1 and 5 become
more or less limited by the third dimension.
Since external elements are of prime im-
portance in zigzag positions, let us see
how...

ZIGZAG CHANGES
CAN EVOLVE
from a point of support. You can tip or tilt
the zig-zag figure, with credibility, in many
directions if you can imagine what would
support the body in that position.
The supported figure uses a part (or parts) of the
body to balance its weight upon a secure external
object such as the floor, a chair, wall, etc. for a
fleeting or indefinite period of time. The distri-
bution of weight limits the duration of the pose.
The unsupported figure has no apparent means of
support touching it... for the moment. It is in the
process of leaving or arriving at a source of sup-
port, but at the instant the picture was taken it was
in a state of isolation. Even if the support itself
is not shown or used, its presence must be felt
by the viewer. The viewer seeks understanding
and must see or sense the point of support.
Two types of body surfaces support its
weight for an interval of time. Bone creates
the hard surfaces which maintain their
shape under pressure, while flesh or muscle
create the softer surfaces that conform (in
different degree) to the object upon which
they rest.
SOFT BODY PARTS
buttocks
thighs and calf
stomach
forearm (fleshy part)
upper arm ,, ,,
Take the chart of the nine primary angle
combinations (page 113) and turn the book
so that a different part of the body supports
the weight of each position. Can you see
the difference the support makes? These
points of support can become points of de-
parture.They can make your zigzag positions
different even before using a count-down.
Let's examine the commonly used points
of support and explore their variations.
HARD BODY PARTS
feet and hands
shoulders
elbows and knees
head
back

THE SEAT
is the most natural and common point of
support for the body. But that does not
limit its possibilities for introducing change
in any way.
In devising poses it is easy to get off the
beaten path by arranging different combi-
nations of zigzag angles with a body poised
on the seat (hip angle). As these variations
are combined with the count-down you find
changes taking place similar to those in the
panel to the right:
5. Three front views, two side views, and four J
front views have changed the outline of the fi-
gure considerably. 3/4 back and full back
views were also available but not used.
4. Arms were used to extend the line of the body,
to support the legs, to support the body on the
legs, to form patterns with the lines of the page,
the body and even to depict a feeling of pleasure
in one position.
The legs have completed angles of the body-
line or have formed patterns of their own, some
have offered the body a secondary means of
support which reduces strain and adds freedom
and believability to the picture as a whole.
3. Props changed, as to the different heights upon
which the body rests.
Even the portion of the seat upon which the
weight rests is varied. The bulk of the weight
can rest on the side, back or front portion of the
buttocks.
Positions of the camera were varied to help
keep these positions in pleasing proportions.
The purpose and action of each picture is also
different as you can see.
2. The shoulder-hip tracks were twisted in almost
every picture to make the pose more effective
and keep the parts of the body in reasonable
proportion.
1. The body-line was changed greatly in its angles.
A diagram of each of these illustrations will
reveal their variation.

THE KNEES
(or knee) are also a very common point of
support. Although they provide the body
with a hard surface that is not distorted by
pressure, they are an uncomfortable area
upon which to place weight for any length
of time, especially if the support is hard.
First, you must decide if one or both
knees are to be the body's point of support.
From that point many variations of either
become possible as you combine primary
angles to establish position. Explore further
with your count down.
5. All five views of the body are possible with the
knee as the point of support, keeping in mind
the distortion tendencies of some positions
unless they are used for special effects.
4. One or both knees can be used to support the
body at different heights, and using different
angles. Arms are often used as a secondary
means of support to take part of the weight
from the sensitive knees.
Legs can form interesting geometries, paral-
lels and opposing angles.
Both arms and at least one leg are usually
free to be used in depicting story-telling action
or for artistic arrangement.
3. Of the three external elements, the most im-
portant (next to the prop or support) is the
position of the camera. It must be located care-
fully if parts of the body are not to lump them-
selves together and become distorted. Remem-
ber that as the camera moves, the juxtaposition
of lines makes radical changes in the model's
position. 'X'-plore the Dutch angles (where the
camera is cocked sidewise) as well as the diffe-
rent split-level heights possible.
2. The shoulder and hip tracks are most flexible in
kneeling positions because neither is used as a
means of support (as when the body is resting
on the seat or the back). Ingenious combinations
of twist and tilt put movement into a position
where action is otherwise impossible.
1. Body-line varies, in its combinations of angles,
their position on the page, aud by degree.
116

THE BACK
is another common point of support and
is often used, for it leaves all four limbs
free for artistic arrangement.
Positions on the back, which is a broad
point of support, are usually comfortable
and can be maintained for a long period of
time. Where the model must remain almost
completely relaxed, this horizontal position
is often used, whether the pose (in the fin-
ished picture) appears in a horizontal, diag-
onal or vertical position.
With imaginative arrangement, a pose
taken with the figure on its back and print-
ed in a vertical position, achieves startling
or unusual effects when neither the model
nor her garments seem to be affected by the
vertical pull of gravity.
In spite of the fact that purists criticize
such manipulation and decry the practice,
many glamorous and alluring 3/4 body and
head views are taken every day with the
subject resting on her back and the print
then inverted for viewing.
After having established the back as the
point of support for any pose (and deter-
mined the body's lines and angles) you can
proceed with your count-down possibilities.
NOTE: If you have mentally diagrammed
the figures in these panels, you will find a
few long-line silhouettes along with the
zigzags. This was done with the express
purpose of having you consider a figure's
potential from its point of support. For
although most vertical long-line positions
use their feet as their main point of support,
the horizontal and diagonal long-line and
the majority of zigzag silhouettes utilize
other points. Some of them are very unusu-
al and produce unusual results.
117

UNCOMMON
POINTS OF SUPPORT
upon which the body can balance or sus-
pend itself for long intervals or for the de-
cisive moment necessary to record a pic-
ture are:
lungs (on or under water)
backs of knees
back of hips
finger tips
Positions evolving from one or more of
these points of support generally require
physical co-ordination from the model, ima-
gination from the director and result in
pictures of striking impact.
While it is true that some of these pic-
tures, stemming from an uncommon point
of support, use highly-trained acrobats,
dancers, swimmers and athletes, it is also
true that others - just as effective - result
from the use of a well co-ordinated model
and a director with an eye for detail who
knows how to utilize split-second timing,
dramatic framing, judicious cropping, spe-
cial lighting and perhaps temporary points
of support, along with other artifices to
produce results.
A well co-ordinated model who can per-
form an action once, can usually repeat
the position with the necessary correction
or variation while the director records it at
a pre-determined point without loss of its
candid qualities.
The fact that these positions of short
duration must be snapped quickly, gives
rise to the supposition that there is very
little that can be varied. This is not so.
These positions of transitory or short
duration can still be subjected to planning
in connection with the count-down.
118
hands forearm
toes stomach
teeth shoulders
head hair, etc.

MULTIPLE
POINTS OF SUPPORT
can distribute body weight to several related
parts of the figure.
It is stimulating to begin thinking of
unusual combinations of parts that might
be used as multiple supports and then to
stretch your imagination in visualizing po-
sitions that would result.
Let us look at some of the parts that can be
used in combination to support the
body:
shoulders
forearms
fingers
stomach
elbows
It is astonishing how many ideas
you can pick out of a hat if you will
mentally juggle the above list. At random,
select two or three points of support and
arrange long-line or zigzag positions that
would incorporate them. It is then you
begin to realize the limitless possibilities of
the body for dynamic expression.
Count-down will add to these positions,
but when you consider the three important
'P's be sure you utilize your props to their
fullest extent. A long object, held by the
model can be used as an extra arm or leg,
an additional point of support, to throw
the equilibrium of the body into delightful
and credible positions that would other-
wise be impossible.
This extra limb can be many things ... an
oar, stick, cane, golf club, skewer, pole, bat,
parasol, etc. In advertising and pictorial
photographs, it is often used to direct at-
tention to specific areas as well as to help
support the body's weight.
feet
back
head
arm
s
seat
thighs
hands
knees
heels
teeth
toe
s
fist
calf
side
hip

UNSUPPORTED FIGURES
appear to be rising to or falling from an
object that would support their weight.
The camera has seemingly caught the fig-
ure in this transitory state.
Unsupported figures can be separated
and grouped according to recognizable dif-
ferences, one is of action under control and
the other is of action out of control.
Action under control . . .
does not give rise to a feeling of concern or
alarm on the part of the viewer, for the
primary feeling is that the position has been
repeated over and over again without disas-
trous results.
These positions are readily associated
with highly-trained and talented dancers,
acrobats, trapeze artists, stunt men and
athletes.
Some of the patterns for the body, while
rising and falling, have an accepted stan-
dard of perfection such as difficult ballet
leaps, swan dives, high jumps, etc. When
this is the case, the control must be abso-
lute, the position correct in every respect
so as to satisfy the knowing critic. In these
positions it is best to use a model experi-
enced in the field of activity to be portray-
ed ... for one false action or minute detail
will condemn the pose. However, great
variation can still be achieved by planning.
Oft-times directors underestimate the abil-
ity of their models and fail to ask for the
variations and extra effort that would make
the picture more outstanding.
The space-propelled feeling of the body
in the air is usually increased by eliminat-
ing the point, from the finished picture,
from which the action originated.
120

