PHOTOGRAPHY-27

 PHOTOGRAPHY-27

The Leading Lines

Any artist desires ‘grand acceptance’ of the view presented. But then how to ensure ‘acceptance’ ? The simplest of suggestions would be 1] avoid presenting many items in a frame, 2] Use objects on the scene to ‘advantage’ by making the observer confine his/ her viewing to the ‘point of interest’ as conceived by the presenter. Item 2 tries to ‘compel’ the viewer to see what is important. It is here that “LEADING LINES COME INTO PLAY”. Simply a line or a slender object ‘guiding’ us into the picture is named the leading line. A road traversing the picture area can be profitably ‘availed of’ to drive the view into the intended zone. It heed not terminate at the ‘point of interest’; instead it may just lead us to the spot and genrly fade off thereafter. Say a curve along the road can be judiciously handled by taking a view of the road  so as to remain unobtrusively influential. In plain terms, do not make the road, the centre element on the lower end of the picture; instead let the lower road endof the road be more to left or right of the centre from where it curves off to the opposite end. At the lower end of the road leave some margin that makes a telltale entry for the road [ include some non-road mud exterior to the black top] by introducing an element of life –the natural earth. The road performs the role of leading the view to that spot that the presenter wishes to suggest. It could be Moon shielded by hazy cloud with a bird or two flying back to nest . The curvature  on the road leads us to the distant moon and tiny birds in flight and the road itself fades off without leading us any further.The placement of moon need not be the dead centre on the horizon but a little off to right or left to allow the road a free escape. Also leave a little space along the top edge of the frame –a freedom that eyes generally enjoy forescaping only to return to the interest spot with absolute freedom.

 Items placed in a triangular format look balanced as the broad base forms the bottom with the lateral ones converging into the picture. Very long roads tend to present convergence as a natural component of perspective. Likewise shots made using Tele lenses present low depth unlike those made using Wide Angle lenses.However the ‘emphasis ‘ is A PRODUCT OF WELL PLANNED placemet of objects ultimstely ending up in the key item.

By virtue of their innate shallow depth Tele lenses ably handle portraits ; the keenest spot of focus in a portrait is obviously THE EYE BALL –the element of life in a picture. Exceptional clarity by focussing the eye ball makes all other features sink into subordination, even as they play down skin blemishes, moles / warts in the facial area. With intense focus on the eye ball, items inhces from eye socket progressively show up details and features a little away from eye socket progressively decline in focus . This adds value to a portrait by laying the right emphasis on relevant features.

Wide angle lenses render greater depth by shrinking the images and accommodating substantial area in a frame. It helps to capture vast stretches like seashore/ forest floor / temple corridors presenting an imposing appearance by sheer ‘coverage’.  It is for the craftsman to plan a picture for its value as a treasure for nostalgia through one’s life.

K.RAMAN