On Better Photography
A Series
by
Glenn Pollock
On Making Better Photos
A Series
by
Glenn Pollock
On Making Better Photos
Photos by Rain Rodolph
Glenn Pollock, Better Photography Tips: Page Two Lines
Lines
[Hi, babe. What’s your sign?]
Article by Glenn Pollock
There are many kinds of lines, lead-in lines (“Hi, babe. What’s
your sign?”), one liners (“Take my wife - please”), by-lines,
bread lines, clothes lines, telephone lines, RR lines….. But the
lines to be discussed here are lines in photographic
compositions - Graphic Lines.
Lines are much of what composition is all about. Lines are
created at the joining, or edges of different patterns, textures,
colors, shades. Lines create shapes, but they also direct eye
movement.
When you look at a photo, your eyes constantly move over the
surface. Graphic lines are a means of controlling those
movements [Actually, it is this constant movement that creates
and sustains the image in your mind. If you could “like totally”
stop your eyes from moving for any substantial length of time,
your mental image of what you are viewing would fade into a
gray nothingness]. When lines are used for this purpose, they
are called Leading Lines. They can be actual lines, implied
lines or psychological lines.
Actual lines are the visible lines in a composition created by
the meeting of the different graphic elements. Their position in
the photograph, as well as the direction in which they lead
your gaze, and the feelings they impart, play a dominant role
in the overall composition. Lines that lead your gaze to the
main subject in the photograph help emphasize that subject
and tell you that it is an important part of the composition.
Lines
[Hi, babe. What’s your sign?]
Article by Glenn Pollock
There are many kinds of lines, lead-in lines (“Hi, babe. What’s
your sign?”), one liners (“Take my wife - please”), by-lines,
bread lines, clothes lines, telephone lines, RR lines….. But the
lines to be discussed here are lines in photographic
compositions - Graphic Lines.
Lines are much of what composition is all about. Lines are
created at the joining, or edges of different patterns, textures,
colors, shades. Lines create shapes, but they also direct eye
movement.
When you look at a photo, your eyes constantly move over the
surface. Graphic lines are a means of controlling those
movements [Actually, it is this constant movement that creates
and sustains the image in your mind. If you could “like totally”
stop your eyes from moving for any substantial length of time,
your mental image of what you are viewing would fade into a
gray nothingness]. When lines are used for this purpose, they
are called Leading Lines. They can be actual lines, implied
lines or psychological lines.
Actual lines are the visible lines in a composition created by
the meeting of the different graphic elements. Their position in
the photograph, as well as the direction in which they lead
your gaze, and the feelings they impart, play a dominant role
in the overall composition. Lines that lead your gaze to the
main subject in the photograph help emphasize that subject
and tell you that it is an important part of the composition.
A commonly recognized form of the leading line is called an ‘S’ curve. It is simply a leading line that
takes a more graceful, and indirect route to the main subject, and usually connotes calmness or
relaxation; although the tighter the curve the more tension is created.
Vertical and horizontal lines imply that the subject is in balance or at rest, with no forces acting upon it. A
line that leans implies that the subject is in an unbalanced or dynamic position evoking a greater feeling
of tension or action, and jagged or broken lines amplify those feelings
But most good photographs don’t have just a single leading line, or single point of interest. If you study
them, you will often find many subtle lines guiding your eye around within the image - letting you explore
its many aspects without letting your eyes wander out of the frame. These controlling lines may not
appear as actual lines, but are in fact, implied lines created by the arrangements or positions of different
elements in the composition. A row of fence posts might create an implied line, or footprints in a snow
scene.
The third form of line is psychological and usually occurs when there is an implied connection between
objects in a photograph. The strongest connection is usually between people or animals within a photo,
or with you, the viewer, and the subjects in the picture. If two people in a picture are looking at each
other, there is a psychological line connecting them, just as strong as if it were an actual line. If a single
person in a photo is looking at an object in the photo, there will be a connection between the two; if the
person is looking off at something outside the picture, that connection is broken. Single person portraits
appear stronger if the subject is looking at the camera [and thus the viewer], creating a psychological
connection or line between them. But multi-person portraits are often more dynamic if the participants
are interacting, rather than looking at the camera, creating connections within the photograph.
Psychological lines can also connect inanimate objects, especially when there is motion or potential
motion implied; a blurred baseball rushing toward a bat will create a line between the two objects. Also,
if motion is implied in a photograph, there will be a psychological line projected out from the moving
object in the direction of implied travel. That’s why photographs seem to feel more “right” if there is more
space in front of a moving subject than behind it.
That’s enough talk about lines. Next time I may just make much ado about nothing.
takes a more graceful, and indirect route to the main subject, and usually connotes calmness or
relaxation; although the tighter the curve the more tension is created.
Vertical and horizontal lines imply that the subject is in balance or at rest, with no forces acting upon it. A
line that leans implies that the subject is in an unbalanced or dynamic position evoking a greater feeling
of tension or action, and jagged or broken lines amplify those feelings
But most good photographs don’t have just a single leading line, or single point of interest. If you study
them, you will often find many subtle lines guiding your eye around within the image - letting you explore
its many aspects without letting your eyes wander out of the frame. These controlling lines may not
appear as actual lines, but are in fact, implied lines created by the arrangements or positions of different
elements in the composition. A row of fence posts might create an implied line, or footprints in a snow
scene.
The third form of line is psychological and usually occurs when there is an implied connection between
objects in a photograph. The strongest connection is usually between people or animals within a photo,
or with you, the viewer, and the subjects in the picture. If two people in a picture are looking at each
other, there is a psychological line connecting them, just as strong as if it were an actual line. If a single
person in a photo is looking at an object in the photo, there will be a connection between the two; if the
person is looking off at something outside the picture, that connection is broken. Single person portraits
appear stronger if the subject is looking at the camera [and thus the viewer], creating a psychological
connection or line between them. But multi-person portraits are often more dynamic if the participants
are interacting, rather than looking at the camera, creating connections within the photograph.
Psychological lines can also connect inanimate objects, especially when there is motion or potential
motion implied; a blurred baseball rushing toward a bat will create a line between the two objects. Also,
if motion is implied in a photograph, there will be a psychological line projected out from the moving
object in the direction of implied travel. That’s why photographs seem to feel more “right” if there is more
space in front of a moving subject than behind it.
That’s enough talk about lines. Next time I may just make much ado about nothing.
Rain Rodolph Photo
Leading Lines: Page 2
David Hilbert Photo
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