beginner basics
RULES
of composition 3
more on diagonal lines
The limitations in your photography are in yourself. -Ernst Haas
Diagonal lines, we learned in our last column, are the subliminal connectors that
keep the viewer's eye within and moving around the picture. As you looked at the
busy example by Rembrandt we saw how he cleverly positioned his subjects to
facilitate the movement and study of each subject. Similarly, Karsh utilized
exquisite posing and darkroom technique to force the viewer to study Churchill's
piercing eyes, and in sodoing we can just imagine his character and wisdom.
Both artists used the diagonalline to cleverly create geometric triangulation,
and by consequence keep the viewer engaged as the artist intended.
If we can utilize diagonal lines to keep us involved within a picture, is there
any particular reason why we cannot also use those same covert traffic directors
to draw us into a picture?
No, of course not.
In fact, should you study classical rules of composition in photography you will
inevitably come across tutelage advocating the use of C-curves and S-curves as
leading lines - lines to lead the viewer into the picture. Well, let's simplify
this prospect even further ...
By Dale Wilson
Contributing Editor
To read the rest of Dale Wilson's Beginner Basics column click here to subscribe, or
visit your local magazine retailer to pick up your copy of Outdoor Photography
Canada magazine.
BIO
DALE WILSON is a professional photographer based in Dartmouth, Nova Scotia.
Growing up at his family's farm in the rural community of River Hebert, N.S. gave
Dale a love and understanding for the land and nature. Dale joined the Canadian
Military at a young age, and then wanting to pursue a career as a photographer, in
1990, he resigned from the military. He joined PHOTO Digest, later to become
PHOTO Life, as a contributing editor in 1993 and regularly contributed to that
magazine until 2000. He has written in excess of 60 photography-based articles for a
variety of trade magazines.
In 1994 he received a contract as a contributing artist with Masterfile, and has
remained with this stock photo agency since. His work has appeared globally in
countless, books, magazines and advertising campaigns.
Dale has given presentations on photography across Canada and the United States.
He is just completing his fourth book, and was a co-author of the highly acclaimed A
Guide to Photographing the Canadian Landscape with Daryl Benson.
Dale is now a regular photo columnist for Outdoor Photography Canada
magazine, the first Canadian national outdoor photography magazine of its kind.
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