I challenged him on his statement. I don’t specifically want the camera held at my eye level; I want it at the eye level of the person/child/dog/thing that I am photographing. For example, if I were to photograph that other gentleman, a good foot and a half taller than I am, my camera should be at his eye level. Which illustrates my point – dramatic images often come from dramatic points of view.
The rule of thumb for photographing people is that the camera should be at eye level with the person being photographed, not the photographer. For drama, move above or below that level, but not just a foot or two, be dramatic. Lie on the floor, stand on a chair, get up on a balcony and be dramatic. When shooting architecture or landscapes try another angle, something higher or lower, to one side or the other.
I was walking across a busy street one day when I realized that there were no cars around me at the moment. Stopping in the middle of the road, I placed my camera on the road pointing one way and then the other, shooting off a number of images. The images were not spectacular, but it did get me thinking about what I could do to make street shots more interesting.
Don't limit yourself to the obvious. Try something offbeat when you take photographs. Those are the ones that often make the biggest impact.
*Thanks again to ace photographer Steve Rabjohn for this week's contribution.