A very powerful method of improving the composition of photos is the use of lines. Properly used, lines can significantly increase the impact of images.

Lines serve to affect photographic composition in two ways. First, they serve to create a mood. Second, they lead the eye through the photograph. By affecting mood, lines add emotional content to images. By leading the viewer’s eye, they keep the viewer’s attention focused on the image. When dealing with lines, the subject can be broken into the following types:

• Horizontal lines
• Vertical lines
• Diagonal lines
• Jagged and irregular lines

Horizontal Lines

Horizontal lines tend to indicate a sense of homeostasis (lack of change). This use in an image often projects a feeling that an image, or part of one, is somehow frozen at a point in time. Horizontal lines should be used when a photographer wants to impart a sentiment of timelessness or lack of change to an image. In addition, they can serve to provide a contrast with more dynamic parts of an image. Examples can be found in buildings, horizons, and fallen objects (e.g. trees).

Vertical Lines

Vertical lines can project either a mood of stability or peace. When projecting a mood of stability, they often function similarly to horizontal lines. This can convey an implication of substance or permanence. Examples of vertical lines used to impart a mood of stability can be found in rock formations, power line poles, and vertical lines of buildings.

Proper use of vertical lines can also impart an impression of peace and tranquility. Examples of this use are trees in a fog shrouded forest, old fence posts on an isolated prairie, and a figure on a secluded beach in the early morning.

Diagonal Lines

Diagonal lines can convey a sense of action or make an image more dynamic. For this reason, diagonals are a very powerful tool. Their power resides in their ability to grab the attention of the viewer. The viewer’s eyes tend to travel back and forth along diagonals. Diagonal lines can be formed not only of objects such as streets or sidewalks but also of color. For instance, a diagonal section of color can add drama to a flower image. Examples of diagonals are plentiful: roads, streams, waves, and branches are but a few examples of objects that can be utilized in a diagonal manner.

Jagged and Irregular Lines

Jagged and irregular lines take us one step further on the continuum of emotion and feeling. While diagonals move us into the area of the dynamic, jagged and irregular lines often impart a sense of unease, tension, or fear to the viewer of the image. Heavy use of jagged and irregular lines can cause a negative feeling in the viewer (which may be exactly what the photographer intended). Therefore, they are the tools of choice for the photographer who wants to create a feeling of disquiet or agitation in the viewer. Examples can be found in roots, a crocodile’s teeth, stark mountain peaks, and the twisted metal of an automobile wreck.

Leading the Eye

As powerful as lines are in helping to create a mood in an image, they become even more powerful when they are also used to direct the viewer’s attention. When using lines to direct the viewer’s attention, two rules need to be followed. First, make sure that the lines always point toward the most important object in the image. This will direct the viewer’s attention directly to that object. Second, make sure that the lines never point outside of the image. Lines that point outside the image will make the viewer’s eye leave the image. This weakens the image and may result in the viewer losing interest in the image entirely.

Summary

Since lines are such a powerful compositional tool, we should learn to think of the effect of lines when we compose our images.

However, lines are just the start. There is much more to photographic composition. To learn more composition techniques, check out Ron’s three part article series on Advanced Photographic Composition.

Color is one of the most obvious elements of composition. Everyone knows that intense colors make people take notice of your images. Ever wonder why there are so many sunset and flower shots? Color is the reason.

Color has a couple of functions in photographs. First, color grabs the attention of the viewer. Perhaps, because this function of color is so palpable, many photographers miss the more sophisticated function of color: color sets the mood of an image. Since color is such an important compositional ingredient, we should use color to its fullest extend — incorporating both functions of color into images.

Grabbing the Viewer’s Attention

Utilizing color to grab attention is often rather straight forward. Generally, what is required is a saturated or intense color (or colors). This type of color tends to grab the viewer’s attention and focus it on the area of color. Furthermore, the color tends to keep the viewer’s attention for an extended period of time. When the viewer’s eyes do wander, the color tends to bring the attention back.

There are a couple of primary ways to use color to grab a viewer’s attention. The first way is to use very bold colors. An example of this approach would be a dramatic sunset. The second way to use color to grab a viewer’s attention is to use a mix of contrasting colors. An example of this approach would be an image of fall colors where there is a combination of red, orange, and yellow leaves.

Mood

Setting the mood through the use of color tends to be a more subtle application of color than when color is used to grab attention. However, that does not mean that it is any less powerful.

Different colors elicit different moods. Since there are a huge number of colors, it is not possible to cover all of the colors and their impacts on viewers’ moods in an article such as this one. Instead, a few colors will be reviewed in an effort to convey how colors affect viewers’ feelings.

Blue

Blue tends to bring forth feelings of calm or cold depending on how the color is used. This is a reflection of how we perceive the color in nature: the deep calm ocean is blue, peaceful cloudless skies are blue, and large amounts of ice have a blue tint. Therefore, when we wish to create a feeling of calm in an image, we should include blue objects in the image such as a peaceful blue stream or a blue lake.

Green

Green often communicates a feeling of lushness and vibrancy. Again, our feelings about this color are tied up with how we frequently experience the color in nature. We tend to associate green with spring and new growth. Green is frequently used in landscape photography. Green meadows, plants, and fields can be used to convey the mood of a flourishing scene.

Yellow, Orange, and Red

The last colors to be evaluated are the warm tones: yellow, orange, and red. These colors are associated with feelings of warmth and comfort (again the colors are tied to how we experience them in nature). Sunsets are a perfect example of how these warm colors create a comfortable feeling. When we wish to take advantage of these colors to create a feeling of comfort in our images, we can include objects such as flowers, plants, food, and rocks that contain these colors.

Light

So far, we have looked at using color to create mood in photographs by means of including objects, with the appropriate colors, in an image. However, there is another way to use color to create mood in an image – the use of light. Early morning and evening provides us with colored light which can be used to powerful effect in images. Before sunrise and about twenty minutes after sunset, everything is bathed in a soft blue light. This light can be used to create a calm mood such as an early morning shot of a beach bathed in the cool, blue light.

Just after sunrise and before sunset, the light is often very warm with red, orange, or yellow hues. This light can be used to create feelings of comfort such as a beautiful mountain peak bathed in a soft, warm, golden light.

Summary

When properly utilized, color can be one of the most effective methods of grabbing attention and conveying mood in an image.

Interested in finding out more about color and photographic composition? Check out Ron’s full length advanced composition article @ Advanced Composition.