The lower the camera, the more monumental one’s subject will generally appear. Architects and designers are acutely aware of the effect their work will have on the average pedestrian from genuinely accessible vantage points. That isn’t to say there aren’t times when a view from considerably higher than the customary five or so feet won’t be more desirable.
The German photographers Berndt and Hilla Becher, who specialized in exhaustively cataloging a variety of architectural structures, were known to have erected scaffolding up to several stories to reach elevations unavailable from the ground. Their vision dictated what they had to do.
Some photographers such as William Garnett, Emmet Gowin and Michael Light in their search for ways to describe structures and their contexts have shot from aircraft. Their work describes a very different experience.
Paradoxically, a lower camera angle tends to render an interior or outdoor seating area more intimate. Depending on the size of the space and the scale of its furnishings somewhere between waist level and eye level can be ideal.
Most often somewhere between high enough to see important background elements of a scene over those in the foreground and low enough to keep from looking down on things too much is where the most effective images will be found. How low is too low? If you can see up into the inside of a lampshade or lose sight of the top of a table, counter or desk you’ve probably gone too far.
But as with all of these “rules,” it’s suggested you not take them too seriously. They are meant as suggestions only. If you feel moved to take a picture that seems to run counter to what you’ve been told, (by others or the little voices in your head) TAKE IT! You can always edit it out later, although I strongly suggest keeping all of your RAW “failures” stored in a safe place in case you experience a change of heart somewhere down the road.