| The Secrets of Photographic
Composition, lesson 2
Leading Lines
By Steve Thomas
The Powerful Photography Coach
As you will discover in this lesson, leading lines are an important part of many types of photography, including landscape photography. In this ebook Amy Renfrey does a masterful job of showing how to use leading lines and gives many more examples than would fit in this lesson.

Click Here for Powerful Landscape Photography!
In the previous lesson you discovered the basic concept of photographic composition regarding where you put elements of an image in the picture. If you want to review that lesson, go here. This lesson is about how to control the viewer’s eyes as they move around a picture.
To create a strong image you want to keep the viewer’s eyes inside the picture and not drive them away. Sometimes, however, the purpose of an image is to direct the viewer’s eyes to some other part of a page, such as an order button on an e-commerce site. You'll learn how to do that also.
A strong image usually has one or two major spots that you want the viewer to see. With a well composed picture you lead the user’s eyes from one major focus to the next and back, keeping their eyes in the picture. Here is how you do it.
- Place the major subject of the image in the position in the picture that conveys the message you want to convey. Do you want to imply movement, show stability, indicate that something is light?. Lesson 1 on subject placement showed how to place the subject to imply these and other attributes.
- Then arrange the picture or your point of view to place secondary elements in one of more of the other image points that you read about in lesson 1.
- Find a way to have something in the picture lead from one element to the next and then back to the first element of the picture. There is more than one way to do this. The easiest and most obvious is the use of framing.
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I took this picture in Yosemite National Park in California specifically to illustrate using framing and leading lines. Notice how your eye goes first some part of the picture. maybe the waterfall or Half Dome. If the eyes were first attracted to the waterfall they would then drifts to the silhouette of the tree, up to Half Dome, then skitters along the mountain tops back to the waterfall. If the eyes started at Half Dome they might drift along the mountain tops, down to the waterfall, to the tree silouttte and back to Half Dome.
The framing provided by the tree at the top and right sides of the picture keeps your eye from leaving the picture.
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A more powerful and less obvious way to create leading lines is to make sure the photographic elements are strong enough and with enough contrast to the surrounding areas that the eye is just naturally drawn to them. Here is another Half Dome picture taken on the same trip to show this idea. In this case the natural elements in the scene provide the leading elements to keep sending your eyes back to Half Dome. Also, notice that Half Dome isn't centered in the picture, but, as you learned in lesson 1, placed toward the right. A stronger composition than this would be to be at a lower elevation so Half Dome is a little higher in the frame and a bit more to the right. It was physically impossible to get to the location where thast would be possible without technical rock climbing equipmet..
Here is another example of using the natural elements to create strong leading lines. At first when you are learning these skills, it doesn’t come naturally and it may take several attempts before you find the strong image in a scene - sometimes there isn't a strong image there, so don't beat yourself up if you can't find one.. The difference between a good photographer and a bad photographer is that the good photographer throws away more pictures. A very similar picture taken straight on probably wouldn’t be as powerful because the leading lines may not have been as strong.
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| If you are not sure if you have composed a good picture, go ahead and, take the picture, move around a bit and take more pictures. Don’t try to edit too much while you are shooting, do that later. Often you will find as you review your pictures that there is one which is much stronger than the rest. I certainly find that to be true. Of the Half Dome picture s I took to illustrate this lesson, only two were strong enough to illustrate the points I wanted to make. The rest probably will never see the light of day; they aren’t “bad” pictures, they just aren’t the best they could be. If you are on vacation and taking pictures, sometimes you will take a shot just to remember where you have been, not necessarily to be a "hang-on-the-wall" shot.. As you practice the skills in this series of lessons even your vacation snapshots will get better as you integrate the skills you are learning into your everyday photography.
After a while the skills become second nature and more of your pictures are "keepers."
In the next lesson of this series I will discuss light and shadow in pictures and how you can make them major design elements in your powerful pictures. |
If you are creating a sales page and want to use a photograph to direct the viewer's eyes to the order button, instead of arranging the leading lines in a picture to keep the viewers eyes in the picture you would arrange the overall page to keep the viewer's eyes going where you want them to and the photograph would be a part of that design. You could be very obvious and have a photograph of a person simply pointing to the order button. While there is nothing wrong with being obvious, you may want to test whether being subtle or obvious gets better results. Notice how the face of the GPS receiver faces directly at the order button, leading the eyes there. Of course the order button is pretty obvious. If you are selling something you want to make it easy for potential customers to find out how to order your product!
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Steve Thomas
The Powerful Photography Coach
Link to previous lesson
Lesson 1.
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(c) Steve Thomas 2007-2009 All rights reserved. This is copywrited content and may not be reproduced in any form without the express permission of the author. |
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