Camera Angles for AI Images: When to Use Each, With Prompts

Most AI images are taken from the same spot: eye level, medium distance, subject in the middle. Moving the camera is the fastest way to make an image look like a decision, and it only takes one line of the prompt, as long as the rest of the prompt holds still.

To show it, we took one character and one location and shot them sixteen ways with Nano Banana Pro, the same model that runs in ReelyArt Studio. Every prompt is shared in full below, and only the camera line changes from one to the next.

The setup: lock everything except the camera

Each angle was generated with the same three reference images: the original shot of the woman, a character sheet of her from several sides, and an empty plate of the location. Every prompt follows the same structure:

[ANGLE NAME].
Keep the exact same woman from image 1 and the character sheet in image 2: [face, hair, sunglasses, outfit].
Same location from image 1 and image 3: [cliff, sea stack, sea, sky, light].
Camera: [angle, lens, framing, pose].
Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

With the person, the place and the look pinned down, the model has one thing left to interpret: the camera. That is what makes the differences between the shots easy to see. The prompts ask for a thin black film border, which we cropped from the images on this page; leave that phrase out if you do not want one.

How to choose an angle

Four questions decide most shots:

• How much of the world should the viewer see? That is shot size, from extreme wide to extreme close-up.
• Should the subject feel powerful, small or on edge? That is camera height and tilt.
• Whose eyes are we looking through? That is point of view: over the shoulder, profile, selfie.
• What should the eye land on first? That is focus and light: a sharp foreground, a sharp background, a silhouette, a flare.

The sections below follow those four questions, and there is a quick-pick table after them.

Shot size: how much of the world

Extreme wide establishing shot

Use it to open a story, a carousel or a website hero: it tells the viewer where they are, and the empty sky leaves room for a headline. What does the work is a measured size, "less than one tenth of the frame height", plus a 24mm lens and "lots of negative space".

EXTREME WIDE ESTABLISHING SHOT. Keep the exact same woman from image 1 and the character sheet in image 2: same long wavy platinum blonde hair, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette, high-waisted sand linen wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white porous limestone cliff top, the same tall white sea stack, the low breakwater on the horizon, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: extreme wide establishing shot taken from far along the coast with a 24mm lens. She is a tiny figure standing on the edge of the white cliff, less than one tenth of the frame height, placed on the right third, her white shirt blowing in the wind; the sea stack, the vast turquoise sea and the sky dominate the frame with lots of negative space. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Full shot

For outfits, lookbooks and anything where the whole look sells. Name both ends of the frame, "from the top of her head to her bare feet", and ask for a little space above and below, or the feet get cut.

FULL SHOT. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin with light freckles, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white porous limestone cliff top, the same tall white sea stack, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: full shot at eye level with a 50mm lens, her whole body from the top of her head to her bare feet with a little space above and below. She walks slowly across the white rock toward the camera, one hand brushing her hair back, the shirt blowing to one side, the sea stack behind her. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Medium shot

The most useful framing for social posts, with body language and expression in one frame. Give the exact cut, "down to just below the waistband" and "legs out of frame", so the model does not drift into a full shot.

MEDIUM SHOT. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin with light freckles, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers. Same location from image 1 and image 3: the same white limestone cliff, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: medium shot at eye level with a 50mm lens, framed from the top of her head down to just below the waistband of her trousers, legs out of frame. She stands facing the camera at a slight angle, one hand lifting her sunglasses, a relaxed natural half smile, the shirt collar moving in the wind, the turquoise sea softly out of focus behind her. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Close-up

Emotion, beauty and profile pictures. An 85mm lens at f/1.8 melts the background. Her eyes are behind sunglasses in most of the set, so this prompt moves them up into her hair; say it when the eyes matter.

CLOSE-UP. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same eyes, same nose and lips, same long wavy platinum blonde hair, same sun-kissed skin with light freckles, same turquoise oval sunglasses, same white linen shirt collar. Same location from image 1 and image 3: the same turquoise sea and light turquoise sky, same bright midday sun. Camera: close-up with an 85mm lens at f/1.8, her face and the top of her shoulders filling the frame. The turquoise sunglasses are pushed up into her hair so her eyes are visible; she looks just past the camera with a calm, soft expression, a few strands of blonde hair blowing across her cheek, warm sun on her skin, the sea melted into soft turquoise bokeh behind her. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture with pores and freckles, not retouched, no glow.

Extreme close-up

One detail carries the whole image: a texture, a product, a reflection. Here the dark lens reflects the sea stack, which ties the detail back to the place. Describe what fills the frame and what should appear inside it.

