The diagonal lines formed by the groynes and by the sky lead the viewer into the distance. Taking the image from a low vantage point increases the diagonal line of the groynes.
This view of part of a waterfall was taken at 1/5 sec and enhanced using tone mapping. The image was taken at an angle to create an impression of more motion.
A low shooting angle was again used for this image of beach chalets. The use of a 10 mm lens has increased the angle of the diagonal and caused sympathetic streaking in the sky. The overall impression is now one of distance and movement.
By comparison, this image was taken from the top of a lighthouse. The lens was at 150 mm, which has shortened the perspective, but the strong diagonal line of the pier wall still gives the impression of distance and of people moving along.
The use of diagonal lines tends to bring in more of a feeling of depth and movement, leading the viewer into the picture to look for more.
Looking through the recommended reading books for the course, examples of the use of diagonals can be found in each volume. Some display them more than others:
In Charlotte Cotton’s ‘the photograph as contemporary art’ many of the images which need to show distance or a sense of place have diagonal lines to draw the eye into the distance. In some cases it may be a small piece of furniture set at an angle, but it’s enough to show depth in an image. Not as many are displayed in this book as the next one, as many of them do not go out to show ‘depth’ in the image. It’s more down to making images in a new ways rather than being a ‘technical’ book.
Michael Freeman’s ‘The Photographer’s Eye’ is filled with images containing diagonals. With this type of book, where techniques and instruction are being given, it would be almost impossible to write without showing and explaining their use. In every section of the book there are examples of the diagonal line – not just the section considering ‘lines’
Hunter / Biver / Fuqua’s ‘Light Science and Magic’ use diagonals in many images, but also diagonal shadows are shown which have a similar effect – depending on the direction and strength of light a stronger or weaker directional shadow is created which also shows depth and texture in an image.
Liz Wells’s ‘Photography: A Critical Introduction’ starts with strong diagonals on the steps of the book cover. Further examples are shown inside, but not to the same degree as the preceding books, as this volume is predominantly text.
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