Simon Lewis

AOP Part Two

Real and Implied Triangles

1/100s f5 ISO 800

This exercise really showed me how important it is to practise. At first I found it really hard to spot triangles but, as I hope the examples show, was soon seeing them everywhere. Now even conversations with my father-in-law take on a hidden agenda as I look for my next set of reference images whilst pretending to be fully paying attention to him! Putting triangles together myself is starting to get easier - but I’m finding it easier to spot them than to make them - and have them appear natural...


P1010041 - Version 2 Tri-1
1/125 f4.9 ISO800
Roy’s nose and mouth formed a perfect triangle when bounded by the lines on either side of his cheeks.

P1010035 Tri-2
1/60s f3.3 ISO80
This collection of leaves could be used for both upright or inverted triangles. As always, details are everywhere...
DSC_2409 Tri-3
2.5s f25 ISO200
This rose provides a myriad of triangle choices formed from the tight weave of each layer of petals. Here I have selected just one of many possibilities opting, in this case, for the widest triangle in the frame.

EXERCISE 2: Implied Triangles

DSC_2397 Tri-4
1/60s f9 ISO200 Triangle with apex at the bottom.

DSC_2546 Tri-5
1/3s f16 ISO200 Triangle with apex at the top
DSC_2550 Tri-6
1/60 f5 ISO200 Three people arranged in a triangle

Implied Lines

I enjoyed browsing through my library to see where I’d made use of implied lines in my older images. From the shots I found, I must say that most lines appeared more by luck than by judgement. However, working through this exercise I found myself spotting lines everywhere - you just have to be aware of them and use them to advantage...


Lines 7 Lines 6

IMPLIED LINES: Part 2, 3 images

P1010032 - Version 2 Lines 1
1/400s f5 ISO80

P1010034 Lines 2
1/60 f4.7 ISO100

IMPLIED LINES: Part 3, 2 images

DSC_3260 Lines 5
1/60 f4.8 ISO400

DSC_1415 Lines 3
1/60 f5 ISO200

P1010033 Lines 4
1/80 f5.6 ISO500

Rhythms and Patterns

1/250 f7.1 ISO 400

I found it easier to source and convey patterns versus rhythm in this exercise. Nonetheless, I am pleased withe the results.

Pattern: 1/320s f5.6 ISO400
This bowl of water-borne daisies demonstrates how the repeating pattern of their shape can be used to good effect, helped by adding a square frame.

Rhythm 1: 1/160s f6.3 ISO200
The rhythm of the post and rail fence leads the eye towards the couple walking.

Rhythm 2: 1/160s f6.3 ISO200
I like the repeating rhythm of the right hand group of trees being broken by the space in the centre and the smaller tree on the left.


DSC_2230 Curve4-01
1/60s f5 ISO 800

A series of four images showing strong curves. As with diagonals, the curves draw the eye along it’s length. In the image above, the eye is drawn along the curled hose towards the watering can below.

DSC_2177 - Version 2 Curve2-01
1/200s f9 ISO200

DSC_2207 Curve1-01
1/125s f5.6 ISO400

DSC_2198 - Version 2 Curve3-01
1/500s f5.6 ISO500


DSC_2173 Diagonal4-01
1/200s f5.6 ISO 200

A series of four images showing strong diagonal lines. The diagonals draw the eye along the length of the diagonal axis. In the case of the abstract images (building detail), the diagonal lines provide some implied movement where there is none. However, I can also start to see that the diagonal line (real or imagined) could be used to draw the eye towards a focal point. For example, in image 3 the diagonal lines of the steps draw the eye towards St Martins in the Fields church. It’s not perfect alignment, but almost. In image 4, one can imagine an element of interest point placed top right of frame. The diagonal lines would pull our eyes towards it. I’m guessing that is coming up in a future lesson...

DSC_2178 Diagonal1-01
1/200s f10 ISO200

DSC_2188 Diagonal2-01
1/320s f8 ISO400

DSC_2185 Diagonal3-01
1/160s f5.6 ISO400