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street scene in San Francisco s North Beach The sloping roofline of the building on the right adds a sense of perspective and draws the viewer s eye to the man strolling down the sidewalk
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When photographing perspective, take the picture from a kneeling position or get closer to the ground to exaggerate the height of the buildings
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A viewer s attention is always drawn toward the brightest
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When you photograph an individual from a bird s-eye view, make sure you re far enough away from the subject that you don t have to zoom out or use a wide-angle lens, which will distort the person s features
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Kneel to take the picture from a lower vantage point, so you are looking up toward the geometric form Remember to keep the camera level; otherwise, you ll distort vertical lines, making them appear to lean inward If you shoot with an ultra-wide angle lens (35-mm equivalent or less than 28 mm), you ll notice some barrel distortion, even when the camera is level
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If you want something to look larger than life, photograph the subject from a crouching or kneeling position When you do this, make sure you re far enough away from your subject so that you don t have to tilt the camera to fit the subject or scene in the frame If you do, you ll distort the perspective of the scene and edges of buildings will appear to lean inward The photographer was prone and very close to the car when he photographed the image on the right The wide-angle lens made the headlight and front fender look huge, which was just the effect the photographer was after The headlight is a point of interest that draws the viewer further into the picture
UICKSTEPS
TILTING THE CAMERA
Many photographers think there are only two orientations for a picture: landscape (horizontal) or portrait (vertical) But you can add a creative touch or a sense of whimsy to a photo if you tilt the camera diagonally This technique is effective when you have strong diagonal elements in the scene
1 Analyze the scene from different vantage points 2 Look for any dominant diagonal elements, such as
the gable end of a roof or a person s leg
3 Tilt the camera so that the strong diagonal
is parallel to one of the edges of the camera frame
4 Alternatively, you can look for horizontal
elements, such as the roadway in the image to the right Tilt your camera so that the
horizontal is diagonal from the top edge of the frame on one side to the bottom edge of the frame on the other side
5 Press the shutter button fully to capture the
image
9 10
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When photographing a person from head to toe, tilt the camera diagonally so that the person s head appears in one corner of the picture and the feet appear in the opposite diagonal corner of the picture
Frame Your Subject
If you re photographing a person or an object, you can use architectural elements to create a frame around the person When you create a frame around a subject, you leave no doubt in the viewer s mind what you are photographing
Find a doorway, gate, or other architectural aspect with which to frame your subject You can frame the subject s entire body with an architectural element, such as a doorframe or gate, or you can use foliage, such as palm fronds, to frame your subject You can also frame a body part, such as a subject s head In the image to the right, tree trunks and foliage frame a couple gazing out at a lake The splash of light on the woman s hair and the man s red cap draws the viewer s eye into the scene Tell your subject the pose you d like them to adopt Just because you re framing them in a doorway doesn t mean they have to stand bolt upright Have your subject move his or her arms and legs to adopt a graceful pose If the doorway is open, the subject can turn sideways and lean against the doorway, resting one foot on the ground, and angle the other into the doorjamb while turning his or her face toward the camera The subject s arms can be draped gracefully or artfully crossed underneath his or her chest The image to the left is a picture of a young girl whose head is framed in a windowpane
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