is that any line, imaginary, implied, or inherent, that is tilted beyond 1 de-
gree is a diagonal. Sometimes if you’re lucky, these diagonals can run from
one corner of the image to another—even in their most subtle forms.
One of my favorite poses is to have the model bend her legs or arms.
This automatically creates imaginary diagonal lines that are pleasing to the
mind and eye. The fundamental rule is simple, “If it’s meant to be bent,
bend it.” You can find diagonals in many forms, as well—from the part of
the hair, to the jewelry that dangles from your subject’s neck, to the neck-
line formed by the V shape of a blouse or dress. A model with a V-shaped
face has inherent diagonals that are formed by her cheekbones.
These lines may also be produced by simply tilting the subject’s head.
“Chin to shoulder” is one of my favorite phrases when helping a model
pose. By angling the chin toward the shoulder closest to the camera and
tilting the forehead toward the same shoulder, you get a natural diagonal
across the face. This makes a great vertical image.
One important point (while working to form these imaginary diago-
nals with the head, chin, neck, and face) is to avoid shooting up the nos-
trils and avoid poses where the subject’s chin is buried directly into their
chest. Think about how we walk and look in our everyday lives—those
with pride walk with their head up high in a charismatic fashion,
not down low as though ashamed. This is typical in Hollywood
glamour photography; celebrity shooters like to make their sub-
jects appear as though they are up on a pedestal, slightly higher
than their audience.
Leading Lines.All lines can be used as “leading lines.” This is
a term used to describe a line (or group of lines) that draw your eye
straight to the subject. Sometimes the lines connect directly to the subject,
sometimes they are off to the side, parallel to the subject, or even behind
the subject.The Camera Contrived.
When we think of posing, we often just think about how the subject’s
body is articulated in the image. In reality, the forming of the body in an
aesthetically pleasing manner for the camera is just part of the process.
Making a pose effective for both the image and the subject (and some-
times a third-party client) also requires thoughtful composition.
In chapters 3, 4, and 5, I discussed how I “sectionalize” the body to
help me provide consistent and effective posing every time I do a photo
shoot. But as a photographer, I also need to know how the camera and
lens will capture that particular pose and how to exercise every possible
control I have over that process. I also need to understand that the art of“Chin to shoulder” is one
of myfavorite phrases
when helping a model pose.By positioning Playboy Playmate Holley
Dorrough toward the back of the frame,
the water creates a leading line directly
to the model. Her legs are both bent,
creating diagonal lines—along with the
right hand and tilt of the shoulders. Hol-
ley’s left hand is slightly bent, avoiding
the “locked look” sometimes created by
straightly posed arms. (Camera:Canon
5D;Lens: effective 85mm;ISO:100;
Shutter speed:^1 / 160 second;Aperture:
f/4;Lighting:Hensel Porty Premium
power pack with a Hensel ring flash and
the Hensel OctaSunhaze attachment
with a Rosco Bastard Amber #02 gel;
White balance:6000K)
COMPOSITION83