Horizontal
angle
Just as the direction
of a participant's gaze in an image suggests a relationship between the viewer
of a photograph and the viewed person in the photograph, the angle at which
the camera views its subject implies a relationship between the photographed
and the photographer and reader.
| |
Speaker |
Message |
| Demand |
Participant |
"I
acknowledge you and invite you to be involved in this scene." |
| Offer |
Author |
"I
offer this scene to you for observation." |
| Frontal |
Author |
"Look
at this scene in which I am involved." |
| Oblique |
Author |
"Look
at this scene which I am observing." |
Kress and van Leeuwen state that the horizontal angle between the frontal plane
of the camera lens (and also the reader's eye) and the frontal plane of the
picture's participants "encodes whether or not the image-producer (and
hence, the viewer) is 'involved' with the represented participants or not"
(p. 143). The horizontal angle can either be frontal or oblique, involved or
detached. According to the same authors, "The frontal angle says, 'what
you see here is part of our world, something we are involved with.' The oblique
angle says, 'what you see here is not a part of our world, this is their world,
something we are not involved with'" (ibid.). The chart above summarizes
and compares the implications of photographing a subject from an angle or head-on,
whether the subject is a person or a scene.
Now, compare the two objects in the La-Z-Boy advertisements below. The oblique
angle of the chair seems to invite the viewer to take a closer look, while the
frontal angle of the sofa invites the viewer, indirectly, to take a seat. Notice
how the text reinforces the different roles presented in by the angles of the
photograph; the seat is meant to be observed, while the sofa is meant to be
used. 40.1 says, "Look at this chair, Surprisingly
well-behaved considering all the studs and leather." 40.2 says, "While
you are sitting on this sofa and watching TV, Give your TV something
to look at for a change."
Vertical angle
The significance
of a photograph's vertical angle corresponds to the type of interaction rather
than the level of interaction between the viewer and the viewed. More specifically,
a power structure is established and is based on the vertical angle of a photograph,
according to Kress and van Leeuwen.
"If a
represented participant is seen from a high angle, then the relation between
the interactive participants (the producer of the image, and hence also the
viewer) and the represented participants is depicted as one in which the interactive
participant has power over the represented participant---the represented participant
is seen from the point of view of power. If the represented participant is
seen from a low angle, then the relation between the interactive and represented
participants is depicted as one in which the represented participant has power
over the interactive participant. If, finally, the picture is at eye level,
then the point of view is one of equality and there is no power difference
involved." (Kress and van Leeuwen, p. 135-148)
Take 14.1 DC, below, as an example. The camera is set at a low angle, therefore
giving the represented participant power. This is affirmed by the luxury car in
the background, reinforcing the high status (and power) of the depicted. However,
because the vertical angle is slight, the photo suggests that the power difference
between the depicted and the viewer is minimal---small enough to overcome, perhaps
by purchasing some DC merchandise. The rest of
the DC line shows similar camera angles, encouraging the connection between
DC clothes and empowerment.
14.1 DC |
24. McDonalds |
12. Big Red |
Compare this to 24 McDonalds, where the depicted person is sitting across the
table from the reader. Here, reader and participant are on equal levels; the
reader is expected to sympathize with the diner and the pain of the scant meal
is shared equally between the viewer and the viewed. Lastly, the slight upper
angle of 12 Big Red empowers the company whose product is advertised--"You
can't hide anything from us. We know what you're thinking. Here
is something you need."
