On Better Photography, On Making Better Photos, Leading Lines:
A Series On Making Better Photos
A Series On Making Better Photos
Photo Rain Rodolph
Lines, By Glenn Pollock
[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.
[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
David Hilbert Photo
 | |  | |  | |  | |  | |  | |  | |  | |  | |  |
 | |  | |  | |  |
 | |  | |  | |  | |  | |  | |  | |  | |  |
 | |  |
 | |  | |  | |  | |  | |  |
 | |  | |  | |  |
Custom Search
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
Article by Glenn Pollock.
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
Article by Glenn Pollock.
On Better Photography and Making Better
Photos, Leading 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.
Photos, Leading 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.
This Book Takes the Mystery Out of Selling Your digital Travel Photos
Great Tips illustrated with Great Pics, October 20, 2010
(Amazon Review)
I found this book to be engaging and full of great tips and instructions. The black and
white travel photos inside are a joy to look at. I would like to see another book of his with
just the photos, printed larger and on glossy stock.
The book is divided into two sections: How to take good travel pictures, and then, How to
sell them. ....
This is the sort of handbook that you will want to buy, read and then save to refer back to
again and again.
(Amazon Review)
I found this book to be engaging and full of great tips and instructions. The black and
white travel photos inside are a joy to look at. I would like to see another book of his with
just the photos, printed larger and on glossy stock.
The book is divided into two sections: How to take good travel pictures, and then, How to
sell them. ....
This is the sort of handbook that you will want to buy, read and then save to refer back to
again and again.
It found a permanent home on my bookshelf, September 3, 2010
This book covers all aspects of selling photographs. Drawing from his own
experience as a travel writer and photographer, the author has created a
real resource for anyone who wants to have their images published. He
gives sound advice as to how to be productive creatively and walks you
through the necessary steps to getting your images to market. I highly
recommend this book to anyone who is serious about selling their
photographs.
This book covers all aspects of selling photographs. Drawing from his own
experience as a travel writer and photographer, the author has created a
real resource for anyone who wants to have their images published. He
gives sound advice as to how to be productive creatively and walks you
through the necessary steps to getting your images to market. I highly
recommend this book to anyone who is serious about selling their
photographs.
Must Have, September 27, 2010
I highly recommend this book. Easy to read and understand. Even if you are
not trying to sell your photographs this book is a must have. This book
covers all the fundamental information that you have to know on aperture
settings, filters, composition, etc. which will get you the photographs you will
be proud of and want to sell.
I highly recommend this book. Easy to read and understand. Even if you are
not trying to sell your photographs this book is a must have. This book
covers all the fundamental information that you have to know on aperture
settings, filters, composition, etc. which will get you the photographs you will
be proud of and want to sell.
