elements of design # 6 – implied lines

There’s nothing to add to what I’ve seen in other people’s logs about the two pictures (the bullfighter and the circling horses) at the start of the exercise (Part 1), so straight on to three examples of my own (Part 2):

In the first, the line of breaking wave’s crest and the reaction of the three people enjoying the aftermath of the storm create a straightforward line of travel from the top right of the frame moving diagonally towards the bottom left. In the second, James’ starjump shape and the concentrating effect of the circular trampoline all combine to give a vertical line of travel; although the way his hair is beginning to rise from his forehead suggests he has reached the top of his bounce and is heading back down again, the trampoline almost seems to bulge up and out, confirming the movement as being up. In the third (James again) he is actually static in relation to the camera (I was in another swing a row behind him, in towards the centre of the roundabout) his gaze off towards the top left and his position in the frame work with the blurred streaks of the trees to create a more complex sense of movement than in figure one.

Part 3: Plan and take two photographs that use the following kinds of implied lines to lead the eye: 

i – an eye-line:
Alice - watching TV while I get her tea ready (and take photographs)

Alice – watching TV after eating…

It’s the small points of light in the darkness of her eyes that create the sense of looking. This picture is also crying out for pairing with another of what it is that Alice is looking at; if this was a film, this is where you would edit that in…



ii – the extension of a line or lines that point:
lightshade in my sister's bedroom

( lightshade in my sister’s bedroom

Every line in this leads to the junction of the bead and the head of the tassel right on the bottom-left third, A huge amount of fun to take, creeping slightly to one side then back a bit, then over a little bit more, bending my knees slightly and then taking the picture as everything collapsed into two dimensions.

(Quite seriously, this is probably the most fully formed modernist art shot I’ve ever taken. It could only be bettered on that count if I was using an 8 x 10 view camera after climbing out of bed with Tina Modotti…)

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