HORIZONTAL LINES
! rrangements of several points, as we have
just seen, produce the effect of being joined,
which leads naturally to the next major group
of elements in an image: lines. Whereas in
illustration a line is often the first mark made, in
photography it occurs less obviously and usually
by implication. In this respect it is similar to the
way we actually see the world, where most lines
are in fact edges. Contrast plays the biggest role in
defining lines visually; contrast between light and
shade, between areas of different color, between
textures, between shapes, and so on.
is itself constructed of lines, these invite a natural
comparison of angle and length.
Lines also have some capacity for expression.
It is perhaps best not to make too much of
this, but different forms of line have distinct
associations. Horizontal lines, for instance, have
a more placid effect than diagonal lines; a zig-zag
can be exciting. Strong, definite lines can express
boldness; thin, curving lines suggest delicacy,
and so on. However, whereas in abstract art this
can be used as the very basis for expression, it
is not realistic to expect to make great use of it
The horizontal is, in more senses than
one, the baseline in composition. As already
described on pages 12-13, there is a distinct
horizontal component in the way we see. Our
frame of vision is horizontal, and the eyes scan
most easily from side to side. Not surprisingly,
horizontal lines are visually the most comfortable.
Moreover, the horizon is a fundamental reference
line—the most familiar of any—and even gravity
is a reminder that a horizontal surface is a base
that supports. For all these reasons, horizontal
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feature, but they also contain the dynamic
features of direction and movement along their
length. And, because the frame of a photograph
subject often overwhelms them. Nevertheless,
being sensitive to them pays dividends when the
opportunity arises.
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