The proper viewpoint or camera angle is an important factor in good composition. Repositioning your subject within the viewfinder frame and changing the camera viewpoint or camera angle are two simple ways of controlling composition.

Photographing from a different viewpoint or camera angle can often add drama and excitement or even bring out an unusual aspect of a subject. Most of the subjects you photograph are three-dimensional and should be photographed from an angle (to the right or left of and/or from higher or lower than the subject) that allows the viewer to see more than one side of the subject. The photographer should study the subject from different sides and angles. Walk around the subject and look at it from all viewpoints. See it from elevated and low positions as well as from eye level to find the best composition. This greatly assists in composing the subject for the best balance and helps to select a background that compliments, not distracts from the subject.

The terms viewpoint and camera angle are often used in conjunction with one another and sometimes used interchangeably. They can also have different meanings depending on how they are applied. Viewpoint is the camera position in relationship to the subject. "Camera angle" is the angle in which the camera lens is tilted; for example, a picture of sailors marching, made from ground level with the camera held horizontal with reference to the ground, may be referred to as a low viewpoint (or camera position); however, when this picture is made, again from ground level, but with the camera pointed up, it may be referred to as a "low camera angle." Likewise, a picture made from an elevated or high position, with the camera again held horizontal with reference to the ground, or even pointed straight down, can be referred to as a high viewpoint ; however, if the camera is not held horizontal to the ground or pointed straight down, but pointed at some angle between horizontal and vertical, the camera position could be referred to as a high camera angle.

Eye-Level Shots

With the camera held horizontal, eye-level shots are usualIy made at a height of about 5 1/2 feet, the height from which the average adult sees, and with the camera horizontal. With the camera held at eye level but pointed up or down, the camera position changes and you have either a low or high camera angle, respectively.

Low Viewpoint and Low Camera Angle

Low viewpoints and low camera angles can add emphasis and interest to many ordinary photographs. A low viewpoint can be used to distort scale or add strength to a picture or to emphasize certain elements within the picture. A low camera angle is achieved when the camera angle is located below the point of primary interest and pointed upward. Low angles tend to lend strength and dominance to a subject and dramatize the subject. Low angle shots are used when dramatic impact is desired. This type of shot is very useful for separating the subject from the background, for eliminating unwanted foreground and background, and for creating the illusion of greater size and speed (fig. 5-7).

High Viewpoint and High Camera Angle

High viewpoints and high camera angles help orient the viewer, because they show relationships among all elements within the picture area and produce a psychological effect by minimizing the apparent strength or size of the subject (fig. 5-8).

BALANCE

Balance in photographic composition is a matter of making pictures look harmonious. Each element in a picture has a certain amount of value in respect to all the other elements. Every tone, mass, shape, tree, rock figure, building, line, or shadow contributes a certain amount of weight that must be arranged correctly in the composition to give the impression of balance. The subject placement within the picture area is the factor that must be carefully considered.

Composition is kept in balance by two different methods: symmetrical, or formal, balance and asymmetrical, or informal, balance.

Figure 5-7. Low viewpoint and low camera angle.

Symmetrical, or Formal, Balance

Symmetrical, or formal, balance in a photograph is achieved when elements on both sides of the picture are of equal weight (fig. 5-9A). The idea of formal balance can be related to a seesaw, When there are two equally

weighted objects on the seesaw and they are equidistant from the pivot point, or fulcrum, the board will be in balance.

Pictures with formal balance may look static and unexciting; however, they do present an air of dignity.

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Figure 5-8. High viewpoint and high camera angle.

Formal balance does not always mean a picture has to the seesaw in perspective. The forces or weights are be symmetrical. Symmetrical pictures, in which both presumed to be approximately equal; but, the imaginary sides are exactly the same, are produced only when you pivot point is set deep into the picture space. With this want a special effect; therefore, they are not often variation to symmetrical balance, a more interesting produced. A variation of symmetrical balance deals with photograph is usually created (fig. 5-9B).

Figure 5-9A. Symmetrical, or formal, balance.

Figure 5-9B. Symmetrical, or formal, balance.

PHC Chet King

Figure 5-10. Asymmetrical, or Informal, balance.