Model poses are all about interest and variation. Legs and arms express character and mood in their arrangements. As a photographer, it is important to understand these moods.
Certain positions of the legs have gained recognition, through long association with the actions, attitudes, emotions 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 associated (in a viewer’s mind) with: policeman, football hero, fashion model, cadet, clown, bathing beauty, cowboy, show-girl, ballerina, can-can dancer, etc.
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, nervousness, pleasure, energy, 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 tension. When . . . 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 position 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 exertion.
in model poses may be countless, but good photographic variations are limited both by the camera’s station and the effect the picture is to produce 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 difficult – unless you think in terms of their limitations.
Arrangements inspired by cut-out figures incorporate all of these limitations by suggesting positions relatively unaffected by the camera’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 an outline of a body and transfer it to cardboard. Next cut out two parts of each of three arm segments (upper are, forearm and hand). 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 illustrating 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.
INFORMAL ARM VARIATIONS
offer endless possibilities. They are interesting to work with and add definite artistry 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 importance 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.
Help your model use her arms and legs in the best possible way. Make sure all the model poses you suggest are eye-catching yet natural.
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Article Source: EzineArticles.com
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