Leading lines photography with a phone

Leading lines are lines in the scene, like a path, a railing or a row of lights, that pull the eye through the photo to your subject. They add depth and make a flat phone photo feel like you could walk into it.

Find the lines

Roads, sidewalks, railings, bridges, fences, rows of trees, train tracks, shelves, a table edge, even the shadow of a building. Once you look for them, they are everywhere, in cities most of all.

Start at the bottom, end at the subject

The strongest lines enter from the bottom edge or a bottom corner and meet at (or point to) your subject. Put the subject where the lines meet, and keep it there while you frame.

A woman on a boardwalk with the railings leading to her and the city skyline — The photo

A woman on a boardwalk with the railings leading to her and the city skyline, with the guide drawn on top — City: the railings lead from the corners to the person

A woman walking along a glass walkway, the railings leading to her — The photo

A woman walking along a glass walkway, the railings leading to her, with the guide drawn on top — People: the walkway leads to the person

Get low and go wide

Lowering the phone close to the ground makes the lines longer and stronger. The phone's wide lens (0.5×) stretches them even more, but keep the phone straight so verticals don't lean.

A stone bridge leading to a temple gate under autumn trees — The photo

A stone bridge leading to a temple gate under autumn trees, with the guide drawn on top — Scenery: the bridge pulls the eye to the gate

Indoors, too

A long table, a counter or a row of hanging lights in a cafe works the same way. Shoot along the line instead of across it.

A woman at a long cafe counter by the windows, the counter leading to her — The photo

A woman at a long cafe counter by the windows, the counter leading to her, with the guide drawn on top — Cafes: the counter leads to the subject

Common mistakes

Lines leading out of the frame take the eye away from the subject. Turn until they point in.
No subject at the end. Lines alone feel empty; put a person, a doorway or a light where they meet.
Too many lines. Pick the strongest one or two and keep the rest out.