Exercise 1.3 (1)

Exercise 1.3 (1) Lines

Take a number of shots using lines to create a sense of depth. Shooting with a wide-angle-lens (zooming out) strengthens a diagonal line by giving it more length within the frame. The effect is dramatically accentuated if you choose a viewpoint close to the line.

All shots were taken with a Lumix DMC GX7 camera set on iA (Intelligent Auto) using a 14-42mm lens.

Although the brief was to zoom out with a wide-angle lens, in some of my shots in order to eliminate distracting elements I zoomed in as seen in the first three images.



Image 1 – Focal Length 40mm

The reason for zooming in on this shot was because there was another lock bridge at the start of the main bridge across a weir and it changed the perspective and angle of the shot, distracting the eye from the focal point of the sign on the other side of the canal.

There is a less strong sense of depth to this shot for two reasons. The first is the close crop of the shot and the second the blurred background (because of the auto setting of the camera).


 Image 2 – Focal Length 40 mm

In this shot the foreground is shop but the background is blurred. Zuckermann (2009) suggests that to achieve the best effect and greatest sense of depth the whole scene should be sharp.


In setting the camera to Auto I had no control over the camera and this shot was the outcome. However, I think that it achieves a certain mystery by leading the eye into the distance where the viewer can make out a bridge and something white (in this case a boat), which in itself may intrigue the viewer.

By shooting low for this shot I was trying to achieve a greater sense of depth.



 Image 3 – Focal Length 40 mm

Another shot at 40mm, which does not work very well. Although there is a sense of depth, the close crop of the shot and the lack of focal point in the background only achieves to lead the eye out of the frame.


lines 3jpg

Image 4 – Focal length 14 mm

In image 4 I endeavoured to get a shot with a foreground subject in an attempt to engage the viewer more at the beginning of the shot and to create the sense of distance between the foreground and the background.   I tried to use the long footpath curving into the distance to create a more subtle composition than straight converging leading lines, whilst retaining the sense of depth.

“Diagonal lines help convey depth as they suggest distance and perspective…. have more energy than horizontal or vertical lines producing a dynamic energy”. Garvey –Williams (2014)[1]



 Image 5 – Focal length 14 mm

In this shot I was attempting to use the strong converging lines to take the eye from the foreground directly to the trees and threatening sky in the distance, as a main focal and vanishing point. However, the puddles and wet ground act as a bit of a distraction and although the eye follows the converging lines it is immediately taken back to the centre of the shot where the puddles are, thus lessening the effect of what I had intended.

The effect of converging lines is also heightened if you included the vanishing point (the point where the lines appear to meet on the horizon), as it provides a resting place for the eye”. (Frost L. 2010)[2].


lines 5Image 6 – Focal length 14 mm

I have included Image 6 in my Learning Log because I liked the way the image of the railway bridge and its reflection provided a converging line that draws the eye towards the canoe slalom poles.   The reason it is not such a strong image is because I was not able to get further back to create a greater depth of field and I could not get any higher from the ground (without step ladders) to look down towards the shot. However, it does demonstrate the use of reflections in leading lines.

[1] Garvey-Williams R. (2014), Mastering Composition. Ammonite Press, East Sussex

[2] Frost L. (2010), The A-Z of Creative Photography, Revised Edition. David and Charles Ltd. Newton Abbot.


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