ACTION OUT OF CONTROL
astonishes a viewer and gives him a feeling
of uneasiness and concern for the outcome
of the action. Because these pictures are
thrilling and urgent, they attract immediate
attention and are, therefore, useful for comic
or climatic effects.
In some of these unsupported figures a
part of the body may actually touch the
object that could support it, but the body
itself is deprived of power (as a boxer col-
lapsing or a woman slipping on ice) and the
fall continues.
There are clowns, comedians and stunt
men adept in credible and exaggerated
falls. However, an adept model's fall can
be photographed in its first disorganized
stages, giving her time to right herself be-
fore touching the ground or being caught
by an assistant or a net. The camera can also
be angled to add a greater sense of lost bal-
ance.
A popular method for getting pictures of
action apparently out of control is to let
the model spring from a trampoline and
station the camera low enough to eliminate
the prop from view. Thus, a picture which
seems to have the body falling with com-
plete disorganization into space, can be
repeated, with variation, over and over.
Extend your repertoire into the realm of
controlled-act ion (under your control) pic-
tures of unsupported figures, both those in
which the action appears to be under the
control of the model and those in which it
appears to be out of the model's control.
Pictures that were impossible only yes-
terday are now yours for the making. Take
advantage of today's high speed film, fast
lenses and knowledge of body-action!
121

BORDERLINE SILHOUETTES
will catch your eye as you become super
sensitive to the lines, angles and capabili-
ties of the human figure for arrangement
and variation.
Interesting to note, when you arrive at
this point of great discernment, is that in
addition to long-line silhouettes and zigzag
silhouettes there seem to be some border-
line silhouettes ... some that bear charac-
teristics of each, but that fall predominant-
ly into one group or the other.
Predominantly long-line . . .
figures have the general appearance of the
long-line silhouettes. The leg nearest the
camera can almost always be used as the
determining factor. If the hip and knees are
not bent too much and the eye follows the
body's long-line, the eye of the viewer will
normally flow with it and the position is
predominantly long-line.
122

Predominantly zigzag . . .
figures generally give the appearance of a
zigzag line with the leg nearest the camera
considerably bent at either the hip or the
knee (or both). Each person may make the
distinction between predominantly long
line or zigzag in a slightly different place,
but it makes no great difference for ...
... when one of these fringe-silhouettes is
to be duplicated before the camera, the
mind's eye can compare either of the dia-
grams with the human figure and position
its parts accordingly. If neither diagram
gives you a completely satisfactory line to
work from, use both lines, which together,
form an unmistakable templet and leave no
doubt as to the position of any part of the
figure being arranged.
123

CHARWOMAN In
posing each of the above, what body attitude, action or
stance could identify each for the viewer? Make
each body talk... loud and clear !
HOW THE BODY TALKS
is no mystery. It speaks of character within,
state of health, state of mind, age, station
in life. It talks in attitudes that are univer-
sally understandable and are repeatable.
When you seek to use the body as a means
of communication, rather than as a physi-
cal assemblage of parts, you reach deep
into the realm of its typical characteristics,
feelings, psychological reactions and a
myriad of intangible qualities. General im-
pressions of types of people, their moods
and station in life are pretty nearly the same
the world over. The physical characteris-
tics, or mental attitudes made evident by
their stance sets each apart.
Visualize six male characters of approx-
imately the same size and weight; a tramp,
an industrialist, a cadet, a pugilist, a ballet
dancer, a teenage boy. Mentally dress them
all alike and face them toward the camera.
Would anything in their body stance or
bearing reveal differences in their character
or occupation? What positions would you
accentuate to set them even further apart
from the other men?
Imagine six female characters such as
those listed. Each is distinctly different in
carriage and attitude. Reach into your
memory for more and more details about
these people, for the model and director
who have developed an acute sensitivity to
the people around them must have a rich
storehouse from which to draw and can
translate expressiveness into their work
from memory. The keener the original ob-
servation the more exact the impression
that can be created.
Did you know that a great deal of the
responsibility for carrying these body mes-
sages falls upon the shoulders?
124
SOCIETY
MATRON
INDUSTRIALIST
PUGILIST
CADET
TEENAGE BOY

SHOULDERS
CREATE I M P R E S S I O N S
of mood and character. They, more than
any other part of the torso reveal the spirit
of the model and are considered a thermo-
meter from which the temperature of the
mood can be measured.
Although it takes but little physical force
to move the shoulders, they are capable of
exerting great mental force in the finished
picture.
Neutral shoulders...
have little expression of their own and are
used as a starting point from which to mea-
sure how much expression you wish them
to project. They need not move from this
position at all if they are not to express any-
thing.
Forward shoulders ...
relay a feeling of weariness, weakness, sick-
ness, shyness, etc.
Low shoulders...
reflect studied poise, elegance, natural case,
casualness, etc.
Back shoulders ...
give the impression of physical vitality, pride,
courage, strength, happiness, etc.
High shoulders ...
may give the impression of lack of confiden-
ce, tension, strain, fright, etc.
Different combinations of these move-
ments suggest complex feelings or mixed
emotions such as:
Up and forward shoulders ...
indicate that the model is kittenish, flirtatious,
coquettish, etc. Low and forward shoulders ...
reveal age, defection, discouragement, weari-
ness, etc.
These movements that bring the shoulders
into expressive positions may be slight or
great, depending upon the role they must
play.
FORWARD
BACK
NEUTRAL
LOW
125
HIGH

SHOULDER-TRACK SWINGS HIP-
TRACKPARALLELTOBOTTOMOFPAGE
HIP-TRACK SWINGS
SHOULDER-TRACK PARALLEL TO PAGE
TORSO POSITIONS
can also delineate mental attitudes, depict
character and convey moods.
Have you ever noticed how the relation-
ship of the upper torso to the lower torso
creates a definite impression? Would you
believe that so slight a matter as the rela-
tionship of each part to the edges of the
picture page could make a difference? It
does.
Look at these simple block figures. If
they, in their simplicity, can emit feeling,
think of how much more can be projected
by the human figure in a similar position.
When the model is facing the camera...
with her hip-track stationary (parallel to
the bottom of the page) and her shoulder-
track tipped to the side, you might get a
feeling of curiosity, interest, concern, alert-
ness, etc. as you do from the end figures
in the group above, left.
A different impression is conveyed when
the shoulder-track remains stationary and
the hip-track swings sideways (although
the waist is bent to the same degree as in
the illustration above). A common reac-
tion to the end figures below, would be an
interpretation of flirtation (haughty above
... naughty below) or casualness. Do you
sense these distinctions?
Positions of parts of the body in relation
to the page, build feelings, even in the ar-
rangement of groups. Notice how the group
below, whose shoulders lean toward each
other, appear more friendly than the three
figures above, whose shoulders draw away
from each other.
The position of each part of the body,
on the picture page, makes a difference ...
regardless of how the body faces.
126

When the model is in side view...
the same relative action and reaction takes
place.
The straight central figures, parallel to
the sides of the page, have a formal, regal
or military bearing, their very lines have
masculinity and solidity.
When the hip-block remains stationary
and the chest-box tilts back, you get an
impression of animation and youthfulness,
or at the other extreme, one of contempt,
disbelief, shock, fright or the feeling that
the person is drawing away from some-
thing or some thought.
When the hips remain stationary and the
chest-box tilts forward, its position con-
notes interest or attention. You visualize a
building superintendent watching base-
ment construction or a woman listening to
a child or, you may picture something en-
tirely different and feel that the person is
old or tired.
If the chest-box remains stationary while
the hip block swings (pendulum fashion)
at the waist, our simple block and line fig-
ures take on different expressions, atti-
tudes and meanings. For, as the hip-block
swings back into a bustle it suggests a prim-
itive conception of posture as well as an
air of opinion or conceit. Yet when the hip-
block swings forward all that is changed
and you sense, instead, the poise associated
with a socialite, a fashion model or an
athlete.
These general conceptions of attitudes
that we have defined from certain positions,
do not constitute an attempt to interpret
all figures in these terms. These positions
serve only to show the possibility for inter-
pretation (or misinterpretation) through
body attitude. Once you are aware of these
possibilities, you can explore them further.
CHEST-BOX TILTS FORWARD OR BACK
HIP-BLOCK PAR ALL EL TO SIDES OF PAGE
HIP-BLOCK SWINGS FORWARD OR BACK
CHEST-BOX PARALLEL TO SIDES OF PAGE
127