EXTREME CLOSE-UP. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same sun-kissed skin with light freckles, same platinum blonde hair, same turquoise oval sunglasses. Same location from image 1 and image 3: the same white sea stack and vivid turquoise sea, same bright midday sun. Camera: extreme close-up with a 100mm macro lens, the frame filled by one turquoise sunglass lens and the side of her face around it: part of her eyebrow, cheekbone, freckles and a strand of blonde hair. The dark lens clearly reflects the turquoise sea, the white sea stack and the bright sky. Very shallow depth of field, crisp detail on the glossy turquoise frame and her skin texture. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Height and tilt: how the subject feels

Low angle (hero shot)

Confidence and power, for sportswear, founders and campaign heroes. Put the camera somewhere physical, "near the ground at knee height and tilted steeply upward", and give the pose that goes with it: hands in pockets, chin slightly down, eyes into the lens.

LOW ANGLE (HERO SHOT). Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white limestone cliff, the same clear light turquoise sky, same bright midday sun. Camera: low angle, the camera placed near the ground at knee height and tilted steeply upward, 28mm lens. She stands tall above the camera with both hands in her trouser pockets, chin slightly down, looking straight into the lens with a confident expression; her open white shirt billows out against the bright turquoise sky, which fills the whole background; the edge of the white rock is visible at the bottom of the frame. She looks powerful and larger than life. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Bird's-eye view (top-down)

Graphic pattern and scale, for travel and anything with a strong line on the ground. "A perfect 90-degree top-down angle" sets the camera, and a pose that reads from above, lying down with arms out, gives the frame its shape. A square frame suits it.

BIRD'S-EYE VIEW (TOP-DOWN). Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white porous limestone cliff top and the same vivid turquoise sea, same bright midday sun. Camera: bird's-eye view shot straight down from high above like a drone, a perfect 90-degree top-down angle. She lies on her back on the white rock right at the cliff edge, arms stretched out, her blonde hair fanned around her head and the white shirt spread open like wings; the rough white rock fills half the frame and the turquoise water fills the other half, divided by the clean line of the cliff edge; her small shadow falls beside her. Graphic, symmetrical composition. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Dutch angle

Energy and unease, for music, streetwear or action; use it sparingly. We asked for a roll of about 20 degrees and the horizon came back tilted by roughly half that. Models tend to straighten a horizon, so describe the result in words as well as degrees, and push harder than you think you need.

DUTCH ANGLE. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white limestone cliff, the same tall white sea stack, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: Dutch angle, the camera rolled about 20 degrees to the side so the sea horizon runs diagonally across the frame, 35mm lens at eye level, framed from the knees up. She strides toward the camera into the wind with her hair and shirt whipping sideways, looking off to one side; the tilted horizon and the leaning sea stack give the frame restless, dynamic energy. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Point of view: whose eyes

Over-the-shoulder shot

The viewer sees what the subject sees, which works for destinations, products on a shelf or a screen. Place the shoulder, "the left third of the frame, softly out of focus", and name what is sharp beyond it.

OVER-THE-SHOULDER SHOT. Keep the exact same woman from image 1 and the character sheet in image 2: same long wavy platinum blonde hair, same sun-kissed skin, same turquoise oval sunglasses, same oversized white linen shirt. Same location from image 1 and image 3: the same white limestone cliff, the same tall white sea stack, the low breakwater on the horizon, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: over-the-shoulder shot from just behind her right shoulder, 50mm lens. Her blonde hair, the side of her face with the turquoise sunglasses and her white linen shoulder fill the left third of the frame in the foreground, softly out of focus. In sharp focus beyond her: what she is looking at, the white sea stack rising from the turquoise water and the open horizon. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Profile shot

A clean line of the face shows direction and intent, and it reads well on a poster. "Exactly perpendicular to her at eye level" places the camera, and the prompt points at the side view in the character sheet so the profile stays true to her face.

PROFILE SHOT. Keep the exact same woman from image 1 and the side-profile view in the character sheet in image 2: same face in profile, same nose, lips and jawline, same long wavy platinum blonde hair, same sun-kissed skin, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette, high-waisted sand linen pleated wide-leg trousers. Same location from image 1 and image 3: the same white limestone cliff edge, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: pure side profile, the camera exactly perpendicular to her at eye level, 85mm lens, framed from the hips up. She stands at the cliff edge facing left toward the open sea, head held high, her hair and the white shirt streaming back behind her in the wind; the sea horizon runs cleanly behind her shoulders and the turquoise sky fills the upper frame. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Selfie

First person and casual, the look of user-generated ads and social posts. The arm entering from the lower corner, a phone held slightly high, the gentle wide-angle stretch and "a little imperfect framing" are what make it read as a real selfie.

SELFIE. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin with light freckles, same turquoise oval sunglasses, same oversized white linen shirt worn open over the sand-beige knit bralette. Same location from image 1 and image 3: the same white limestone cliff, the same tall white sea stack, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: a selfie she takes herself, the phone held at arm's length slightly above eye level, wide 24mm front-camera perspective with gentle wide-angle stretch; her extended arm enters from the lower corner of the frame, her face fills the upper-middle of the frame with a big spontaneous laugh, the wind blowing her hair across the lens side, the sea stack and turquoise water behind her shoulder. Candid, casual, a little imperfect framing. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture with pores and freckles, not retouched, no glow.

