The Power of Diagonals

 

Getting a LINE on Photographic Composition
 
This week’s blog is a quick reminder of one of the simplest, yet most effective compositional tools for your photography, the diagonal.Artists are always looking for paths to good composition. Given all the available guidelines, the search can become very confusing. Some, such as the Rule of Thirds and the Golden Rule, can seem quite strict, but many can be distilled to simple guidelines. Don't put your subject in the middle of the frame, avoid distracting elements, watch your background and keep the horizon straight. I was deeply entranced by photography long before I had learned anything about compositional rules and I am still governed more by how the image feels in my eye than by what element happens to fall upon any arbitrary line. Excessive attention to rules can distract from the innate power of the subject, but taking advantage of some simple compositional elements can add energy and direction to your images. One of the simplest of such elements is the diagonal line.

Peaceful Horizontals

Power of the Diagonal
It’s not complicated. Diagonal lines can add energy, direction and movement to an image. The lines may run from bottom to top, clear across the image, dividing it into segments, or they may be isolated to one section of the image. Diagonals are most powerful when they point to something of significance. I have previously discussed the use of diagonals to draw the eye to the subject of the image. It is always important to consider where the lines are pointing, but diagonals can also stand on their own as

Diagonal Energy

dominant elements. Multiple Diagonal lines can interact or intersect in interesting ways that can become the primary subject of the composition. Sadly there are also rules that can be applied to intersecting diagonals. In the future I may discuss the "Diagonal Method", but first I better understand it better. 

Add caption

 

 Pick Your Elements
Diagonals may be created by an infinite variety of linear and nonlinear elements. trees, rocks, flowers, shore lines, hills, clouds, shadows, or even people can all work beautifully. Some photographers enjoy creating diagonals by leaning the frame off plumb, but, being a fanatic for straight horizons, I tend to look for other element within the frame to achieve the effect. Of course if the horizon is not visible you can usually go crazy. 

Telling a Story

Embellishing the Story

Let the Eye Guide
Far beyond the slavish adherence to any didactic compositional theory, the best way to appreciate the effect of diagonals is to look at some images. Pictures with lines running parallel to the frame tend to have a more relaxed mood which can be perfectly appropriate for some subjects, but to my eye, diagonally constructed images show a clear advantage in energy and cohesiveness. 

Static Prom Photo

Will He Eat the Lily?

 


For now I would suggest looking for diagonals to add some energy to your images. It is simple, effective and gluten free!


 

Jeffrey Newcomer
Partridgebrookreflections.com

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Photographic Composition, Avoiding Distractions

This weeks article may be a bit short. Susan had bilateral knee

White Hillside, Pomfret, Vermont

replacement a little over a week ago and I have been spending most of my time playing the role of supportive husband and therapist. She is doing remarkably well, but two replacements at the same time requires a lot of recovery and assistance Our wonderful daughter Abigail came up, from Washington to help out, allowing me to go to work for a couple of days, but now I am back on full duty. I won't be getting out of the house much in the next several weeks. All of this to explain why this week's blog is uncharacteristically brief and to the point. 

Hillside Distractions

Last week I discussed a few compositional techniques to help draw the eye to the key elements(s) of your photographs. Strong compositions typically provide a comfortable visual path to the subject. It is an essential part of an image's ability to tell a coherent story and story telling is what photography, at it's best, should be about.



 




Drawing the eye is effective, but avoiding distraction from the main

Damn Wires, Harrisville, NH

subject can be equally important. As I try to arrange a composition, I also watch for elements in the image that might distract from the central theme. Areas of bright light or color, competing lines or incongruous stuff poking in along the edges can disrupt the balance and flow of the image. 

Worth the effort

In the Camera
Avoiding distractions starts in the camera. As I approach the critical moment of shutter release I always try to pause for a quick scan of the composition for competing elements. The problems may be obvious, but often it takes discipline to shift the eye from the magnetic attraction of the subject to the surroundings. I first check the background and foreground for distractions. With portraits, it is usually the tree growing out of someone 's head, but phone wires, signs, or splashes of spectral light are just a few of the common problems. My final step is to scan the edges of the image for intrusions. Often subtle changes in framing can illuminate most problems, but sometimes the best composition unavoidably includes distractions. Thank goodness for the cloning tool.  But before you become outraged about post-processing solutions, please indulge
 my standard sermon.

Greening, Spring Hillside, Dummerston, Vt

Just a simple post

The Sermon, When in Doubt, Run to Ansel
There are those who will cheer efforts to frame images in the camera to eliminate distractions, but will protest their removal in post-processing as a dishonest manipulation of the reality of the scene. To me these questions of photographic purity are always a matter of individual artistic expression. My view is that photography is much more than a slavish regurgitation of the data recorded by the sensor. At its best a photographic image has the capacity to preserve not only what the eye sees, but also what the brain perceives and our memory retains. When I behold a beautiful landscape, I see the beauty and not the scars and it is that untarnished beauty that lasts in my memory. At home, when I see the RAW images, I am often surprised by what I didn't "see" while on site. I don't remember those cigarette packages on the ground or those hideous telephone wires and I don't feel any responsibility to preserve them to prove that I am a photographic purist. Angel Adams was once criticized for touching up a negative to remove graffiti that had been painted on rocks in one of his timeless images of Mt Whitney and the Alabama Hills. In response he said, " I have been criticized by some for doing this, but am not enough of a purist to perpetuate the scar and thereby destroy – for me at least – the extraordinary beauty and perfection of the scene" (from  The 40 Images). But I digress, as usual.






But Become Clear Once Removed
Pomfret Vermont

Often the Distractions are Small ....
























Thank God and Ansel for the Cloning Tool
The first step in post-processing is to identify the issues. Cropping 

Die Annoying Bipeds!

and cloning can illuminate many distractions and sometimes the problems can be minimized by reduction in brightness or saturation, or by softening with the use of localized blurring. The art is in choosing the right tool and making the changes subtle. Cloning technique could be the topic of a number of articles by itself, but the secret is to vary the cloning sources and brush hardness to avoid excessively soft regions or obvious repeating patterns, and blending cloned areas with the background. It is always best to make these changes on a blank layer or a copy to avoid irreversible damage to the parent image.



Peggy's Cove Light, Nova Scotia

 One quick tip is to do the cloning early in your processing and especially before the image is re-sized. You don't want to be forced to re-clone every time a different size is required. Proper cloning can be a painstaking and time consuming job, but the results are usual well worth the effort. Besides, there is a perverse God-like pleasure in erasing those annoying humans from your beautiful image. 









 

Distracting White Label

Dummerston Vt, Hot House Flower

I promised this would be quick. Beyond the preaching, my point is really quite simple. Deciding on the path through your image you want your viewers to follow , arranging the elements to draw the eye along that path, and avoiding intrusions that may distract from the journey, are essential steps to a strong composition which tells your story.

Now back to the gimp.

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