MUSCULAR TENSION
of a body marks the sincerity of a picture.
No matter how excellent a body attitude,
how perfect the arrangement of parts may
be, the body, from toe to fingertip, must be
in complete muscular compatibility with
the mood and message to be expressed.
Only too often the credibility of a model's
serenity and ease in a picture has been de-
stroyed not by the smile on her face but by
the give-away tension in her hunched
shoulders or rigid little finger!
It is wise to remember that still pictures
remain at hand for constant scrutiny. The
second or third glance may reveal insincere
detail. Even the layman is sensitive to a
false pose although he cannot always put
his finger on what is causing that feeling.
To the last detail, the body and all its
parts must state and reaffirm what the pic-
ture has set out to establish in impressional-
impact or specific expression. All emotion
travels through the body's complete nerv-
ous system split seconds before the face and
body react. Although it is the mind that
conceives the thought and emotion, it is the
body that passes that feeling on to the parts
that can help express it visually.
In anger, the body relays the message to
the face bringing the muscles of the brows
together and downward, tensing the lips.
The message, hurrying along another series
of nerve ends causes the hands to clench in
defense. Further on, perhaps, the feet are
set firmly on the ground while the dia-
phragm expands the lungs in readiness to
explode into action. Emotion bristles in
every gesture and exudes from every pore.
Since the body is the instrument through
which the mind communicates, it does not
remain unaffected as it transmits these
messages. Often a single part of the body
in undesirable tension discredits the whole
picture. The model may project an attitude
perfectly ... except that:
The muscles around her mouth say, 'Why can't
he hurry and take that picture?' An index
finger, too straight at the last joint, screams,
k
I look so pretty!' and of course -does not!
A little finger is curled in absurd tension and
somehow reminds us of someone playacting
the lady.
Uncalled for tension in the neck strains the whole
bearing.
A big toe points too far downward and adver-
tizes the effort of the model to look just so...
unnatural!
Shoulders gradually sneak upward until by the
time the picture is made anyone can sense she
is ill at ease.
She forgot to pull her tummy in. Back
collapsed and shoulders slumped forward: she
is tired but her picture need not show it!
Mind sagged and expression wandered away,
as you can see by her face!
A model must co-ordinate each part of her
body to the proper amount of tension de-
manded by the over-all picture. She must
learn to express the message with all parts
of her body so the director can evaluate it
in the light of the viewer's point of com-
mand. The director must be ready to cor-
rect weak spots in the tell-tale areas or
change any part that is not in keeping with
the situation. He must be ready to arrest
these tensions at their inception.
Tension is electricity that runs through-
out pictures and the amount of voltage
each pose contains depends upon the
mood to be evoked or the impact to be
gained. Though the degree of tension is
modified to fit each character and situation,
it can be observed, as it mounts ... in four
distinct stages ...
128

NO-TENSION HIGH-
TENSION
lets the viewer find the body in a comple-
tely relaxed state. It denotes a complete
lack of either mental or physical stimulus.
It is serene and tranquil. Nothing is happen-
ing to disturb the model in her state of
drowsiness or blissful dreaming.
makes the viewer conscious that the body
is vibrating with energy that is (or almost
is) out of control ... sparks are flying and
the body is in a state of such strain, it can-
not contain itself with the extreme mental
or physical burden placed upon it. Violent
emotion exudes from the entire body and
is visible in every muscle.
LOW-TENSION
conveys the feeling to the viewer that the
mind is working although the body has not
yet been moved to noticeable action. It is a
sort of pre-action picture in which one
senses the stirring of the mind and that
more movement will be forthcoming. Low-
tension pictures include those of leisurely
action in which you feel the body is moving
with ease as the mind reflects upon direc-
tion and control. Current flows through the
picture in soft waves.
TENSION
indicates to the viewer that the body has
been brought into vibrant and alert action.
The mind has stimulated and motivated the
body so both are keyed to the same degree.
Good models control mental and muscular
tension balancing them so that the viewer
looks at the action and is not conscious of
the effort. Tension projects a feeling of reali-
ty in which action and energy are well di-
rected.
When pitching an emotion ... think not on-
ly of the direction it is to be thrown but
also, how far it must go!
The distance at which any of these ten-
sions will be viewed also affects the degree
to which they must be emphasized or un-
derplayed.
Close up camera views require restraint
-controlled but effective gestures and action.
For when the audience is close it sees small
details and can read tight movement.
Full length camera views of the body call
for slightly stronger gestures to project the
same reaction. Fine points of facial ex-
pression are no longer distinguishable as
the head now shares the picture with the
whole figure.
Distant views of the body require broad
gestures and exaggerated tension as delicate
expression is no longer visible.
129

PHYSICAL AND MENTAL
TENSIONS
MUST BALANCE TO LOOK RIGHT
LOW-TENSION

30" FLOOR-CLOCK
40" FLOOR-CLOCK
132
LEGS
have many variations in standing positions.
Effective and individual stances are derived
by combining their flexible parts in inge-
nious ways.
Leg-span...
is a variable too often forgotten, for any
leg position, once established, may be made
to appear entirely different when the degree
of separation between the legs is increased
or decreased.
Changing the size of the floor-clock
(upon which the model takes position),
changes the outline of the stance and its
attitude. For instance, a small floor-clock
might be appropriate for a majestic lady,
while a carefree youngster might project
her outgoing personality by leg positions
executed on a large floor-clock.

TOE-HEEL
COMBINATIONS
provide natural as well as expressive sour-
ces for foot variation.
BOTH FEET FLAT ON CLOCK
BOTH FEET UP ON TOES.
(one on ball one on tip)
ONE FOOT FLAT ON CLOCK
ONE FOOT ON HEEL
ONE FOOT UP ON TOE (ball)
ONE FOOT UP ON TOE (tip)
ONE FOOT rocked out
133

KNEE-BEND
COMBINATIONS
can also lend variety to standing leg-po-
sitions on your floor-clock.
Think of all the ways the bend in the
knee can change the appearance of an
otherwise ordinary leg position. (The knee,
or knees, may be bent at greater or less
degree than illustrated
here.)
134
NOTE:
The amount of knee-bend revealed in the finished
picture is dependent, not only upon the knee"s
physical action, but also upon the position of the
camera when the picture is taken.
When all else must remain constant, (foot, hip
and camera position) the bent knee itself can still
change the appearance further by leaning toward or
swinging away from the camera.
B A S I C - K N E E B E N T

LEG AND FOOT
VARIATIONS
such as floor-clock-stops, leg-span, toe-heel
placement and knee bend... when explored
to their fullest, or used in combinations
with each other, reveal the leg's potential
for an infinite number of positions.
In assuming or directing leg positions,
you will notice that, whether the show-foot
touches the floor or not, the numbers on
the imaginary floor-clock can identify the
direction the toe is pointing.
S H O W- KN E E BENT
ONE FOOT FLAT, ON
CLOCK ONE FOOT ON
TOE LEG-SPAN..
M E D IU M BA S IC - FO O T
AT 3
B A S IC - KN E E BENT
ONE FOOT FLAT ON
CLOC K
ONE FOOT ONE TOE
(TIP)
LEG-SPAN., MEDIUM
BAS C-FOOT AT 2
BASIC- KNEE BENT
ONE FOOT FLAT ON
CLOCK
ONE " R O C K E D IN"
(ON TOE)
LEG-SPAN.. M E D I U M
BASIC-FOOT AT 5
BOTH
K N E E S BENT BOTH
F E E T ON TOES LEG-SPAN.
M E D I U M BASIC-FOOT
AT 4
A twist of the hips . . .
after the leg position has been established,
can reapportion the body's weight and bal-
ance. The hips can twist in either direction
to make slight or radical changes in the
appearance of the whole body.
135

LEGS IN SITTING
POSITIONS
play a completely different role in pictures
than legs in standing positions. No longer
needed to support the body's weight, they
can now be used for design, compositional
arrangement and expression; they may
either compete or co-operate with the arms.
In their new role they present an interesting
challenge to both the model and the director.
In the pictures you have taken, observed
or analyzed, you have no doubt noticed
that generally one leg (the leg nearest the
camera) appears to be more important than
the other.
'First come ... first observed' is the law
of legs in pictures and should guide direc-
tors and models posing them.
The most important leg is the primary
leg, while the leg further from the camera,
and of less importance, becomes the sec-
ondary leg. For easy identification of legs
in sitting positions, we have illustrated the
primary leg as light and the secondary leg
as dark.
The secondary leg creates a background
for the primary leg and usually adjusts it-
self to the scheme of things as an effective
blend or counterpart.
When legs are equidistant from the cam-
era and in exactly the same position they
should be arranged with equal care.
Distortion of flesh...
in sitting or reclining positions becomes
evident at the calf or thigh when too much
pressure is applied. The disfigurement of
the calf (be sure to watch for it) is easily
eliminated, while thigh distortion requires
a redistribution of body weight.
136

PROPORTIONS
OF LEGS
must be considered when the legs are re-
leased from the duty of supporting the
body's weight in sitting (or reclining) po-
sitions. Their new freedom creates problems
in perspective (through point of view) ordi-
narily never considered when the body is
standing upon them. When the legs are as
free as the arms, they too may extend too
far toward or too far away from the cam-
era, straying into danger zones that play
havoc with their proportions.
If the glass sandwich that restricted the
movement of the arms can now be used to
encompass the whole body and especially
to restrict the movement of the legs, your
problems in arranging them for sitting and
reclining positions become negligible.
Legs are not concealed by clothing...
in sitting (and reclining figures) because
their covering is generally pliant and re-
veals the mass that lies beneath.
Whether drapery accentuates the con-
tour of the leg by folding around it or ac-
centuates its position by radiating from the
angle of the knee makes no difference; the
viewer is still conscious of their proportions.
The outline and form revealed suggest the
entire position and make the correct ar-
rangement of leg angles very pertinent to
the success of the picture as a whole.
Model and director...
'Keep your eye on the angles... as well as the curves /'
'37

COMBINING
KNEEANGELS
138
Model's leg-position and
(The actual angles the legs form
dividually and in combination.)
in
.
Camera’s Viewpoint
(Every angle not in profile to the
camera is subject to perspective
alteration in some degree.)
is one way of bringing variety into the leg
positions of sitting and reclining figures.
An immediate mental image of what the
(combined primary and secondary leg)
knee angles look like (on the finished pic-
ture's flat surface) can be an invaluable aid
in planning positions.
Remember, these angles result from:

POSITION A
LEG ANGLES
can evolve into leg positions by progressing
logically from one angle to the next. Watch
the primary knee unfold from its high pos-
ition in illustration A to the low level in
position B and then contract in position C.
The secondary leg unfolded only at the
hip to put the leg in position C.
Three very different leg positions ori-
ginate from these simple movements and if
you diagram each knee angle, you will find
only two changes in the primary knee (none
in the secondary knee).
Can you
visualize
...the change that would take place in the
leg positions illustrated on this page if:
... the knee angle of each primary leg was in-
creased? - decreased?
... the hip-tracks were turned toward the camera?
- away from the camera?
... the knees leaned toward or away from the
camera?
139

B A C K V I E W
POSITION A
FRONT VIEW
THE MODEL ROTATES
and interesting changes take place even
though the actual angles of her legs remain
the same as they were in positions A, B and
C of the preceding page.
Were you able to visualize this front and
back view of position A as the model ro-
tated her knees toward the camera or away
from it? Did positions B and C rotate prop-
erly in your mind?
FRONT V I E W
Can you now visualize
... the changes that would take place in po-
sitions A, B and C on the preceding page
if:
... the camera were moved to a higher or lower
position?
... the camera were shifted to the extreme right?
... the camera were shifted to the extreme left?
B A C K V I E W
POSITION C
FRONTVIEW
140

THE CAMERA S H I F T S
and more variation is noted. In position B,
notice how the appearance of the legs
changes when the camera shifts either to
the extreme right of the model, or to her
extreme left.
141
CAMERA SHIFTS
TO RIGHT OF
POSITION B
You, the director
... vary legs in sitting and reclining posi-
tions by command of both your model and
your equipment. Your ability to visualize
and anticipate the results of all major and
minor changes is of paramount importance.
It is you who must decide which moves
-your model or your camera - and how
much!
CAMERA SHIFTS TO
LEFT OF POSITION B

LEGS KNEELING
O R CRO UCHI NG
are affected by the same variables as legs
in sitting and reclining positions. You can
gain variation by:
changing the angles formed by the hip and
knee of the primary leg.
changing the angles formed by the hip and
knee of the secondary leg.
combining the angles to coincide with or coun-
terpoint each other.
making the legs of equal or unequal impor-
tance.
using different degrees of tension.
twisting the hip track slightly toward or away
from the camera.
changing the camera station from the front to
either side.
changing the camera's viewpoint from high to
low, or low to high.
tilting the camera to bring out different rela-
tionships of the leg angles to the page.
rotating the knees toward or away from the
camera.
.combining different positions of the feet with the
different leg positions.
142

IDEAS FOR UNUSUAL
LEG POSITIONS
can come to you in many strange ways,
some from the past and some from the pre-
sent:
The past
... old cultures (Egyptian, Chinese, Aztec, etc.)
... dance patterns (ballet, modern, character, etc.)
... art (paintings, sculpture, sketches, etc.)
... characterizations (symbolic or typical)
The present
...research (magazines, books, TV, movies,
newspapers, etc.)
... observation (of people around you in action
-even yourself)
... talent (model or director, or both drawing on
memory, association, coordination or imagin-
ation, etc.)
... through the photographie style of the picture,
whether it is:
artistic (directs the eye in composition; repeats
lines or props, or page; forms patterns or
designs) expressive (expresses mood or
message)
...mechanical aids: unique camera angles or
cropping; using assorted heights and shapes
of props or points of support; working from
points of departure with variations of legs and
feet.
Three of the ideas mentioned; design, ex-
pression and tension attract our deliberate
attention as possibilities or sources for arri-
ving at variations of leg position. Let's
examine each of the three.
143

FORMAL LEG PATTERNS
appear almost exclusively in full-front and
full-back views of the figure, (regardless of
its position).
When the legs are doing the same thing
at the same time and are equidistant from
the camera, they begin to form designs or
patterns. (It is interesting to note the simi-
larity of the straight leg positions to the
formal Roman numerals II, V and X.)
These formal leg patterns are generally
used for their design and geometric possi-
bilities. Their repetitive quality can empha-
size and strengthen the message the face
and body are expressing.
When you have in mind a picture that
requires such emphasis and formality start
with a formal leg position and develop the
idea from there!
Formal legs blend well with the vertical
‘I’ silhouette and can be used with the
diagonal and horizontal Ts to great
advantage.
If you use a position that approximates
one of these formal positions close enough
for a viewer to pick up the pattern, it is
much better consciously to attempt its
perfection than to miss by a hair and pro-
duce pointless nothings.
144

INFORMAL PATTERNS
are created by legs when their action or
their position from the camera view are
not identical.
These unconventional leg positions have
a spontaneous, free or spirited air about
them. They are interesting, expressive and
casual.
For an entirely new approach to their
arrangement, lift legs out of the realm of a
human part and begin to think of them
(and make them function) as folding sticks,
parts of a jumping-jack or a pinwheel. Let
them spin around an imaginary center
point, make figure 4's, or letter K's. Any of
the positions we show here could have been
arranged on a tablecloth ... with tooth-
picks!
Such a train of thought, admittedly
light-hearted, will take you away from
hackneyed thinking and open vistas for leg
positions you never dreamed possible.
Study the legs illustrated on this page.
Do they stir your imagination? Can you
almost picture the position the rest of the
body was in?
Once you start visualizing the missing
pieces of this picture puzzle, you can go on
from there and develop the position for the
whole body.
145

SHOW GIRL
LEGS EXPRESS
CHARACTER AND MOOD
in their arrangements. Certain positions
have gained recognition, through long as-
sociation with the actions, attitudes, emo-
tions and physical characteristics of people
in various professions and walks of life.
With each of the following characters in
mind, think of a stance that could be as-
sociated (in a viewer's
mind) with:
football hero,
can-can dancer,
clown,
cowboy,
ballerina,
cadet,
Now, think of positions for legs (either
standing or sitting) that could intensify the
mood or sharpen the impression of:
weariness, coquetry,
anger, ecstasy,
assurance, defiance,
slovenliness, pride,
awkwardness, frenzy,
impatience, pomposity,
shyness, contentment,
MODEL nervousness, pleasure,
energy, etc.
146
FLAPPER
(CHARLESTON)
fashion model,
policeman,
bathing beauty,
show girl, etc.

LEGS INDICATE TENSION
in the mind and the body. They often prove
or refute the sincerity of the pose as a whole.
The mind and emotions control the leg
and its parts. Thus, legs, like the body, are
capable of displaying four degrees of ten-
sion. When . . .
NO-TENSION
No-tension exists, leg muscles and joints are
relaxed and denote complete ease. Legs
cannot support the body in this condition.
Low-tension begins to appear, the legs may
support the body in a simple standing po-
sition or, the muscle tone in sitting and
reclining positions implies that action is
imminent.
Tension rises, legs are called into specific
operation to support the balanced physical
and mental action taking place.
High-tension develops, leg muscles strain to
denote extreme mental or physical exer-
tion.
147
HIGH-TENSION

148 CREATE ARM P O S I T I O N S WITH A CUT-OUT

ARM VARIATIONS
may be countless, but good photographic
variations are limited both by the camera's
station and the effect the picture is to pro-
duce upon the viewer.
Mentally to transpose real arms (which
are free to move in three dimensions) into
an image of arms (which appears on the
two dimensional picture surface) is diffi-
cult - unless you think in terms of their
limitations.
Arrangements inspired by cut-out fig-
ures (such as the one illustrated) incorpo-
rate all of these limitations by suggesting
positions relatively unaffected by the cam-
era's flattening power and by avoiding the
danger zones in which the arms may shrink
or grow.
Make your own cut-out. You will be
amazed at the interesting variations and
patterns you can create and then imitate.
Trace the outline of the body on the left
and transfer it to cardboard. Next cut out
two parts of each of the three arm segments
illustrated here. With ordinary thumb
tacks, assemble each arm at the elbow and
wrist. Next, turn the arm over and tack it
to the body at the shoulder joint.
Now move the arms about and see how
they suggest ideas from which you may
work!
This figure has proved so graphic in il-
lustrating the limitations placed by the
camera upon arm movement in pictures
that many photographers have put large-
scale versions upon their studio walls and
use them to direct inexperienced models
into positions they want. Before an im-
portant sitting they may even experiment
with it themselves - create useful informal
and formal variations.
149

INFORMAL
ARM VARIATIONS
offer endless possibilities. They are inter-
esting to work with and add definite artis-
try and impact to a pose.
As you experiment with informal arm
patterns you must establish compatibility.
One arm is usually of prime importance by
its position (nearest the camera) or by its
action, while the other is of secondary im-
portance and is relatively unobtrusive.
When one arm moves in deference to the
authority of the other, emphasis is gained
in either design or impression or both.
Arms can add linear interest or become
part of the design. They can combine to
lengthen their own lines, with parts of the
body to lengthen its contour lines, or with
drapes or props to lengthen the lines of
the latter.
Regardless of their purpose or pattern,
the arms must stop somewhere. Think of
the ten basic places at which hands stop
(page 68) and arrange your cutout figure's
arms with the stops in mind. Start by trying
to ... put one hand behind the body while you
move
the other to each position. ... use the same
stops with different hand or
wrist positions.
... place both hands on the same hand-stop (both
on the same pocket, same side of the neck, etc.). ...
experiment with each hand on a different hand-
stop (one in a pocket while the other is touching a
lapel... etc.).
... have one arm send the eye in a specific direction
while the other moves quietly to each of the
stops. (Try not to confuse the eye by doing very
separate and dramatic things with each hand.) ...
see how many combined line arrangements you
can make (or detect in our illustrations) in
which the arm or a part of it extends the other
arm, a part of the body or a prop.
150

