The selection of the camera, lens, tilt and shot angles can all create unusual ways of seeing and patterns where they were not intended. It is difficult to imagine the effect of the first tethered balloon camera shots would have had upon a public that had never had the ability to see the world from above. Looking down on a person at from an unconventional viewpoint may create and sense of unease - it is almost as if the viewer is a unwelcome voyeur watching a secret moment. Examples of this approach include:

• Alexander Rodchenko gain a lot of their power from the way the camera has been tilted from the horizontal and vertical planes to align with a physical line in the subject - for example a factory chimney or a street. The viewer appreciates immediately that the shot is not 'normal' but the breach of the 'rules' creates a powerful tension. I include a quotation here because it sums up the alterations of thought he was seeking:
  "Contradictions of perspective. Contrasts of light. Contrasts of form. Points of view impossible to achieve in drawing and painting. Foreshortenings with a strong distortion of the objects, with a crude handling of matter. Moments altogether new, never seen before... compositions whose boldness outstrips the imagination of painters... Then the creation of those instants which do not exist, contrived by means of photomontage. The negative transmits altogether new stimuli to the sentient mind and eye." [Alexander Rodchenko]
  Other Russian photographers such as Boris Ignatovich (1899-1976) were highly influenced by this style of photography.
• Bill Brandt selected low camera angles to photograph nudes on a beach.
• Gyorgy Kepes, the Hungarian painter and photographer, was interested in the selection of low and high camera positions to flatten and abstract space.
• The still photographs and the films of Leni Riefenstahl, (1902-2003) of the athletes at the 1936 Munich Olympic games demonstrate her visual genius no matter what conclusion one has about her political persuasions.