In the first picture there is a curved line along the floor that draws the viewer into the scene. Once there the direction in which the bull is travelling brings the attention solely to the matador, taking up a prominent position near the centre of the frame.
In the second sketch there is a much more dominant implied line between the man and the horse nearest to him. The eye line between the two elements is emphasised by the lunging rope occupying a similar space in the composition.
Here I can find three implied lines. Firstly the direction of the horses, moving right towards the edge of the frame. The female spectator is staring intently at the horses whilst the Police officer seems more interested in his shoe.
In this image the camel handler has his eyes on the knee of the beast to ensure that his instructions are being obeyed. This is emphasised by the stick being used to ensure obedience. The rider has his eyes firmly fixed on the handler.
In the third image, just the line of the wall leading up to the bird is needed to draw the viewer into the frame. The eye line from the woman to the same bird helps to ensure the subject matter cannot be ignored.
I took this photograph at a rock concert this week. There is an eye line between the musician and his hand on the bass fretwork. It gives the observer a real feel for what is actually going on in the composition.
In this picture the eyes follow the line of the windows up to the figure of the woman on the right who is patiently waiting for a bus.
To finish this exercise I have to admit to surprise at how the shadows in the pictures of a mansion and a tree from the textbook demonstrate how such a static scene can be made more dynamic by the use of something as simple as shadows. The outward movement is a result of shooting into the sun and using the shadows to create the required dynamic tension. It really works.
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