Exercise 1.3 (2) Line

Take a number of shots using lines to flatten the pictorial space. To avoid the effects of perspective, the sensor/film plane should be parallel to the subject and you may like to try a high viewpoint (i.e. looking down). Modern architecture offers strong lines and dynamic diagonals, and zooming in can help to create simpler, more abstract compositions. Review your shots from both parts of Exercise 1.3. How do the different lines relate to the frame? There’s an important difference from the point exercises: a line can leave the frame. For perpendicular lines this doesn’t seem to disrupt the composition too much, but for perspective lines the eye travels quickly along the diagonal and straight out of the picture. It feels uncomfortable because the eye seems to have no way back into the picture except the point that it started from. So for photographs containing strong perspective lines or ‘leading lines’, it’s important that they lead somewhere within the frame.


Images of 1 and 2 are of a roller blind shutter,  Image 1 taken from inside the house when it was starting to open and image 2 the same position of the shutter taken from outside.  Image 3 is of a wooden outbuilding.  I changed the angle to see what happened.  I was not around any tall buildings with a suitable ground subject at the time of doing this exercise.

OCA Exercise 1.3 lines-1080020

Image 1

OCA Exercise 1.3 lines-1080013

Image 2

OCA Exercise 1.3 lines-1080017

Image 3

All images were taken with a Lumix DMC GX7 using a 14-42 mm lens.   All with a 30mm focal length to eliminate (on the inside shot) the vertical lines of the window frame and the other two to retain a consistency in the comparison.

I think the interesting thing that happens in images 2 and 3 is that light and shade make a difference to the feel of the shot.  In 2 the light reflecting on the PVC roller shutter because the slats are not entirely flattened and the texture in image 3 adding shade to the deeper grooves of the wood.  This then gives a slight sense of depth in the shots.

However, in all shots the eye has nowhere to rest (Frost L, 2010) and is led out of the frame.

My understanding between “cropping” and “framing” is that a “cropped” view is where the reaches the edge of the frame and a “framed” view is where the subject is composed within the frame and usually obeys the Rule of Thirds.

There are occasions when using a cropped view is intentional and works.  This usually  is presented as an abstract shot.


building-pattern (2)




Both the above shots lead the eye out of the frame but as abstract shots they work.  The Luke Casey shot because it demonstrates the perspective and size of the building and although the second shot is not as obvious as the first to what it is has strong contrasts.

Reviewing my previous work there are definitely, some shots that work better because of the composition e.g. Image 3 in Exercise 1.3 (1).  Although this has a leading diagonal line there is nothing to focus on towards the top right corner and the eye is taken out of the shot.  The same could be said of Image 4, although this is a better composed shot generally if I had been able to angle the shot so that more road appeared toward the top right hand corner it would work better.  I  tried several shots to try to achieve this but was not able to because of the fence.


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