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allow your eye to stray, it is called back time after time to the focal point. A principle to remember is that this focal point should always be off center, and in the majority of cases, below and to the left of the center.
This same principle is illustrated in Scene 33, page 30, where vertical lines instead of horizontal lines lead the eye once more to the off-center focal point, in this case a Swiss Inn at the bend of a long straight road lined with poplar trees. Notice once more how difficult it is for the eye to stray to the edge of the picture in any direction. The reason the lines made by the trees lead the eye to the4 central point of interest, instead of away out of the picture, is that they form a converging point with the road. This form of composition, with proper use of lines, will always give a certain depth to the picture.
The picture of the roAV of bathing girls at the edge of the pool is a good example of many points in composition, because of its straight lines, and its repetition of these in the mass (Scene 35, page 30.) It is an arresting picture because of these elements but it is not a completely satisfying picture, probably for the reason that there is not a central focal point at which the eye can rest. The lines lead the eye from left to right, down along the row of girls, in the direction toward Avhich the upraised feet are pointing, but then the eye runs off and around again in a circle to the starting point. An attempt has been made to form a focal point about the girl standing at the back of the row by placing her in a dark archway, but the trouble is that she is too near the center of the picture and her face is too close to the top border. This is not a strong enough focal point to offset the fact that none of the lines lead toward her. It is a good photograph of each individual girl but misses being good composition. If the girl had been standing at the end of the line on the right with both feet on the ground, the directional lines would have led right to her and the eye would have been prevented from straying outside of the picture, the result being a pleasing arrangement.
Scene 36, page 32, is not a good picture. The eye follows
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