Focus and light: where the eye goes

Silhouette

Shape over detail, for mood pieces and images that need to carry text. Shoot into a low sun, "exposed for the bright sky", and describe the outline you want. This prompt also moves the scene to golden hour, since a midday sun is too high to backlight her.

SILHOUETTE. The exact same woman from image 1 and the character sheet in image 2: same long wavy platinum blonde hair, same oversized white linen shirt worn open, same high-waisted wide-leg trousers, same oval sunglasses, recognisable only by her outline. Same location from image 1 and image 3: the same limestone cliff edge and the same tall sea stack, later the same day at golden hour. Camera: silhouette shot, the camera low on the rock looking straight into the low sun, 50mm lens, exposed for the bright sky. She stands on the cliff edge in full-body profile, one arm lifted to hold her hair, her loose shirt billowing out behind her in the wind; she and the sea stack are pure dark silhouettes with crisp edges, a thin rim of warm light tracing her hair; the sky glows pale gold fading into turquoise and the sea glitters with sun sparkle. Strong, simple graphic shapes. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, not retouched.

Foreground occlusion

Shooting through something adds depth and a sense of watching, common in fashion editorials. Describe the frame within the frame, here a hole in the rock very close to the lens and out of focus, and the sharp subject seen through it.

FOREGROUND OCCLUSION. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white porous limestone cliff, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: foreground occlusion, shot through a natural hole worn into the porous white limestone, 35mm lens. The rough rock edges of the hole are very close to the lens, heavily out of focus and slightly shadowed, covering the corners and most of the frame border and forming an organic irregular window. Through the opening, in sharp focus, she sits on the rock further away with her knees drawn up, looking out at the turquoise sea, her shirt moving in the wind. Voyeuristic, layered depth. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Foreground focus

A sharp object up front with the person soft behind it, the classic product-in-a-story shot. The sunglasses on the rock lead and she is "reduced to soft shapes". The prompt ends by stating the reading order it wants: "The eye goes to the sunglasses first, then to her."

FOREGROUND FOCUS. The exact same woman from image 1 and the character sheet in image 2: same long wavy platinum blonde hair, same oversized white linen shirt worn open, same sand linen wide-leg trousers. Same location from image 1 and image 3: the same white porous limestone cliff, the same tall white sea stack, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: foreground focus, a 50mm lens at f/1.4 placed low, just above the rock surface. Her glossy turquoise oval sunglasses lie folded on the rough white limestone in the lower foreground, razor sharp, with every pore of the rock and the reflections on the lenses visible. Behind them, far out of focus, she walks barefoot along the cliff edge toward the sea stack, her white shirt and blonde hair reduced to soft shapes and creamy bokeh. The eye goes to the sunglasses first, then to her. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Background focus

The reverse: a soft foreground and a sharp subject deep in the frame. It feels calm, and the blurred foreground is a quiet place for text. Say where the focus sits, "deep in the frame", and what is blurred.

BACKGROUND FOCUS. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette, high-waisted sand linen pleated wide-leg trousers, bare feet. Same location from image 1 and image 3: the same white limestone cliff, the same tall white sea stack, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun. Camera: background focus, an 85mm lens at f/2 placed very low on the rock. The whole lower half of the frame is the near porous rock surface and a few loose white pebbles, completely blurred into soft white and cream shapes. The focus sits deep in the frame: she sits on the far edge of the cliff with her legs dangling over the turquoise water, seen from behind in three-quarter view, her hair and shirt lifting in the wind, crisp and sharp, with the sea stack beside her. Calm and contemplative. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, bright airy colours, not retouched, no glow.

Lens flare

Warmth and nostalgia for summer campaigns. Ask for a real optical flare, list its parts (a hazy veil, a rainbow streak, ghost reflections) and add "not a digital effect" to keep it photographic.

LENS FLARE. Keep the exact same woman from image 1 and the character sheet in image 2: same face, same long wavy platinum blonde hair, same sun-kissed skin with light freckles, same turquoise oval sunglasses, same outfit: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons, high-waisted sand linen pleated wide-leg trousers. Same location from image 1 and image 3: the same white limestone cliff, the same vivid turquoise sea and light turquoise sky, in warm late-afternoon sun. Camera: shot directly toward the sun with a vintage 35mm lens, the sun just peeking past the edge of her head and shoulder. A real optical lens flare: a hazy veil of warm light washing over one side of the frame, a soft rainbow streak and a few round and hexagonal ghost reflections crossing diagonally, slightly lowered contrast. She is framed from the waist up, turning her face toward the light with eyes half closed and a quiet smile, strands of hair glowing with backlight. Dreamy but natural, not a digital effect. Same look as image 1: real 35mm Kodak Portra 400 film scan with natural grain, the same thin black film-frame border, real skin texture, not retouched.

