Appearing the female model is the responsibility of the model herself and her photographer.

THE CONTOUR OF A LEG in any located position depends upon the degree of tension at the knee. This has effects on the physical outline of the leg and influences the viewer’s impression or interpretation of the position.

Too often as well as too late… legs do not appear in a finished picture because you thought they would. The trick is to exercise control of the knee and see that it adds to the significance of the leg.

After a limb position is established, note the tautness and position with the knee. Is it tensed until it appears bowed? Does it search straight? Does it curve, or is it angular? Actually, none of these positions is wrong… if it serves the right reason.

The taut knee position with its bowed effect is associated with the young and awkward. It is often used to characterize a cocky individual or give a comic impression. Sometimes this position develops unintentionally when a model shifts too much weight to one calf and forgets to ease the knee before the camera clicks.

If both knees are forced back with pressure or undue tension, they appear bowed like barrel staves.

The comfortable knee is actually a flexed knee. It is purposely relaxed as well as slightly bent to keep it from looking stiff. This position appears perfectly normal in a picture and lends easiness and flexibility to a straight stance.

The bent knee can present the leg as a long curve or a sharp angle. A slight curve accentuates the flowing line of the lower body and its natural contour. If it is bent at a sharp position, the angle usually assumes more importance than the leg’s contour.

FEET

play an important part in the arrangement of thigh positions and are interesting in themselves.

Did you know

… the position of the feet can make the legs look either long or short?

… that ft can make the legs appear graceful or awkward?

… this feet can indicate whether the legs are relaxed or simply 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 mutual, capable of moving in almost any direction, the important views, so far as the actual camera is concerned, all stem from simple movements.

You will discover just two of these movements; one is the hinge-like action that elevates the heel or the toe (its activity can be detected best from the side view or the foot).

The opposite movement is best seen from the front view of the base: the ankle rolls in and out – from side to side.

These moves of the ankle, whether used singly or in collaboration, affect the appearance of the foot regardless of the camera’s viewpoint.

Take a look at examine the first simple movement of the ankle in detail if posing the female model:

FIRST MOVEMENT OF THE ANKLE

is undoubtedly an up-and-down action and is best illustrated in a side perspective of the foot. The relation of the heel to the foot identifies its position. The heel moves from a position beyond the toe to a position lower than the toe.

Together with the heel in its highest position, the toes curl as well as form a continuous curve with the instep. This position denotes taught control and is used primarily by dancers, divers, acrobats and other skilled performers because it adds maximum length into the leg. It is often misused by models in would-be impromptu ? impulsive or candid-type pictures; tension in this position is easily noticed.

For naturalness and ease, without sacrificing the length of the leg to any notable degree, the toes remain relaxed whilst the instep alone arches down. This streamline position is actually popular whether the foot is bare or encased with high-heeled shoes, whether it touches a support and also is suspended in space.

As the heel drops nearer to the ground, the length of the leg diminishes. When the heel adornment ground, the leg looks quite stubby.

When appearing the female model, she and the photographer needs to know what this position will convey to the camera.