There are many different positions a model may take when photo posing.
Let us consider the body in silhouette and discuss some of the interesting poses a model may take.
DIAGONAL SILHOUETTES may slant at any angle between vertical and horizontal.
Still figures, classified as diagonals, 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 the body forms '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 photographers favor this 'C curved silhouette and beginners would do well to remember it.
Diagonal I is the most difficult of all 'I' silhouettes to sustain in a true line.
The model leans back.
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.
THE ZIGZAG SILHOUETTE is very effective when photo posing but should be examined only after you have familiarized yourself thoroughly with the long-line silhouette.
The zigzag silhouette is formed primarily by sitting and kneeling figures.
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 position.
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 position to use, will find that side| 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 silhouette and can give the impression of an undesirable bulge or a heavy waistline.
Let's study them by the angles they form.
HOW TO DIAGRAM ZIGZAG SILHOUETTES Collect at least five sitting or kneeling pictures.
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 camera.
(If shoulders or hips are the same distance 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 perpendicular to each other? If so, they form a right angle.
If the angle is less, we call it acute; if it is more - obtuse.
When photo posing, finding the right pose for the model for your photograph is easier if you understand the range of possible poses.