2. Eye-level Level This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot. Low AngleThis shows the subject from below, giving them the impression of being more powerful or dominant.

3. A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.

4. This shows the subject from below, giving them the impression of being more powerful or dominant.

5. The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective. In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't. The bird's-eye view is also very useful in sports, documentaries, etc.

6. Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of camera movement play a big part.dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of camera movement play a big part.

8. The view is so far from the subject that he isn't even visible. Often used as an establishing shot.

9. The subject is visible (barely), but the emphasis is still on placing him in his environment.

10. The subject takes up the full frame, or at least as much as comfortably possible.AKA: long shot, full shot. long shot, full shot.

11. Shows some part of the subject in more detail while still giving an impression of the whole subject.

12. Half way between a MS and a CU.

13. A certain feature or part of the subject takes up the whole frame.

14. The ECU gets right in and shows extreme detail.Variation: ChokChok

15. Shows some (other) part of the subject in detail.

16. A shot of something other than the subject.

17. A shot of two people, framed similarly to a mid shot.

18. Looking from behind a person at the subject.

19. Usually refers to a shot of the interviewer listening and reacting to the subject.

20. Perhaps the most well know principle of photographic composition is the ‘Rule of Thirds‘.The “Rule of Thirds” one of the first things that budding digital photographers learn about in classes on photography and rightly so as it is the basis for well balanced and interesting shots.I will say right up front however that rules are meant to be broken and ignoring this one doesn’t mean your images are necessarily unbalanced or uninteresting. However a wise person once told me that if you intend to break a rule you should always learn it first to make sure your breaking of it is all the more effective!Read more: http://www.digital-photography- school.com/rule-of-thirds#ixzz1E8wNzmSv http://www.digital-photography- school.com/rule-of-thirds#ixzz1E8wNzmSv

22. Black-and-white (monochrome) is the oldest form of photography — originally all photos were black and white. These days it is a lot less common but still maintains a strong following.

23. Aerial photography means any type of photography taken from a camera that is not attached to the ground in any way. Photographs may be taken by a human photographer or remote controlled system.

24. Not too long ago the learning curve for infrared photography was steep – and expensive. Learning to shoot in infrared required the purchase of expensive infrared film, along with an array of filters and other pricy equipment. Worse yet, getting that perfect shot often required many tries, resulting in wasted film and wasted money.

25. Body: A light-tight compartment to house the recording medium (film or CCD). Lens: A transparent element to focus light rays onto the recording medium. Aperture: A method of controlling how much light reaches the recording medium. Shutter: A method of controlling how long the recording medium is exposed to the incoming light. Viewfinder: A way to see the image that is to be captured. Transport: In film cameras, a method of moving the film and holding it in the correct position.

26. SLR (Single Lens Reflex): he viewfinder sees the same image as the main lens, i.e. what you see is what you get. SLRs also allow you to change lenses for different purposes. This is a hugely popular type of camera, pretty much the standard for enthusiasts and professionals. Viewfinder (or range finder):Viewfinder (or range finder): In this type of camera the viewfinder is separate to the lens. This is common in cheap cameras, although some professional cameras also use this configuration. The main problem with a separate viewfinder is that the image you see may not be quite the same as the image that gets recorded. This limitation is overcome in professional cameras by using viewfinders that compensate for the different positions. Viewfinder cameras do have some advantages; for example, lower noise and higher light levels to the viewfinder. Twin reflex: The camera has two lenses — one for the photograph and one for the viewfinder. This type of camera has certain advantages in some professional situations. View: A flexible bellows joins two standards — one with the lens and the other with the viewfinder or film. This allows for unusual types of composition; for example, distorting the shape of the image by skewing the film plane. Pinhole:Pinhole: A very simple camera without a lens.

27. Make sure you know exactly what it is you are photographing, i.e. have a clearly defined subject. For example, if you are photographing a person and you are not interested in what's happening in the background, compose the photo accordingly (i.e. zoom in on them or get closer). Likewise, if you are photographing flowers, wide shots are fine but you should also try getting up close and making a feature of an individual flower.Don't have unnecessary empty or useless space in the photo (e.g. lots of sky if the subject is on the ground). In some cases you may have a good reason for including empty space — the rule is to leave out empty space which serves no purpose. If it adds to the effect of the composition, that's fine.In some cases the subject is simply a scene or a landscape. You don't necessarily need a person or object to be the subject — it can be anything at all. The point is to be aware of what it is you are trying to capture, and how you can best compose the photo to achieve this.

28. While concentrating on the subject of the photo, it's easy to overlook other parts of the composition. Before you hit the shutter button, take note of everything in the photo — not just the subject heck the edges of the frame If an object is not completely in shot (i.e. part of it is outside the frame), make sure it will still look okay. Some objects don't look good if you can't see the whole thing, or at least a certain amount of it. Partial objects can be awkward or even confusing; for example, a sign that begs to be read but is cut off half way through. You can't always avoid this situation; sometimes it doesn't matter, and you may even use it for effect. However it is something to be mindful of — try to have a reason for including or excluding partial objects. It's especially important to notice how people in the background are framed — it's best not to cut them off in an unflattering way. You may need to adjust the framing to have enough of them in shot to look comfortable, or leave them out altogether. The first example on the right includes a person in the background who is uncomfortably cut off. To fix this you could either zoom in to exclude the person, or zoom out to reveal both background people. Avoid distracting objects If something in the photo attracts the eye more than the subject, try to compose the photo differently.

29. One of the most common ways to add dramatic effect to a photograph is to use an interesting or unusual camera angle. Many shots can be given added impact by simple changes in the camera view. The photo on the top right has quite a nice composition, but the effect is much more dramatic when the camera is rolled to the right. When the subject is a person, different angles can have a strong influence on how they are perceived. A photo looking down at a person can make them look diminished, or perhaps down-to-earth, informal, etc. A photo looking up at someone can make them look powerful or I m posing. In the image below, the subject presents a non-threatening friendly face.

30. There are many types of "balance" in a photograph; for example, a mix of close and distant objects, a mix of light and dark, etc. Poor balance is not usually good, for example, a photo with too much light and no contrast. Experiment and learn how to provide a pleasing balance.The photo below has an obvious theme in the balanced stones, but it also contains a balance of light/dark tones, foreground/background, sharp/soft areas, etc

31. Vertical lines emphasise strength, power and height. Horizontal lines emphasise width, stability and security. Diagonal lines have a more dramatic, dynamic effect than vertical and horizontal. Curved lines reflect nature, relaxation, sensuality, etc. Lines can be used to direct the viewer's interest, emphasize parts of the frame, and generally create interesting effects.