Answer:
Picture a simple scene with a person standing before a landscape. If you photograph them from your eye level, the photograph looks exactly like what a passerby would see with their own eyes as they walk past you, the photographer, capturing an image of your friend. Now, this photograph can be fine—depending on the execution—but think about how you can change the composition by altering your viewpoint.
You can change your elevation. Kneel down and take a photo. Or, hold the camera above your head and shoot down on your subject. Move right. Move left. Go aside your subject or behind them. Get closer. Get further away. Roll diagonally right or left. Notice how the background shifts. Notice how things are added to or eliminated from the foreground. Most importantly, notice how the photograph you capture is no longer something that a casual passerby would see.
Subtle changes in viewpoint can add a deeper meaning or feeling to an image. When is the last time you saw a photograph of the President of the United States seated behind the Resolute desk in the Oval Office, taken from above his or her head? By shooting lower, the photographer emphasizes an iconic vantage point, signifying the power of the office. You will be hard pressed to find a photograph of the Oval Office where the camera is positioned higher than the President. On the contrary, if you were to photograph a young student being scolded at his desk, you would likely shoot the image from a higher viewpoint—from the vantage point of the dean or principal about to assign punishment—or you would chose the lower perspective from the student’s point of view with the towering power figure looming overhead.
Changing your viewpoint is a photographer’s great advantage. We see the world from eye level—be it walking around the city, driving down a country road while seated in a car, or bicycling through a village—and that level is relatively the same for all adults. The photographer, however, can give us a child’s eye view of a scene, a bird’s eye view, or even a viewpoint that is literally unique to the camera, as the human eye cannot physically reach the position. Use this freedom to your aesthetic advantage and make images from creative viewpoints.
:
what do you need help with (no pic or no question)
I think I might be wrong but try 25% (but like I said probably wrong)
80 / 100 = 1.25
100 - 80 = 20
So, 1.25 x 20 = 25%
Answer:
The signal would have experienced aliasing.
Step-by-step explanation:
Given that:
the bandwidth of the signal 
= 36MHz
= 36 × 10⁶ Hz
The sampling frequency 
= 36 × 10⁶ Hz
Suppose the sampling frequency is equivalent to the bandwidth of the signal, then aliasing will occur.
Therefore, according to the Nyquist criteria;
Nyquist criteria posit that if the sampling frequency is more above twice the maximum frequency to be sampled, a repeating waveform can be accurately reconstructed.
∴
By Nyquist criteria, for perfect reconstruction of an original signal, i.e. the received signal without aliasing effect;
Then,
∴
The signal would have experienced aliasing.
Step-by-step explanation:
We have got the lines :
Both lines intercept the x-axis in the point :
In all point from x-axis the y-component is equal to 0.
We replace the I point in the lines equations:
From the first equation :
From the second equation :
Then 
Finally :
y = ax + b and y = cx + d have the same x-intercept ⇔ad=bc
