The Horizon Line
The Horizon Line is one of the most important compositional elements in a photograph, whether it's an implied line or the actual horizon. At its simplest, it determines eye level now, controlling eye level influences how the viewer relates to the photograph in two ways. First of all, it's shifts emphasis with a low horizon, the eyes of forced look upwards, accentuating the visual elements above the line. For example, in this image, I've placed the horizon in the bottom of the frame toe, emphasize the spectacular sky. When the horizon line is placed high in the frame, it forces the ice to gaze downwards on objects below, the liner emphasized. This is a useful technique for scenes where, for example, the sky is banal because it draws the eye away from the blandness on directs attention onto interest in the foreground. When the horizon line is positioned exactly half way, there's equal weighting have applied this technique in this image, which helps to accentuate the mirroring effect of t...
he water surface. Theo extent, it becomes almost impossible to tell which half Israel on which half is the reflection. I level also affects us psychologically. Dude way psychoanalytical theory known as the adult child relationship. Adults look down towards a child, and they are the dominant party in that relationship, while Children look up adults, making them the subservient participant. Now in adult adult relationship, where both parties are at the same eye level, neither is dominant nor submissive. Instead, the relationship is one of equality, and this psychology spills over into composition on. Beyond directing, our gaze determines the emotional relationship formed twin, the subject on the viewer. For example, if I compose an image from the high eye level looking down on the subject, the viewer becomes the dominant party in the relationship and assumes power over the subject. By changing to a low I level shooting up the subject. The relationship reverses the subject, becomes the dominant party and takes with its superiority. If I change my level again this time so that subject and viewer I toe I neither party dominates and the relationship is one of equality. This is the reason that when photographing my specialist subject wildlife, I almost always shoot. I level. When I want to add visual tension, I might drop eye level to emphasize the animals Dominion. Rarely do I ever give power to the viewer because it makes for a less compelling image. Now none of these impressions are wrong or right. It depends entirely on your story. As the author, you have to decide on the character of your subjects and use eye level to reveal it to your audience.