7

Camera Angle (Vantage Point)

Jockey

Barry Myers

Vantage Point: Ansel Adams (1902–1884) and Georgia O’Keeffe (1887–1986) first met in 1929 in Taos, New Mexico, and became friends and colleagues for a long time. He was 27 years old and she was 42. They both were much attracted by the extraordinary beauty of the Southwest. He represented his version of its beauty with camera and film and she with canvas and paintbrush. In the book of their photographs and paintings, their images of the Southwest reflect their way of seeing and feeling. On the cover of their book, one can compare Adams’s rendition of Saint Francis Church, Ranchos de Taos, New Mexico, with that of O’Keeffe’s. The first thing to note is the different vantage point each artist used.

School Bus Shelter

R. Zakia, D. Page

We see here two different representations of the same subject. On the left, the photographer chose a position that included more of the area surrounding the school bus shelter, so as to provide a sense of place. To the right, the second photographer decided on a different vantage point, so as to call more attention to shelter and the movement of the flag. Both photographs were taken at approximately the same time. Each brought their own vision as to how to represent the scene. Viewers may prefer one over the other, or neither.

Store Front

Richard D. Zakia

Walking by this interesting storefront’s display of disparate items captured the photographer’s attention—and what a surprise to see a religious symbol in the form of a large cross being prominently displayed above. This seemed rather strange at first, but it was not unusual in Ireland. After taking the photo, the photographer took a few steps back and was pleasantly reminded of the importance of vantage point.

Amputated Tree

Richard D. Zakia

Where you stand and position your camera can be useful in obscuring things in the background that would interfere and compete with the main focal point, in this case a tree that has been devastated by a recent hurricane. All that remains of the once-proud tree, deprived of its many branches and leaves, is the amputated skeleton of its former self. The photo on the left focuses complete attention on this fact. In the one on the right, it competes for attention with the sculptured piece in the background.

Twin Sisters

Lee Thompson

Eye Level: When photographing a wedding, the exchange of marriage vows between the bride and groom is central, but events taking place before and after the exchange can be of great interest and add to the memories of the joyful event. In this photograph, both twins wear the same dress and hair ribbon and one holds some flowers in her left hand. The photographer instructed the girls to kiss each other, and as they did she took their photograph—not at the her normal eye level but at the twins’ eye level. The lowering of the camera provided an eye-level photo that does not look down at the charming little ones but directly at them, eye-to-eye. The result is a memorable photo to include in the wedding album.

Four Shamrocks

Richard D. Zakia

This photograph was taken at eye level and on the spur of the moment. The photographer was in a drugstore in Ireland looking for a greeting card when he noticed these four charming girls dressed in white, having just received their first communion. Their mothers were nearby and gave permission for the photograph. The girls display a joyful, angelic look and each has a similar engaging smile. The greeting cards in the rack behind them provide an appropriate background. The title Four Shamrocks is suggestive and open to individual interpretation.

Flatiron Building

David Spindel

This photograph was taken a block away from an impressive and often-photographed New York City building. The photographer used a camera having an 18mm lens, holding the camera at eye level. The building was completed in 1902 and is one of the first skyscrapers ever built.

Dromedary Camel

Low Angle: In this photograph of a one-hump dromedary camel, the photographer set his camera very low, nearly touching the sand mound. We thus have an up-close and intimate look at the camel as he lies on the sand. His expressive face is located approximately at the imaginary rule of thirds’ lower-right intersection, providing a strong composition. The camel’s face becomes the center of interest and the focal point of the photograph. The color of the camel and sand are similar and contrast well against a blue fluffy sky. Dromedary camels are one of the best-known members of the camel family. Other members include llamas and alpacas in South America. Unlike the Dromedary camels, the Bactrian camels have two humps.

Rural Georgia

WPA photograph

This Work Progress Administration (a government agency as part of America’s New Deal in the 1930s) photograph shows three folks all dressed up and going into town for what appears to be an important event. Although they ride on an old farm work wagon pulled by a mule, suggesting their meager status, they dress proudly and sit up straight as they journey. Compositional elements of interest are: a somewhat low vantage point; the framing, which allows room for the wagon to move within the frame; the diagonal position of the wagon, suggesting movement; the low horizon line, providing a large stretch of beautiful blue sky; a group of three, which is more interesting than two or four. Photographing the backs of the three in the wagon allows the viewer to vicariously experience what it might be like to ride on such a wagon and on the dirt alongside the paved road as cars and trucks pass by. The stark simplicity of the composition plays up the contrast between the reality of the times and the spirit of the times.

Samba

Richard D. Zakia

High Angle, Looking Down: Photographing dogs can be as difficult as photographing children. They won’t hold still and have a tendency to change positions just as you are about to click the camera shutter. This was the case when trying to photograph Samba. Every time the camera was pointed at her, she felt prompted to move. After several frustrating attempts, this was one that succeeded. She lies comfortably on a plain, textured carpet, one paw stretched near the ball she was playing with and the other paw tucked in. The position of her body is graceful as she inquisitively looks up at the camera and therefore at the viewer.

Score

David A. Page

Photographing from a high (or low) angle provides a different view from the norm, which in itself attracts the attention of the viewer. In the case of sports photography, as illustrated in the previous photograph, this angle of view often provides a clearer perspective of the action and includes more information about the actions of a greater numbers of players. In a straight-on photograph, often an important part (or all) of one player will be blocked by others. The same is true when photographing flowers and other objects. Additionally, a high angle of view often provides a more pleasing and less distracting background. When photographing a box-like subject such as a car, church, sculpture, house, and so on, the most interesting photographs are made at approximately a 45-degree angle from the front, side, or top surface, which enhances the feeling of the third dimension.

Nature’s Umbrella

Lydia Zakia-Fahey

High Angle, Looking Up: There are times when one is looking up to photograph something that can make for an unusual and interesting picture. Lydia was sitting on a bench in a park with her mother and digital camera waiting for her friend to arrive. As she looked around for something to photograph, she happened to look upward towards the beautiful blue sky and notice the attractive underside of a palm tree. Rather than attempt to show the whole underside of the tree, she chose to show just part and located the dark center of the branches in the upper left of the frame, which made for an interesting composition and photograph.