Implied Lines

My attempt at finding and noting the lines in Michael Freeman's sample images can be found below. Both images utilise strong implied lines, which leads the viewer's eye around the scene, but also keeps it from wondering out of the frame. The first image uses circular lines, which strengthen the actual movement in this image with the implied movement and activity that curves provide. The second image has multiple implied lines, some of them lines of movement, and others are eye lines:

I then selected three of my own previously taken images that demonstrate implied lines:

46mm, f/5.3, 1/1250, ISO 200

This image taken in Spain last year combines curves with a natural frame. The upper and lower branches are both curved into semi-circles, giving an implied circle which frames the white building and the sea in the distance. The curves also serve to animate slightly an otherwise rather static scene.

10mm, f/4, 1/160, ISO 400

This is an image from my first assignment. I had intended to portray the vehicle at an angle that suggested it was about to head off to work. The implied line here is from the cab of the vehicle to the road, which draws the viewer's eye to the CAT signage, giving a clue as to the current location.

70mm, f/4.5, 1/1000, ISO 200

This image of a market stall in Spain is a clear example of the 'eye line' leading the viewer's own eye from the faces of the stall browsers to the array of goods on offer. I think it works especially well here because at first the eye is drawn to the jewelry that is at the bottom of the frame as it is larger and brighter, however the eye is naturally drawn quickly to the human faces, and then by eye line to the less-distinct goods in the middle of the frame.

23mm, f/5, 1/3200, ISO 800

This image taken in Bruges, Belgium demonstrates the use of an eye line. When looking at this image myself, I find my eyes are first drawn to the dynamic, circular shapes of the carriage wheels, before travelling upward to see the driver of the carriage. I then follow her eye-line to see she is looking at a potential customer. The customer is looking back towards the carriage driver, which serves to 'bounce' my attention back to the carriage, and thus the middle of the frame, creating movement and dynamic tension in the image.

42mm, f/8, 1/250, ISO 200

I think this rather mundane car park demonstrates reasonably well the  concept of a line that points. In this case it is an actual arrow; a large one which dominates the bottom of the frame. As such, the viewer's attention is drawn here first, before following the direction of the 'pointing' line. This leads to another arrow, which again takes the viewer further into the scene.