FORMAL
ARM VARIATIONS
are primarily used for emphasis and decora-
tion. They are frontal in form, often unnat-
tural in position and usually perfect in de-
sign. Their arrangement can almost be
deemed architectonic.
Formal patterns are created when each
arm forms exactly the same pattern as the
other at the same distance from the cam-
era. Notice how much strength they imply
when you arrange them symmetrically on
your cut-out figure.
Let the hands stop simultaneously at:
... each of the ten basic hand-stops (page 68);
... ten different spots on the page in which the
hand touches nothing (one hand on one side
of the body and the other in a similar position
on the other side);
... ten different positions on a vertical line ex-
tending directly through the center of the body.
By now you will have discovered both the
indentical and the inverse formal arrange-
ments that fall within these strict limitations.
Identical (formal arm positions) not only
form the same patterns within and around
the body, but they do so in exactly the
same way.
Inverse (formal arm positions) invert the
patterns formed by the arms: one may go
in one direction and the other, in exactly
the opposite. We illustrate a few to encour-
age you to try some of your own. Many of
them can be arranged by placing the upper
arms in opposition to each other and then
making the forearms parallel. At times, the
hands do not complete this inverse pattern
but send the eye off in a single direction by
assuming identical positions.

FURTHER
ARM VARIATIONS
become evident as the body turns in a side
or J view to the camera.
If you care to experiment again with the
cut-out idea, you can trace these additional
body views and tack the original arms to
either of them.
In the side view, the arms should be
attached with one tack in the center of the
shoulder. The 3/4 view seems more
realistic if the arm furthest from the camera
is placed behind the figure.
Once again the arms will perform for
you camerawise and demonstrate the great
variety of positions available to you in
their pinwheel action.
Try arranging all arm positions with spe-
cific intent. Definite thought must be given
to their relationship to each other. As in
the full front views, one usually attracts
more attention than the other and is placed
in a way that will not detract from its effec-
tiveness.
These pinwheel arms should send your
creative ideas spinning into new variations
and patterns. Give them a whirl, for arms
are seldom used to the extent of their ver-
satility and adaptability in creative arrange-
ments.
152

FINGERS SPACED AT EVEN INTERVALS
FINGERS GROUPED: ONE-THREE-ONE
154
L ET S TAKE THE HAND
out of its box. (If you remember, on page
65 we purposely enclosed it in a box to
avoid confusing five-finger detail.)
But, let's not, while seeking variation,
open the box too hastily - for a handful of
thumbs may fly out! Release the hand from
its compound bulk very carefully for odd
finger arrangements can look like many
things they are not. Remember the hand
shadowgrams you made when you were a
child? The donkey's head; the duck, the
wolf! So it is in pictures, hands can take on
the appearance of unretouchable deformities
... a handful of bananas, a snake's head or
even a lobster's claw can appear from
nowhere and cling to the end of the arm.
Release the fingers . . .
as though you were cutting the stitching on
a glove in which all the fingers were sewn
together. Release the thumb first and if
you use the hand in this stage, be sure to
watch where the thumb goes.
As you set the remaining fingers free,
give them identity. You started with the
thumb, release the index finger next; there's
no mistaking that one. Next the middle
finger and the ring finger and last and least
the little finger, the pinky. When directing
fingers, you'll find it much clearer to think
of them in these terms rather than first
finger, second finger, third ..., etc. in which
one can very easily be mistaken for the
other. Equipped with these descriptive
terms, any model can take direction with-
out looking at her fingers ... to see if she
has the right number!
Finger spacing . . .
varies; it may be even or uneven ... one-
two-two; one-three-one; three-two; etc.

F I N G E R FLEXION
is the simple movement of the fingers clos-
ing (or opening) shown here to the right
in profile.
Finger arrangements are measured, not
only by the degree of flexion (how much
the fingers flex), but also by whether the
flexing is simultaneous or heterogeneous.
When the fingers are clenched simultane-
ously in tight flexion, the fist becomes
square and tense. As the hand opens and
the fingers are but slightly flexed, it reaches
its most relaxed and graceful state. The
hand is longest when the fingers are fully
extended.
Gradual finger flexion (from one edge of
the hand to the other) terminates in an
interesting diagonal. When the hands are
fairly open and the fingers flex in different
degrees at the same time (starting with the
index finger flexed ever-so-slightly and the
middle finger more-so, etc.) there is easy
grace in the position. As this heterogeneous
flexing continues and comes to the closed
fist, we find a relaxed fist closed on the
diagonal that denotes strength without
depicting anger (like the squarely clenched
fist).
Whichever edge of the hand is nearest
the camera is the leading edge. When the
thumb edge leads, the long line of the ex-
tended index finger is prominent (if the
thumb does not separate too much and di-
vert attention) and is considered an ex-
tension of the forearm. If, however, the
index finger is crooked at the base (big-
knuckle) joint, this elongating line is bro-
ken. A more photogenic curve results if
this joint remains straight (or is slightly in-
curved) and the other joints of the index
finger are flexed.
OPEN HAND
( F I N G E R S FULLY EXTENDED)
CLOSED HAND
( FI N G E R S CLENCHED)
•55
CLOSING HAND
( FINGE R S FLEXED)

THE HAND MAY CROSS THE HANDS AND OBJECTS
achieve a harmonious relationship in pic-
tures through their line and import.
The line of an object . . .
is important. The line of the hand can flow
with it or oppose it. If the object has only
form, the hand either conforms to its shape
or purposely goes counter to it. Each posi-
tion creates a definite mood or pictorial
pattern - or both.
Can you picture a child proudly displaying an
apple on the flat palm of his hand? Compare this
mental picture with the hand of the teacher, taking
the apple.
When you visualize the child's flat palm in
contrast to the rounded shape of the apple, your
attention is attracted by the conflicting lines. You
look at the apple to see what is causing these dif-
ferences. The teacher's hand, cupping the apple
and conforming unobtrusively to its shape, sends
your eyes hurrying on to her face to see with what
grace she is accepting the present.
Hands that follow the line or form of an
object are usually unassuming ... easy
in appearance; while hands that specifi-
cally set out to oppose the line will attract
attention, invoke a mood, define a charac-
ter, state a message or otherwise express
more individuality.
Thus, a woman's hand might show grace and de-
pict femininity or harmony by conforming to the
long line of a boat railing, while the man beside
her might show strength and project a feeling of
masculinity by crossing the long line and grasping
the railing at right angles with his hands.
Whenever a hand touches a drape, furni-
ture, building, clothing, other people or
props of any kind, its lines and those of the
object it touches may be evaluated as a unit.
156
THE HAND MAY
FOLLOW THE
LINE OF AN
OBJECT

THE MEASURE OF OBJECTS
also governs us in the arrangement or use
of the hands. The measure of the object
may be its physical weight, its value, its
texture, significance - any attribute which
has a bearing upon its material being or
inherent meaning.
Many factors dictate the manner in
which a hand will contact or display an
object... for the touch must be appropriate.
The weight of an object is significant
when the viewer has a pretty good idea of
the effort required to sustain its weight in
comfort. When a picture shows this weight
handled in its proper degree, we accept it.
If it does not, we appraise it further and
perhaps criticize it.
A model cannot strain to maintain grace
while holding something heavy nor can she
overpower a fragile object. Weight must be
depicted realistically unless you want a
comic effect or some dramatic position
that will attract attention.
Each object must be considered in the
light of its import. If the import of the
object is its value it may be either of a
pecuniary or sentimental nature. A dime
store locket, received on a birthday, may
be held with as much care as a diamond,
but certainly they would both be held dif-
ferently than would a paper clip. When a
rose is held sentimentally or softly ... we
feel it... and agree. If it is clutched, we are
astonished and look to see why.
Handle all picture properties with care
in acknowledgement of their full weight
or import.
NOTE: Compare the top illustration on this and
the preceding page for similarity of action and
contrast in context.
157

•V FOR VICTORY
EXPRESSIVE HANDS
are used by both model and director to
achieve greater meaning and believability
in their pictures. The novice avoids the use
of hands, while the skilled model and di-
rector appreciate them and relegate them
to their duty with two questions:
... What must their action or position add to the
picture?
... How can they do it best?
Hands talk. They can whisper secrets the
mind is thinking or they can shout out
messages they want the world to hear.
SHOUTING HANDS
seek to attract attention with a blatant
gesture or cliche attitude that speaks in
the place of a word or phrase. Hands can
tell what a person wants (three.. .four...),
what the person is doing (hands folded in
prayer), how they feel about a situation
(two-finger ' V for Victory sign from World
War II), a state of mind (palms flung up ...
'I don't know!') and many other gestures
and symbols that speak as plainly as words.
These signs are universally understood.
The hand has expressed itself unmistakably.
When the hand must be forceful in its
message, be sure it rings clear by using the
message most commonly associated with
the idea the hand is expressing.
Vociferous hands belong in the fore-
ground since their primary intent is to
catch the eye. They must talk emphatically
to the viewer!
158

