Linear Perspective
As mentioned in prior posts, an understanding of perspective is crucial if we wish to bring a sense of depth to otherwise flat looking images. Perspective cues provide the illusion of a three-dimensional (3D) scene even though the image is but a two-dimensional (2D) approximation. Adding this quality to photographs greatly adds to compositional quality and enhances the visual interest. It’s important to understand these so that we can utilize them in our photography.
This post covers one of the more important perspective types: linear perspective. The effects of this perspective cue are so strong that painters sometimes rely solely upon it to provide a sense of depth to their work.
Though some basic concepts of perspective were used as far back as Aristarchus, a scene painter for Aeschylus in the 4th century BC, the formulation of linear perspective is attributed to Brunelleschi, a 15th-century Italian architect. Brunelleschi’s work was further advanced by Alberti, another Italian architect, who conceived the idea of viewing the picture plane as a window through which one sees the world. (Perspective comes from the Latin perspicere, which means “to see through.”) This approach enabled artists to record three-dimensional images with the correct size-distance relationships.
Linear perspective can be defined as the illusion of depth on a two-dimensional surface, such as a canvas or photograph, through the use of converging lines. The rule is: all parallel lines that recede in space, if extended, converge to a point. This point, called the vanishing point, is usually, though not always, on the horizon. The number of vanishing points determine which perspective technique is used.
Zero-point perspective refers to images without vanishing points. This most often occurs in landscape and nature photography as lines are normally man-made features, but, as shown in the example section below, it occasionally occurs in nature.
One-point perspective examples include railroad tracks, straight roads and buildings viewed so only one side is facing the viewer. Typically, though not always, the single vanishing point is directly opposite the viewer’s eye and on the horizon.
In two-point perspective, one is typically viewing a form which reveals a corner. For example, when viewing the corner of a building, you are able to view two sides at once. One-point perspective was developed around the 15th-century, but two-point perspective took another two centuries to appear.
Three-point perspective (see last photo of office building in examples below) did not come into widespread use until well after the invention of photography. Its visual effectiveness was only revealed through the use of tilted camera angles.
Four-point and greater perspectives are feasible. In fact, any number of perspectives is possible in an image; one for each set of parallel lines receding to a different vanishing point. For now, it suffices to have a basic understanding of one, two, and three-point perspectives.
Linear perspective can create a striking illusion of depth within a two-dimensional image, or an otherwise flat looking photo. Of course, it is not something you necessarily have the ability to create as it requires the presence of parallel lines. But, if you should spot those within a scene, then incorporate them into the photo and reap the benefits.
Examples
The following examples illustrate the use of linear perspective; most use one-point perspective.
Receding railroad tracks are the classic one-point perspective view.
Though it is uncommon, nature can exhibit linear perspective, too. The next two photos show lines, created by trees, which converge to a single vanishing point.
Here are one-point perspective examples formed by parallel lines oblique to the image plane. That is, parallel lines within the image are neither perpendicular nor parallel to the image plane and converge to a single vanishing point.
Architectural lines converging to single point – one-point perspective – provide a sense of depth. It helps compositionally if the parallel lines also either lead the eye to or converge on a point of interest, as is done more obviously in the second photo below.
Parallel lines can be a portion of a photo, as with the railing below, used to lead the eye towards a point of interest or, as in the case of the bricks, they can be the point of interest.
Buildings readily exhibit one, two and three-point perspective, as seen below. The first photo demonstrates one-point perspective, having a vanishing point not on the horizon. The second photo is an example of three-point perspective.
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Reader Comments (1)
This is the first post I've read of yours but it made me a subscriber. I love the in depth reasoning and the picture examples. This is a greating learning resource. I have a student in private tuition with me learning photography and this kind of post will help us enormously.