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 made by horizons, solid shapes, patterns, textures, light, shadow, people, animals, buildings - pretty much anything. Dramatic perspective shots make very good use of line composition. Training yourself to 'feel the line' when looking through the lens is as important as developing an eye for focal lengths and lighting.
A line travels through the frame along three basic paths: horizontal, vertical and diagonal. There are other, more ephemeral lines to consider also, such as the invisible ones that form the rule of thirds grid, those of frames within frames and other classic compositional rules, but this article will focus on those basic three.
Horizontal Line: The left to right (or vice versa) line is one that most casual photographers are quite familiar with, especially if they are keen on landscapes. The horizon, is the most ubiquitous horizontal line. This type of line is also potentially quite powerful. It evokes a sense of stability and rest and can give certain elements a sense of solidity.
When working with horizontals, level your tripod to keep your picture from looking off-balance. Sideways (landscape) and upright (portrait) orientations can combine with line placement to varying effect. For instance, a lengthwise frame division often gives a sense of being grounded, while a vertical placement can evoke a feeling of confinement.
Vertical Line: These can add a definite sense of power and growth - imagine skyscrapers forming a cityscape, or towering trees, or ranks of soldiers marching in formation. When framed alongside other elements, the vertical line can also serve to elongate and lengthen. They can also be used to imply a sense of being trapped, like the vertical bars of a jail cell.
Vary your verticals' effect by experimenting with camera orientation (though keep that tripod level). For example, you could dramatically segment your frame in landscape orientation (be careful not to overdo this) or create the sense that the image stretches far beyond the confines of your frame with a portrait orientation.
Diagonals: This type of line is great for implying movement and for drawing the viewers eye to important elements/parts of the frame. Diagonals intersect with other lines to create effective points of interest too. Closely-spaced and haphazard diagonals can create aliasing issues or make the frame look cluttered and busy, though, so make sure you think through your line choices.
The effective use of lines in photography requires some practice, but once you begin to develop a sense for it, the results can be dynamic and impactful. Be cautious of central lines (corner to corner diagonals included) as these can flatten or deaden your image - keep the rule of thirds in mind at all times.
Lines in photography can be made by horizons, solid shapes, patterns, textures, light, shadow, people, animals, buildings - pretty much anything. Dramatic perspective shots make very good use of line composition. Training yourself to 'feel the line' when looking through the lens is as important as developing an eye for focal lengths and lighting.
A line travels through the frame along three basic paths: horizontal, vertical and diagonal. There are other, more ephemeral lines to consider also, such as the invisible ones that form the rule of thirds grid, those of frames within frames and other classic compositional rules, but this article will focus on those basic three.
Horizontal Line: The left to right (or vice versa) line is one that most casual photographers are quite familiar with, especially if they are keen on landscapes. The horizon, is the most ubiquitous horizontal line. This type of line is also potentially quite powerful. It evokes a sense of stability and rest and can give certain elements a sense of solidity.
When working with horizontals, level your tripod to keep your picture from looking off-balance. Sideways (landscape) and upright (portrait) orientations can combine with line placement to varying effect. For instance, a lengthwise frame division often gives a sense of being grounded, while a vertical placement can evoke a feeling of confinement.
Vertical Line: These can add a definite sense of power and growth - imagine skyscrapers forming a cityscape, or towering trees, or ranks of soldiers marching in formation. When framed alongside other elements, the vertical line can also serve to elongate and lengthen. They can also be used to imply a sense of being trapped, like the vertical bars of a jail cell.
Vary your verticals' effect by experimenting with camera orientation (though keep that tripod level). For example, you could dramatically segment your frame in landscape orientation (be careful not to overdo this) or create the sense that the image stretches far beyond the confines of your frame with a portrait orientation.
Diagonals: This type of line is great for implying movement and for drawing the viewers eye to important elements/parts of the frame. Diagonals intersect with other lines to create effective points of interest too. Closely-spaced and haphazard diagonals can create aliasing issues or make the frame look cluttered and busy, though, so make sure you think through your line choices.
The effective use of lines in photography requires some practice, but once you begin to develop a sense for it, the results can be dynamic and impactful. Be cautious of central lines (corner to corner diagonals included) as these can flatten or deaden your image - keep the rule of thirds in mind at all times.
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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