COMPOSITION - A Perspective Primer

Description: To explain and illustrate 1-point, 2-point, and 3-point perspective.  Written by Douglas Lloyd Higden.

Perspective has two distinct yet related definitions. The first is what we perceive with our eyes from our point of view, bringing all our subjective notions to bear in interpreting the scene before us. The other definition refers to how three-dimensional objects are depicted on a two dimensional surface. The rules of perspective are a set of principals that can be applied to create images that look natural and create the illusion of depth

Rules of perspective of course apply to everything, but they can only be easily controlled on subjects with flat surfaces. A sphere has the same perspective regardless of the point of view. This is why it is so difficult to depict figures, which are really a collection of spherical and curvilinear objects. Perspective is most easily controlled, and awkward perspective is most noticeable with rectilinear objects. Rooms and buildings are largely rectilinear. Everyone has heard of one, two and three point perspective. Surprisingly the difference not related to the point of view, but in the degree of parallelism between the surfaces of the objects and the plane upon which the image is cast.

I’ve made some photographs to demonstrate one, two and three point perspective. In each case I’ve shown a large picture of the area of interest with construction lines leading to the vanishing points, and the uncropped original photo.

One point perspective

The camera focal plane is parallel to the front surface of the blocks in both the horizontal and vertical axis.

Here the camera is pointed straight at the B.

Here the camera is moved to point straight at the A.

Here the camera, without changing the angle, is raised to point a few inches above the B.

Two point perspective

The camera focal plane is kept parallel to the blocks’ verticals but rotated so it is not parallel to the horizontals.

Here the camera is kept level with the blocks, moved to a position in front of the A and rotated so it points at the C.

Here the camera is moved further to the left until it points at the A. This is the view most commonly associated with two-point perspective

Hear the camera is in the positioned toward the B, then raised so it points a few inches above it.

Three point perspective

The camera focal plane is rotated and tilted so it is not parallel to either the horizontal or vertical axis.

Here the camera is positioned to the left and above the blocks and pointed at the B. This is the type of view where we expect to observe three-point perspective.

Here the camera has the same rotation and tilt, but is lowered to the level of the blocks. It now points at the floor. This creates an unnatural look. Since we are at the level of the blocks our brain expects the verticals to appear parallel.

We generally perceive the world in one or two point perspective. Unless a scene is depicted from well above or below, we expect verticals to be parallel to the edges of the frame. Life painters make the adjustment automatically. Photographers are in a pickle. In order to have natural looking perspective the camera must be kept vertical. However they often tilt the camera to frame the desired scene. Sometimes this makes the best picture, but some times we point the camera downward because we hold the camera at eye level without even thinking about perspective. Keeping the camera vertical and lowering the camera to frame the scene can often make a better picture. Fashion photography is most often done at waist level. Don’t be afraid to get down on your knees. Especially when photographing children, Children appear more dignified when they are not being looked down upon. Tall subjects, especially buildings, present special problems. When photographing a ten-story building the photographer does not often have a conveniently placed five-story building to shoot from. Besides, she usually wants an eye level view but with parallel looking verticals. One solution is to keep the camera vertical and shift the lens up. Large format cameras (4X5 inches and greater) usually have this capability built in. If you have a Nikon or Canon SLR (single lens reflex) and about $1500 kicking around you can buy a shiftable lens. For the rest of us there’s Photoshop.

Here is a four by five camera with its lens in the normal position, and shifted.