Picking an angle for the job

You want to…	Try	Ratio used here
Show where we are and leave room for a headline	Extreme wide	21:9
Sell an outfit	Full shot	2:3
Post a person on social	Medium shot or close-up	4:5
Show a product detail or a texture	Extreme close-up or foreground focus	16:9
Make someone look powerful	Low angle	3:4
Make a graphic, pattern-led image	Bird's-eye view	1:1
Add energy	Dutch angle	3:4
Put the viewer in the subject's place	Over-the-shoulder	16:9
Make it feel like a real phone photo	Selfie	3:4
Set a mood or carry text	Silhouette or background focus	21:9 or 3:4
Add depth and intimacy	Foreground occlusion	4:5

Writing a camera line the model follows

• Name the shot first, in capitals. Every prompt opens with it, "LOW ANGLE (HERO SHOT).", so the intent is set before the details.
• Put the camera somewhere. A height, a direction and a lens beat a label: "near the ground at knee height and tilted steeply upward, 28mm lens".
• Measure the framing. "Less than one tenth of the frame height", "from the top of her head to her bare feet", "legs out of frame".
• Say what goes where. "Fills the left third", "in the lower foreground", "deep in the frame".
• For focus shots, say what is sharp and what is soft, and give an aperture.
• Give a pose that fits the angle. Hands in pockets for a low angle, lying down for top-down, a laugh for a selfie.
• Choose the ratio with the shot. Wide shots and silhouettes want a wide frame, full shots a tall one.
• Expect extremes to come back softer. The Dutch angle is the example here; describe the result you want, not only the setting.

How the character and location were made

The three references came from three prompts. First, one text-to-image prompt created the woman, the outfit, the place and the film look, at 3:4 and 2K with no references:

A young woman in her mid twenties with long wavy platinum blonde hair and sun-kissed skin with light freckles, wearing turquoise oval sunglasses, an oversized white linen shirt worn open over a sand-beige knit bralette with three dark buttons, and high-waisted sand linen pleated wide-leg trousers. She stands on a white limestone coastal cliff, leaning back into a strong wind with her chin lifted toward the sun and both hands gathering her hair above her head, the open shirt blowing wide on both sides. A bright, clear light turquoise sky fills most of the frame, with the turquoise sea behind her, in bright midday sun. Low angle, framed from the thighs up, 35mm lens. Real 35mm Kodak Portra 400 film scan with natural grain, a thin black film-frame border, bright airy colours, real skin texture, not retouched, no glow.

Then that image was attached as the only reference for a character sheet and an empty location plate, both at 16:9 and 4K:

Character reference sheet of the exact same woman from the reference image: same face, same features, same long wavy platinum blonde hair, same sun-kissed skin, same slim build, same age. Same outfit in every view: oversized white linen shirt worn open, sand-beige knit bralette with three dark buttons on a crossover band, high-waisted sand linen pleated wide-leg trousers with a front button, bare feet, turquoise oval sunglasses. Layout on a plain light grey seamless studio background with soft even daylight: top row, three head-and-shoulders close-ups (front view with sunglasses, three-quarter view with sunglasses, side profile with sunglasses pushed up into her hair so her eyes are visible); bottom row, three full-body standing views (front, side, back). Natural relaxed expression, real skin texture with pores and light freckles, natural hair. Photographic, like a real casting and wardrobe reference shoot, light film grain, true colours. No text, no labels, no borders.

Environment reference plate of the exact same coastal location from the reference image, with no people: the same flat white limestone cliff top with rough porous rock, the same tall white limestone sea stack standing in the water to the left, a low breakwater on the horizon, the same vivid turquoise sea and clear light turquoise sky, same bright midday sun from above-right. Wide shot at eye level. Real 35mm Kodak Portra 400 film scan: natural grain, bright airy true colours. No people, no text, no border.

Every angle then attaches the three images in the same order: the source as image 1, the sheet as image 2 and the plate as image 3. The same approach, a fixed person reference and a fixed product reference, is behind our summer product campaign prompts.

Running this in ReelyArt Studio

Nano Banana Pro takes up to eight reference images in Studio, so three references fit with room to spare. It runs on paid plans at 4 credits for 1K, 5 for 2K and 8 for 4K; this set was rendered at 4K. Studio offers it at 1:1, 16:9, 9:16, 4:3 and 3:4, so for the 21:9, 2:3 and 4:5 shots pick the closest ratio. The same prompts also run on Nano Banana 2, which is free at 1K and 2K; expect the results to differ. For how the two compare with the other models, see all the major image models in one studio.