Secrets of Foot Posing and Modeling

Correct foot posing is essential for the photographic model. The photographic model needs to understand the various positions her legs and feet can take to achieve the best photos. If you are looking for girls then you can find נערות ליווי בתל אביב. The movements particularly of the ankle affect the photos that are taken. The first movement is the up and down movement of the foot. Let us examine the second movement and the fan-like movement of the foot.

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 abduction 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 significance. Though this position is often used by a female model to depict hoydenishness, formality or stylization; the 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 reminds 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 movement of the ankle although at a quick glance there seems to be a similarity in their action. The fan of the foot affects only the show-foot (non-supporting foot). Its action does not involve any movement 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 (rotation of the basic-foot sometimes requires a change of hip position).

In neutral position the show-foot parallels the basic-foot(supporting 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 in foot posing is measured from the neutral position and although the show-foot can fan 90 degrees to the right, or 90 degrees 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 90 degrees 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, unsophisticated person of limited intelligence and is employed by comedians and clowns.