Like with illustration, painting and other composition-based art, lines in photography are very important. Properly used, they can create any number of thematic, emotional and psychological effects, from adding emphasis to specific elements, creating a feeling of power, peace, movement, stillness, etc. They can also help the photographer add drama, or a particular mood, to achieve the desired response from the viewer.
Lines in photography can be formed by solid shapes, horizons, buildings, patterns, light and shadow, patterns, textures, people, animals, etc. Perspective shots make particularly good use of the diagonal line, and can be very dramatic. For dynamic shots, developing a feel for the line within your composition can be as important as a good understanding of lighting and focal lengths.
There are three basic types of line, based on the direction that it passes through the frame: 1) horizontal, 2) vertical and 3) diagonal. In addition to these, there are also the invisible ones that make up the rule of thirds gridlines, the ones that enable frames within frames and other hallmarks of classic composition, but this overview will concentrate on the basics.
Horizontals: The line that runs parallel to the top and bottom of the frame is one that most casual landscape photographers should be quite familiar with, as the horizon is, of course, the most common line of this type. Horizontals can make quite an impact. They can evoke an overall feeling of rest and stability and can make elements feel more solid.
It is a good idea to make sure your tripod is levelled off when working with this type of line. Experiment with both 'portrait' (upright) and 'landscape' (sideways) orientations for different effects, for example, you may find that the lengthwise division of the frame adds a grounded feeling, and a vertical division a sense of confinement.
The Vertical Line: Verticals can evoke the impression of growth and power (think of a cityscape of tall skyscrapers, or magnificent towering trees, or a formation of marching soldiers). Verticals can seem to elongate or lengthen other elements. In some compositions, verticals can seem to trap other picture elements, like the long vertical lines of jail bars.
The vertical line can produce different effects, depending on orientation and placement, like with horizontals. For example, in a portrait orientation, long upright lines can give the impression that the image stretches far beyond the boundaries of the frame, or one could segment the frame for dramatic effect (but be careful, as it can look overdone). Once again, be sure to level your tripod.
The Diagonal Line: Diagonals are fantastic in creating a sense of movement or action in your composition. They can also be used to draw the viewer's eye to specific elements you may want to highlight. Points of interest are created when diagonals intersect with other lines too. Diagonals that are too closely spaced can be a little difficult - they can make an image look a little frenetic or create aliasing effects, so experiment.
Dynamic composition using lines in photography takes time to master, but a little practice can go a long way in developing a 'feel' for it, and the results are certainly worth it. Be careful of the center of the frame though, as a line crossing dead center (or in the case of diagonals, corner to corner) can deaden or unnaturally split your frame. Use the rule of thirds for maximum effect.
Lines in photography can be formed by solid shapes, horizons, buildings, patterns, light and shadow, patterns, textures, people, animals, etc. Perspective shots make particularly good use of the diagonal line, and can be very dramatic. For dynamic shots, developing a feel for the line within your composition can be as important as a good understanding of lighting and focal lengths.
There are three basic types of line, based on the direction that it passes through the frame: 1) horizontal, 2) vertical and 3) diagonal. In addition to these, there are also the invisible ones that make up the rule of thirds gridlines, the ones that enable frames within frames and other hallmarks of classic composition, but this overview will concentrate on the basics.
Horizontals: The line that runs parallel to the top and bottom of the frame is one that most casual landscape photographers should be quite familiar with, as the horizon is, of course, the most common line of this type. Horizontals can make quite an impact. They can evoke an overall feeling of rest and stability and can make elements feel more solid.
It is a good idea to make sure your tripod is levelled off when working with this type of line. Experiment with both 'portrait' (upright) and 'landscape' (sideways) orientations for different effects, for example, you may find that the lengthwise division of the frame adds a grounded feeling, and a vertical division a sense of confinement.
The Vertical Line: Verticals can evoke the impression of growth and power (think of a cityscape of tall skyscrapers, or magnificent towering trees, or a formation of marching soldiers). Verticals can seem to elongate or lengthen other elements. In some compositions, verticals can seem to trap other picture elements, like the long vertical lines of jail bars.
The vertical line can produce different effects, depending on orientation and placement, like with horizontals. For example, in a portrait orientation, long upright lines can give the impression that the image stretches far beyond the boundaries of the frame, or one could segment the frame for dramatic effect (but be careful, as it can look overdone). Once again, be sure to level your tripod.
The Diagonal Line: Diagonals are fantastic in creating a sense of movement or action in your composition. They can also be used to draw the viewer's eye to specific elements you may want to highlight. Points of interest are created when diagonals intersect with other lines too. Diagonals that are too closely spaced can be a little difficult - they can make an image look a little frenetic or create aliasing effects, so experiment.
Dynamic composition using lines in photography takes time to master, but a little practice can go a long way in developing a 'feel' for it, and the results are certainly worth it. Be careful of the center of the frame though, as a line crossing dead center (or in the case of diagonals, corner to corner) can deaden or unnaturally split your frame. Use the rule of thirds for maximum effect.
About the Author:
Parker Michaels is a new media consultant and freelance photographer. For more information on lines in photography, visit www.photo-junkie.com.
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