Howard Moo Young, Contributor

'CUBAN COLUMNS' (Vertical lines) by Howard Moo Young
Close cropping on the sides enables these columns in Old Havana to dominate the photograph. The lone figure of the man allows the viewer to get a dimension of the size of these columns.

Lines in a photograph can affect the image differently, and is more complex than that of a point according to its angle, length, form, such as curved, and its position in the frame. Because of these extra qualities, lines have more associations for the eye; in particular, they tend to produce a sense of movement, which contrast with the stability of a point.

The chief way in which lines add movement is by drawing the eyes along them. Used deliberately, they can control the way in which a photograph is seen to some extent; at their strongest, they can create dynamic tensions in an image, making it active rather than passive.

ANGLE

Exactly how dynamic a line is depends largely on its angle. There are three basic categories - horizontal, vertical, and diagonal - each with different characteristics and associations. Occasionally a curved line can give a graceful and relaxed effect.

A horizontal line is the most stable, its associations being placid and restful. Consider, for instance, the horizon, one of the most constant features of our visual experience. Without being conscious of it for most of the time, we grow up with it as the standard reference for our vision. Used in a picture with lines at different angles, it tends to have a balancing, stabilising effect; thus, it has an important role in forming a solid base in an image.

A vertical line has more aggressive associations than a horizontal one, forcing the eye to move in a less comfortable direction. On a single, uncomplicated vertical, the natural place for the eye to come to rest is below the midpoint. In some circumstances, particularly when the upper border of the frame cuts off the top of the vertical subject, or when there are a number of vertical lines, this angle of line produces a sense of a barrier.

Graphically, a diagonal line is more interesting than the other two. It tends to give dynamic tension. Whereas a horizontal, or vertical, line is in accord with two edges of the frame, a diagonal is always in contrast, and so has a more dominating effect on the attention. Because the eye tends to drift from left to right, a simple diagonal appears to have this direction. When the angle is from upper left to lower right, this matches the movement of the eye across a blank surface and so has the effect of controlling the gaze very strongly indeed.

Through familiarity, we associate diagonals with perspective and they often encourage a sense of depth. A diagonal ascending from the lower left, for instance, seems to be receding. The strong movement implicit in a diagonal can be halted by a contrasting horizontal, vertical, or counter diagonal. Contrasting lines can have interesting relationships, they can either reinforce each other's sense of movement, or create a balance.

LENGTHS

The longer a line, the more pronounced the effect. When a line cuts the edge of the frame, it tends to switch attention away from the picture by implying that the subject extends beyond it. This effect is more marked with diagonals and verticals than with horizontals.

FORMS

A straight line is the simplest form of line. Others are curved, angular, irregular and rhythmic. It depends on the particular image as to whether angular or rhythmic lines appear as a single element, or as made up of a number of short lines.

Any line other than a straight one shows that there are different forces at work. A curved line, for instance, may appear to be pushed into shape, or to be formed by a deflection of its movement. Similarly, when it comes to associations, a curve is often thought to be more graceful and yielding (as in the shape of the female form), while angular form line appears aggressive, the result of a strong counterforce. Irregular lines have no fixed associations, rhythmic lines strongly imply the idea of continuation and fluctuation.

POSITION

The tendency of a line to control the movement of the eye is dependent on its position in the frame to some extent. Basically, the more central the line, the stronger this effect.

IMPLIED LINE

Implied line is one of the most important types of line in composition. As the definition implies, it relies heavily on suggestion. Points in sequence encourage the eye to fill in the gaps, with the results that many photographs contain lines that are equally induced from points in the composition, rather than real.

The importance of these implied lines lie not so much in their ubiquity, but in the fact that they are painstakingly obvious. In the same way that any retreat from the obvious, in the composition can only add interest to the image. The presence of an implied line asks for more attention - and therefore more involvement - from the person looking at the photograph.

Lines can be implied in two basic ways. Either a reasonably ordered progression of points, or short lines, can produce the effect, or the sense of direction, or movement, associated with the subject.

Howard Moo Young is an Advertising / Graphic design / Photography Consultant with over 40 years of experience. Email:mooimages@yahoo.com.