TALKING HANDS
speak in more subdued tones ... but they
are heard. Their message may be:
Ornamental and carry the line or design to
a significant direction or termination. By
repetition or unusual patterns they assert
themselves without fanfare and aim to
please the eye.
Functional and occupied in useful action.
These hands go truthfully about their busi-
ness in a natural way whether in grace or
awkwardness. Functional hands, busy and
unconcerned with the camera, are the de-
light of the photo-journalist whose alert
eyes are always looking for and rejecting
the exaggerated hand a.nd the idealized hand.
Functional hand positions are based
upon truthful possibility and can be posed
in either deliberate or controlled-candid
technique (though those who do either, will
not readily admit it) as long as the finished
picture finds them ultimately believable in
their functional duties.
Interpretive and meaningful. Their action
is significant in substantiating expression
in the rest of the body. Their gestures are
vibrant in revealing character and mood.
Through changes of position, viewpoint
and tension, they help the viewer under-
stand the emotion of the person involved.
They combine, at times, with the functional
group but may have outbursts of expres-
sion themselves.
Talking hands go about their business
naturally, never say, 'Look at me .... I'm
different!' They reaffirm type of person,
stage of life, social position, culture and
feeling by their physical form, action and
degree of tension.
ORNAMENTAL
INTERPRETIVE
159

QUIET HANDS
are discreet and unobtrusive. They listen
and approve in passive ways. They never
forget their place and speak of frivolous
things.
Some are silent, muted and still, while
others whisper in an appropriate, pro-
prietary manner. They are always compati-
ble with the other hand, for, as in a good
marriage, the quiet hand never speaks
when its partner is talking. It appears to
listen with the proper interest and reaction,
while the other is expressive. It echoes what
the other says or remains silent too.
A father, pointing to an ink stain on the rug, might
have one hand pointing downward to the stain
in anger, while the other is tensely clenched in
restraint ... thus, helping the viewer read the con-
flict and complex emotion going on inside the man.
Had the secondary hand been relaxed limply at his
side it would have stopped the story by attracting
attention through fallacy.
Not all quiet hands whisper. Some are re-
laxed, completely silent and even retreat
inconspicuously behind the back, the head,
a doorway or a velvet skirt. Everyone
knows they are there, but if they are very
casual in hiding it may be advantageous
for them to remain unseen.
The hands whose sounds are muted a-
gainst the object they are occupied with or
support, are quietly engaged in normal activ-
ity, in an ordinary way, with no lines of con-
flict and no dramatization of position or
lighting. They remain wholly unemphatic.
As you reach for an appropriate hand
position or its variation, remember what
you want the hands to say ... and, how
loudly you want them to say it. If you but
ask the right question ... the hand will give
you the right answer.
160
WHISPERING
(SECONDARY)

HEAD
placement, with a purpose, tells a story or
creates au impression for the viewer even
before the face gets into the picture. As the
head turns, its very outline communicates
mood and prepares the viewer for the mes-
sage that expression will carry. A lift of the
head may suggest hope or assurance; a
drop ... pensiveness or sadness; a tilt ...
concentration.
Extreme positions of lift, drop and tilt
have an emotional quality usually associ-
ated with feminine or juvenile characters;
conversely, conservative positions with but
slight lift, drop or tilt give the impression
of restraint, stability and strength.
Positions attained by combining the head
movements, such as a lift-tilt or a turn-drop-
tilt, are effective and add the style to a pose
that distinguishes the work of the finished
artist from that of the beginner.
When your purpose is to express specific
character and feeling, immediate impres-
sion can be gained by starting with a posi-
tion which, in its very outline, begins to
tell your story.
Before we can note or
direct head movement,
we must establish the
place from which we can
define or distinguish all
change: zero-position
or true center-front.
From the photographer"'s
point of view, zero is determined by the position of
the model's head as viewed by the camera. Her
head is true center-front
when, on the ground glass, a line through the lobe of
each ear touches the tip of her nose, and her head-
line crosses it at right angles.
From the model's viewpoint, zero position can
be established when, using the camera lens as her
target, she places her head-line parallel to the sides
of the camera and aims the tip of her nose at the
direct center of the lens.
With zero position mutually established, all
movement can be directed and executed with sync-
hronized precision.
162

OPEN OR CLOSED POSITION OF MOUTH
MODIFIES SHAPE OF FACE
WIDELY SEPARATED EYELIDS COMBINE
SU RP RI SE WITH ANY BASIC EMOTION
THE FACE
functions mechanically and emotionally.
The mechanical arrangement of the features
creates the impression of character and
attitude, while expression gives the viewer
insight into the model's mental and emo-
tional processes. Impression catches the eye,
expression holds it.
To a helpful degree, expression can be
planned and facial elements placed for the
compatible effect of impression plus expres-
sion!
THE MOUTH
effects a change in the shape of the face
when it moves. Notice how a round, laugh-
ing face becomes oval-shaped when the
mouth opens to form words such as Hey!
or Ah /, and how a thin face appears rounder
when the mouth is closed to say Mmmmm
or Wheel
The right mouth position can also cor-
rect facial defects. For instance, when a
smile exposes the upper gum, you will find
that when the lips form the word Gee, the
upper lip is restrained and the smile nor-
malized.
THE EYELIDS
in extreme positions, project impressions
which can be combined with basic ex-
pressions for mixed emotions. Slightly
parted eyelids add contemplation to any
given emotion. Widely parted lids add a
feeling of surprise if the white space ap-
pears above the pupil or an element of vol-
uptuousness if it appears below.
164

THE PUPILS OF THE EYE
direct a viewer's attention by their place-
ment.
Here are four masks printed from the
same negative. The first, without pupils in
the eyes, is devoid of direction or message.
Pupils were added to the other three masks,
each pair focused differently. Study them.
Notice how they orient attention and may
even intimate expression.
Eyes are magnetic. Eyes gazing directly
into the camera establish contact with the
viewer of the finished picture, while pupils
focused away from the camera direct at-
tention to other areas.
The influence of the eyes' directional
message should never be underestimated.
It is a well-known dramatic fact that in
group scenes, figures of secondary impor-
tance must gaze at the main point of inter-
est. No matter how large the group or how
small the individual figure appears, the
pupils of the eyes add or detract from the
picture.
The eyelids normally part to disclose the
pupils equally. Sometimes, due to an eye's
sensitivity to light, or poor muscular con-
trol of the lid, one eyelid droops more than
the other. This inequality can be corrected
if the other eye is closed for a moment or
two and then opened slowly. As the strong
eye reaccustoms itself to light, both pupils
are revealed equal momentarily and can be
photographed.
Except for comic effects, the pupils of
the eyes should not disappear from view
of the camera but should visibly aid ex-
pression and direct attention. If eyes leave
the camera axis 900
or more, (as happens
easily in 3/4 head and profile views) only
the whites remain to startle the viewer.

EXPRESSION
can be approached tangibly through drama.
Skill in combining subtleties with show-
manship enriches both artisan and artist.
Drama in still pictures differs from drama
on stage or in moving pictures in one im-
portant aspect. Given time, an actor may
portray an emotion with words and mov-
ing gestures, building the viewer up to a
climactic moment. A photograph has no
such previous support for its emotional
impact. One picture must tell all. Charac-
ter, mood and message must be capsuled
into one inclusive expression.
Although we acknowledge the intangi-
bility of emotions and their propensity for
endless variety, for practical application,
we have classified expression into four basic
emotions: happiness, anger, sorrow and
fear.
Each may be identified by the position of
the eyebrows and intensified by the position
of the mouth.
There is no single expression for any
given emotion; each can be combined with
other emotions for different shades of
meaning. Our charts show not only the
expressiveness of the face, but how facial
muscles follow a pattern for the expression
of each emotion. When the face is set in one
of these emotional patterns, mental agility
and showmanship on the part of the model
can add spontaneity at any stage of its
intensity.
Too simple to be true? Not at all. The
expressions on pages 168 and 169 illustrate
this point. The model was directed to the
exact physical placement of her brows and
mouth for each emotion, then at command
she added reality and spontaneity to the
expression. The results were consistent. Di-
recting the illustrations for this chart of
exact and comparative expressions ran
smoothly for both model and photogra-
pher.
A convincing emotion can only be ex-
pressed with feeling from within. In many
cases the thought used to stimulate a mood
is unimportant as long as the expression
conveys the desired message. For instance,
if the assignment requires a model to ex-
press ecstasy over the gift of a new, super-
deluxe washing machine and the model
cares nothing for household appliances
-she should be able to look at the machine
and react to a ... Hollywood contract.
When intense expression is called for,
mugging should be discouraged. The re-
sults are unconvincing and draw more at-
tention to the manner in which the emotion
is displayed than to the message or emotion
itself. Expression should always be sincere
without being grotesque.
In dramatic illustration, the nature of
the character portrayed in any given situa-
tion plus the stimulus dictates the kind and
degree of emotion displayed. This might be
reduced to a simple formula:
CHARACTER + SITUATION = EMOTIONAL0
nervous woman + new cat = apprehension
young child + new cat = joy
grown man + new cat = indifference
same woman + destructive cat = hysteria
same child + destructive cat = fun
same man + destructive cat — impatience
With the right expression, the viewer in
turn, can correctly visualize the intended
character and situation.
166

