The Horizon line is a line you encounter most often in photography, but there are many others. Vertical lines, leading lines, continuity lines, diagonals, coincidences, radiating lines and gazing lines. Now, sometimes these lines are implied, sometimes their implicit. Always. They affect how the viewer read your visual story, which means for you there tools that you can use and to show you how. Let's take each one in turn, starting with verticals. Vertical lines great the illusion of height and convey strength and dignity. Roman columns, for example, are symbolic of power might and nobility. Trees would be another example. The strength and rigidity of a redwood or a mighty oak standing tall and proud. A think vertical line such as a column further adds to the sense of stability and composition. Thin lines imply the opposite, and you can further emphasize this subliminal language by holding the camera in the portrait or vertical format. Leading lines are a classic compositional tool. Li...
nes that run parallel in real life will, in the photograph, appear to converge, leading the eye into the pictures base. The important consideration is the point of convergence must lead to the point of interest if it doesn't. Instead, it will simply take the viewer away into the distant yonder. So I would take this picture from here and not here in module five. I talked about the principles of just out, one of which is continuity. Continuity means the I will always follow the path of least resistance. Incorporating continuity lines means you give the viewer a simple means of navigating the visual narrative. A meandering river is an explicit continuity line. The continuity lines may also be implied when they're formed between objects in the scene. They're a powerful tool for linking points of interest, leading the viewer a longer prescribed visual path, thereby revealing the narrative in your image. Next, we have dominant diagonals, and this is where things get a little bit more intense. Dominant diagonals airlines explicit or implied, that run parallel to the Barac, or sinister diagonals. A line paralleling the Barac diagonal is generally considered easier on the eye because it creates a left to right movement that matches the direction which we read. Conversely, a line paralleling the sinister diagonal is usually considered more aggressive because it runs against that natural flow. Of course, you could argue that both Barach and sinister diagonals could be read, left to right or right to left, depending on whether you start at the top or the bottom, but in photographic composition, the bottom of the images considered the foreground and therefore the starting point of any visual journey. Coincidences are objects that touch or connect with a line that's running through the image space, such as Horizon Line, based on the gestalt principle of continuity. Coincidences create unity by bringing together object and a sense of movement. Now some people don't believe in coincidences. On the mindful photographer will choose a camera angle that removes the coincidental factor. And here's an example taken from a high angle. A boat on the water becomes the figure in a figure and ground relationship. It's a static composition, but if I get right down at sea level, I can put the boat on the horizon line to create a coincidence, which gives the image a sense of movement. We're almost there just to to go radiating lines lead out from a fixed point or in towards a point of interest. Now, like most lines, they could be implicit, like the spokes of a wheel or implied by the positioning of other objects in the frame. Finally, there's the gazing line, which is always implied. A gazing line extends from the eyes and along the line of sight, taking the viewer with it. Now, generally speaking, you should avoid putting the gazing line of the very edge of frame. Instead, gazing line should extend into the picture space, which then forms the area of interest when the area of interest includes an object. In this case, a lighthouse. That object becomes the secondary subject when there's no object to gaze at the eyes of perceived a staring out into space. In this instance, the view is more likely to connect with the main subject. You is the viewer a left? A wonder what's going on inside the subject's head. You're gonna think of a photograph is a visual journey on lines. Determine how that journey transpires for the viewer. They are the most fundamental element of design and a powerful tool for you to use in your own journey from taking photographs to making them. And that seems like the perfect line to end on no