Objective: To find implied lines in selected photographs, analyse three of my own images for implied lines then take two photographs using implied lines from an eye line and extensions of a line or lines that point.
I have indicated what I think are the most important lines here. The forward movement of the bull and the swing of the cape over its back as the matador turns. The red line shows the dominant movement
My own photographs:
I've concentrated on the dominant lines again. The diagonals of the Carrom board place it at the centre of attention, the eye lines of the brother and sister force the attention to the corner pocket. The third player looks nervously at the girl. He is anticipating his counter being knocked away from the pocket.
The shape of the boat, its diagonal position across the frame and the forward inclination of the fishermen all contribute to the implied movement. The eyeline of the rower in the prow of the boat indicate that there is a lot of instruction and encouragement being given.
At first glance, this image of fish market workers relaxing at the end of their shift, appears static. From a single point, follow the eye line to the next boat, a series of points follow the line of the prow up and down again, past two more points. A horizontal line then draws your attention to the row of sandals on the dock. (obviously this works better at original size)
The final part of the exercise is to demonstrate with my own photographs an eye line and an extension of a line or one that points.
4893: 1/250s f8 18mm
Eye Line - a simple image with the subect looking towards a distant farm below the horizon.
4891: 1/250s f8 50mm
Lines that point - the plank bridge indicates the direction the walker takes diagonally across the frame to the right hand edge.
What have I learned? The brain and the eye try to resolve a scene where things are incomplete. Lines present in images from one of a number of sources; rows of points, the extension of an existing line, movement or implied movement of objects and the eye line of a person or animal within the scene, can all be used to move the viewers eye around the composition in an attempt to introduce or resolve tension. These are only suggestions of movement and can help to encourage such movement. There are no rules and they may not always work. Curves and diagonal lines have more movement that vertical and horizontal lines.