EYEBROWS I D E N T I F Y EMOTION - MOUTH I N T E N S I F I E S
EMOTION
HAPPINESS ANGER SORROW
167
FEAR

HAPPINESS HAPPY-SURPRISE EXPRESSION CHART
ANGER ANGRY-SURPRISE
168

BASIC AND MIXED EMOTIONS
SORROW SORROWFUL-SURPRISE FEAR FEARFUL-SURPRISE
I69

SMILES CAN BE
I D E N T I F I E D
1. S E E PAGE 171 Each of the five major types of smiles re-
veals personality in an attitude of its own.
Mischievous smiles are generally used by
the young or fun loving. They portray the
model flirting with tempting thoughts of
harmless play ... a trick ... a joke.
2. S E E PAG E 172 Shy smiles are generally used by the young,
the unsure. They intrigue by their win-
someness. Their demure or coy attitude
expresses a happy but timid acceptance of
circumstances.
3. s E E PAG E 172 Agreeing smiles have a satisfied air becom-
ing to all ages. They state happy affirma-
tion of what one sees, feels or says. They
put a seal of approval on the situation.
4. S E E PAGE 173 Questioning smiles are the tongue-in-cheek
smile for all. They hint a ready wit and
sense of humor and wait for an answer
with a merry twinkle.
5. S E E PAGE 173
Glad-to-be-alive smiles are vivacious smiles
for all ages. They sparkle with a healthy
mental outlook appreciating the joide vivre.
170

AND I N T E N S I F I E D 1. M I S C H I E V O U S S M I L E S
7" would be wise
to realize
A smile is
started in the
eves.
"M-M-mm”
"Ummm!"
If begun in proper
place It will
follow down
the face.
"Yes”
'Kiss? Yes!1
Mouth positions
quickly show How a
smile can beam
and grow!
'Eee”
"Gee! Me!

Form the word
that helps
express
Your degree of
happiness!
“Hey"
"Say! Hey*

Notice when mouth
opens wide
Laughter brims
from
deep inside.
"Ah!”
"Hah!"

2. SHY 3. AGREEING SMILES CAN BE
V I V I F I E D !
Vivacity is a finishing touch, it is added af-
ter the face has already shaped the imme-
diate impression of happiness. A clear con-
ception of the basic personalities and in-
tensities of smiles helps you to suggest,
duplicate and alter any smile.
Eyes are the life of all smiles. They must
say something ... and they must see some-
thing. Proper eye focus makes a smile flow
in the right direction. When the director
specifies a focal height or distance, the
model must imagine something at that
spot. Eyes focused on the floor might see a
kitten; at eye-level... a person; upward ...
a bird; or, in the distance ... a sailboat.
Sometimes dreamy eyes are not looking
at anything in particular. They are actually
searching for vacant spaces in which to
paint pictures the mind sees. Dreamy eyes
usually avoid direct contact with people
and cameras.
Mouth positions can be prescribed by
the use of words. Mouth-forming words of
emotional value such as, Kiss? or Hurrah I
have proved, in actual test, to have more
meaning than the old
photographic standby
Cheese. Even though
smiles should appear easy,
the model's mind must be
on the job every moment.
A temporary lapse may
result in a picture showing that her mind
walked off the scene leaving a blank smile
to face the camera!
Contrary to common belief, the final
success of a smile does not have to be left
to chance.
172

Three simple steps build the right smile,
to the right degree, at the right time:
1. Identify the type of smile wanted.
2. Intensify it to the degree desired.
3. Add for plus value ... vivacity.
Each smile in any of its five personalities
and intensities has its own individual peak
of freshness. It is the job of the model to
produce its vivacity and the responsibility
of the photographer to catch it.
Because enthusiasm is so contagious it
befits each of those working together to
put themselves, as quickly as possible, into
the atmosphere and mood of the picture.
Positive comment on the part of the
director and an enthusiastic frame of mind
on the part of the model set the stage for
climactic expressions.
The model creates while thinking, 'I
know the shade of meaning ... I'm reach-
ing for it ... I'm getting it!' The director
encourages, 'Now you're getting it ... that
... that's ... That's it/'
The director's mind should be timed with
the expression expanding within the model.
Thus he can anticipate the approaching
degree of the developing smile. Before it is
reached (split seconds before he actually
sees what he wants) he can start to press the
shutter, allowing for the mental and me-
chanical time-lag necessary to stop the
smile where he wants it.
A model rises to the peak of expression
upon command when she steps out of her
personal self and into the mood. She clears
her mind of all else and is completely de-
dicated to that moment.
A director senses emotion to even a
greater degree than his subject ... his very
being exudes the atmosphere in which ex-
pression grows.
4. QUESTIONING 5. GLAD-TO-BE-ALIVE
173

CREATIVITY
is an awesome word. From a vague and
amorphous beginning, results are produced.
Those who are gifted and wish to remain
alone and unchallenged on their imperious
heights, would have you believe that crea-
tivity is for the chosen few and completely
out of the attainable realm of the less for-
tunate.
They swathe their work in an aura of
mystical inspiration. They may go so far
as to tell you how they accomplish their
work, but like a cook with a pet recipe,
they leave out some important ingredients.
Or perhaps, they never realized how they
became creative.
They haven't recognized the fact that
their insatiable curiosity, instinctive delv-
ing beyond the obvious, their strong will,
untiring drive, enthusiasm and even their
sense of humor were the combustible qual-
ities within that make their ideas explode
in all directions. These qualities, these cat-
alytic agents, some are born with but most
must acquire. And anyone with determina-
tion can acquire them.
Creativity is not a vague product of a
mood ... it can be made reliable and con-
sistent. Yes, some results will be more in-
spired than others ... but the average will
be high and successful!
There is a definite thought process, that
can, if practised, start a person not natu-
rally gifted, on the road to creative expres-
sion. This thought process, when conscious-
ly used can free the mind and send it reach-
ing into higher spheres, start it producing.
It embodies five logical steps:
1) Assembling information.
2) Relating it consciously to the subject at hand.
3) Incubation process.
4) Genesis of idea.
5) Evaluating and shaping to usefulness.
What are new ideas?
They are but unique variations of what
somebody, somewhere has done before,
seeing things in brand new relationships.
The creative mind endows old facts with
new significance, places them in fresh juxta-
positions.
The non-creative mind accepts all facts
as they have been given to him and cannot
conceive anything that does not follow the
time-worn pattern, while the creative mind
sees new relationship in old facts.
You will sweep away the veils that ob-
scure your horizons and limit you, recog-
nize new relationships in well known facts
and begin to produce usable ideas by prac-
ticing the definite steps that start creative
thinking (if you have not already done so)
when you ...
1) Gather Information ... reams and reams
of it. (Here is where curiosity comes in
handy.) There are two types of information
you will require: general information and
specific information.
General information concerns the world
about you. Know what is going on. Be
alive, be sensitive to and absorb interesting
news and facts. You cannot be an imple-
ment of expression if you are oblivious to
the world for which your creation is to be
made.
Specific information (harvested by con-
scious effort) pitches into every phase of the
subject or field in which you wish to become
creative. Each aspect must be pursued as a
subject in itself. Specific information does
not mean general facts that satisfy a pas-
sing curiosity, it penetrates to the core and
174

searches for the individual, the unique. The
bit that sets each thing apart so it cannot
be herded haphazardly into a faceless
group.
If ideas are to spring from a new com-
bination of general and specific informa-
tion - you must have both.
2) Relate material to subject at hand.
When you collect general information and
specific knowledge you have thrown the
net that catches ideas but you must examine
what you have caught and look for hidden
facts. Rub the bits of information together,
fit pieces to your personal usefulness; this is
the refining process. Your mind must
examine information in the light of what
has gone before ... what others have pre-
sented. Relate the information you have
collected to its bearing on life and all things
that interest you. Do not view facts only
within their own realm but see that basic
truths are applicable to the truths in other
fields.
3) Incubation process. Shhhh ... subcon
scious at work. You have presented the
facts to your subconscious, which along
with other stored facts on the subject will
be filing and shuffling them for orderly
presentation at the propitious moment. Let
the facts remain dormant until necessity or
inspiration of the moment demands that
the subconscious bring forth its stored
treasure in a new light.
4) Genesis of the idea. The actual birth of
the idea (or series of ideas) is the product
of spontaneous combustion within the
mind. For, with enough general and spe
cific information stored in the closet of our
subconscious mind an outside idea or spe
cial problem (which would produce no
reaction in an unsaturated mind) will fire
your brain with searing ideas!
5) Shaping the idea to practical usefulness
requires the extra effort that separates the
doer from the dreamer. Here you must
demand from your subconscious, not only
that which it is ready to give, but more and
more. Draw forth each infinitesimal fact
and applicable theory. Discipline your con-
scious mind to grasp the idea and shape it
into practical usefulness: make it a reality!
You have evidenced vital interest in the
subject of posing by reading this book.
Take the facts we have offered. Qualify or
disqualify them - but evaluate them to
their fullest from your own standpoint.
Explore their usability and adaptability to
each field of posing: illustration, publicity,
portraits, television, moving pictures, pic-
torial, fashion, photo-journalism and any
other which incorporates the use of the
camera. Each has its fine delineation. Each
is a study in differences and each will gen-
erate further ideas for your work ... that
are right!
If this book has proved a source of in-
spiration, we are happy. If it has been a
source of irritation ... we are not unhappy.
For in its very friction it has either
strengthened your own convictions or de-
posited that grain of sand that may some
day form a pearl of an idea for you.
This is not the end of the book, for as
you progress further into your field, this
book will serve as an ever-ready reference
for posing variations, as well as an illus-
trated means of communicating with a
beginner.
No, this is not the end; it is the beginning
of your investigation into what makes the
body tick. And what makes pictures click.
175

