The final part of this Project employs curves to entertain the viewer’s eye. Curves, much like diagonals, can increase the dynamism and energy of an image. They can also be physical or implied (or both as I shall demonstrate). Unlike diagonals, curves tend to undulate and by their nature be a softer reference line. They will often lend themselves to movement in an image and therefore strengthen that feel for movement or fluidity.
Here are my four images, which I hope demonstrate this. As with previous exercises in this project I was keen not to repeat a scenario within the series and therefore learn more about my eyes ability to spot these curves.
At first the curve of the tree line appears to be implied but, actually is being guided in part by the curved drain alongside it. However, as the drain turns sharp left, the trees continue in what ends up being quite an elegant sweep in to the distance.
The contrast of white headstones against a dark background makes for a bold series of concentric curves. In similar fashion to the diagonal headstones, which I photographed, I have cropped quite tightly to the perimeter of the boundary to create an impression never ending curves. I used a fairly high point-of-view as the headstones are arranged quite tightly together. The high point-of-view creates some space between them to let the curve flow more efficiently. The highlights on the top of the stones help lead the eye along the line. Similarly to shooting the headstones as diagonals, a different viewpoint would have elicited a very different image.
In this image there are several curves moving in different directions giving a sense of busy and urgent movement. The cars taillights on the road way are smoothed in to a curve by using a long exposure and then stretch off to the right of the frame. There is also a slip road showing a similar line of cars moving at speed. On the right hand side the viewer can see an expanse of dark water broken by a track lit for the night by bright lights. The horizon is also slightly curved as I used a wide-angle lens to take the shot. Ironically, the ‘Flyer‘ big wheel in shot looks completely static although it is moving, but very slowly.
Here we see two types of curves. One physical and one implied. The physical tree trunk runs in to frame from out of frame leaving the viewer watching a small child tumble in to the water. This is where the implied curve is. The child’s movement is accentuated by the blur giving the feel of direction and speed. Following what appears to be a natural path of curvature, the child will somersault and arc in to the river. I have intentionally darkened the water to show better the curved direction of the line of the tree trunk.
Interestingly, the first two images here are physically static, the implied lines being the focus, whereas the last two are full of action. All contain curves but have a completely different dynamism due to the way they are used.