DATA ON SHADOWCRAMS
is here presented for those who are curious
about how the illustrations for this book
were made.
A roll of seamless paper, like the one
illustrated below, was rolled down and
forward to provide a large expanse of white
surface. The lights were set on either side
of the model to silhouette her figure against
the background.
When feet were included in the shadow-
gram (the model wore dark stockings and
shoes in these shots) a back light was focus-
ed on her feet to separate them from the
background.
Costume . . .
was varied according to the effect to be
recorded. A full-length black leotard and
black bathing cap was used for all the full
length shadowgrams.
The full length frontispieces were made
in a full length white leotard covered with
black fish net (one inch mesh). The white
legs were done in the same way, while the
black legs had white net over the black
leotard.
Film and paper
Contrast process film and top contrast
paper were used for all pictures.
Props . . .
were the very ordinary things around any
studio. They were eliminated on the nega-
tive, and replaced with a line.
The model . . .
was selected very carefully for the full-
length pictures not only for her bust, waist
and hip measurements, but for her propor-
tions. She was eight and one half heads tall
and was able to co-ordinate each part of
her body under specific directions and
tensions as outlined in this book.
176

Any model can make a shadowgram . . .
by standing on a sturdy platform of some
sort in front of an uncovered light bulb.
The resulting shadow can be intercepted by
a sheet stretched and thumbtacked onto
a frame or doorway. The closer the figure
approaches the sheet the sharper the out-
line. However, if the model gets too close
she cannot watch the shadow perform. If
pictures made from the opposite side
Schematic diagrams (pages 60-61) . . .
were a combination of cut-out (from
pictures of the mechanical arms) and art
work done with Ben Day overlay and very
narrow chart tape.
Faces (pages 168-173) . . .
in black and white were made to look like
masks by painting the model's face with
clown-white. Eyebrow pencil was used to
pencil the brows, the lips and a line across
the forehead to represent the top of the
mask. Black mascara was used on the
lashes and the contour of the face was
outlined with a black drape.
SHADOW OF MODEL ON S H E E T
LIVE MODEL
LIGHT
of the screen are to be sharp, the model
should stand as close to it as possible.
Mechanical hand and shoulders . . .
were made of styrofoam, covered on one
side with black paper and encased over-all
in fish net of contrasting tone. (Same size
mesh was used in all illustrations.)
Mechanical cut-out (page 148) . . .
was made exactly as described and photo-
graphed to produce the series of pictures
on pages 150 and 151.
The two illustrations on this page were
table-top set-ups (with figures printed and
cut out to represent the real model).
The illustrations on pages 64 and 67
were also table-top set-ups.
177
MODEL'S
SHADOWGRAM

I N D E X OF COMPONENT
BODY PART BASIC
TECHNIQUE
CREATIVE
VARIATIONS
COMPOSING PROBLEMS
ARMS 56-57 62, 63, 66-69, 99-
101, 115, 148-161
distorted 72, 77, 149; foreshortened 58, 66, 67, 72,
73; mismatched 72; strained 62, 63, 72
elbow 57-61 62-63, 149 double jointed 77; too broad 72, 77; too sharp 71, 72
fingers 154-155 156-161 double jointed 77; rigid pinky 128
forearm 57, 60-61 62-64 foreshortened 57, 58, 74, 76, 66, 67
hand 57, 64, 65,
68, 69
66-68
148-161
cliche, use of 158; mismatched 72, 74; movements
not photogenic 74, 77; foreshortened 58, 66, 72, 74;
too bulky 67, 72; what to do with 68, 69
upper arm 57, 59. 60 62, 63, 148-153 foreshortening 57, 58
wrist 57, 65 66-69, 149 wrong flexibility 76
BODY 12-92 17, 28, 30, 31,93-
173
bad proportions 109; ill at ease 128; bulky 72, 77;
pose too deep 112; position disturbing 53;
strained 24, 33; stiff 30, 73, 75; swaying 41;
hips 19, 29-3', 40 98, 101, 106-113, too broad 53, 109; too narrow 108
shoulders 19, 125 106-111, 125-127 slumped 128; tense 128; too narrow 108; too wide
109
HEAD 78-85 162-173 abnormal proportions 8i, 87; strained (neck) 128;
too feminine (or juvenile) 162
eye (pupil,
lid &
82, 83, 85 164, 165, 168, 173 drooping lids 165; immobile brows 90; pupilless
eye 83; staring 176; squinting 82; mismatched 165
face 79-85 162-173 defective shape 164; fading expression 91, 176;
grim jaws 88; insincere expression 84, 172;
prominent chin (or forehead) 81; receding chin (or
forehead) 81; strained 83, 86, 89; too long (or too
mouth 82 164, 167-173 irregular 83; lazy lips 91; tense lips 88, 128, 177;
upper gum exposed by smile 164
LEGS 19, 29-31,
36-51
99-IOI, HO-113,
132-147
bowed 47, 53, 176; distorted proportion 137; soft
flesh 24, 30; imperfect 55; too heavy 53; too short
49
ankle 38,48-51 49, 50, 135 thick 53; weak 50, 55
knee 29-31, 38, 47 112, 113,
116, 134,
knock knees 176; tense (bowed) 47, 53
foot (& heel) 37-46, 48 49-51, 133, 135 model unsteady on feet 41, 53; tense toes 49, 128;
too large 53, 176; pigeon toes 51, 53
upper (thigh)
& lower leg
(calf & shin)
29, 37 112, 138-141 distorted flesh 136; foreshortened 137, >4>
178

BODY PARTS
EXERCISES EXPRESSION
(potential)
MOVEMENT &
LIMITATIONS
PLANNING
POSITIONS
SIGNIFICANT
VALUE
TENSION TERMS OF
DIRECTION
(also see 188)
71-77
148-153
74-76, 115,
150, 151
70-73, 75.
148-153
70, 72-74,
99-101, 1 15
I 1. 57, 70. 71
98. 104, 115. 1
19
63. 72, 77 57-74, 77
62-63, 149 62, 72, 76, 77 60-63, 76 62. 72 77 60-62
68, 77 155-161 154, 155 154-157 155-161 128, 155 154
62, 63, 74, 76 58-64, 72 61-72 57. 75 63 61-64, 73
68, 69, 74,
76, 77
66-71, 76.
155-161
64-73, 75,
154-159
68, 69, 73.
76, 148-161
57. 75, 155-I6I 77, 155-157 64, 65. 73. 74,
131. 154
74.76 71. 76 58-60, 72 60, 148-153 57. 75 63 60. 62, 65, 73
' 65, 76, 77 76 62, 65-69, 76 61-63, 76, 149 66-71 157 62-65, 77
32-35, US 16, 22, 26, 28,
30,
17, 22-27, 30,
31, 94. 95,
97. 98, 106-
96-131 1 1. 97 125, 128-
131, 183
19,22.29-35,
98, 106-109,
113, 129
(angles 33,
35) 110-111
30, 126, 127 30, 31. 38, 40,
106-113, 135
30, 31. 53. 101,
108, 109,
126,127
98. 104. 115,
116
126. 127 29, 112
110, 111 115, 116, 124-
127
60, 62, 101,
106-I I I , 115,
106-111, 118,
119 126, 127
98. 104, 113,
124
125, 128 106-110, 125
86-89 81-
85,87,162,173
80-83, 162, 163 18,86-91,94,
162, 166
11, 79, 162 (neck 128) 79-81, 86-90,
162, 163
90, 91 82-85, 88, 90,
91, 164-173
82-85, 165, 167 82-85, 90, 91,
165
164.165,167,1
72
(squint 90) 82, 84, 85, 88,
91, 171-173
88, 90, 91 n, 80-88, 90
91. 162-173
79-83, 90, 91,
162-165
80-91. 162-173 I I . 79. 84. 164 128 79, 82-91.
171-173
91 83, 88, 164,
166-169, I71-
173
83, 91, 164,
166, 167
83, 88, 91,
167, 173
83. 164.
166,167
128 87, 88. 171-173
33, 35. 52-
55. 145
30, 43, 47, 49-
51, 132, 143-
147
38-43, 51.
113, 132-140,
142, 143
46, 52-55,
138-141, 143,
145
11, 37, 39,43,
54. 100, 104,
136
147 39. 46, 52. 54,
55, 135, 136,
144. 145
55 48-50 38,48-51, 55 49, 50 48, 50 48 49. 50, 52. 53
55 16, 47 29-31, 38, 47,
55, 112, 113,
134, 135, 138-
30, 3i,47, 138,
142-145
47, 137 47, 55 47, 1 13. 134.
183
44-46, 54, 16, 49-51 38, 40, 41, 48-
51, 133, 135
39, 46, 49-51 4i, 48, 49 49, 128 37, 46, 49-51.
133. 135
54, 55 30, 47 30,31,38,39,11
3, 134-140
29, 144-146 37. 113 147 37,39, 144, 145
179

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