Now that you can compose on purpose, here's the trap waiting for you: angles have strong opinions, and they'll voice them whether you meant them to or not. Choose the angle by accident and your picture can end up saying the exact opposite of what you intended.
The Low Angle (worm's-eye)
Point the camera up at someone and they tower over you. That's why heroes, monsters and statues are so often shot from below — it reads as powerful, looming, important. Brilliant if your subject is meant to feel mighty. But aim it up at a gentle, ordinary person and you've accidentally made them menacing or self-important. A kind grandmother shot from a worm's-eye angle can come out looking like she's about to tell you off.
The High Angle (bird's-eye)
Now point the camera down and the subject shrinks. From above, people look small, exposed, a little helpless — which is perfect for "lost child in a huge city", and terrible for "confident leader". Shoot your friend from above and, without a word, you've made them look weak. The angle did that, not them.
Even Eye-level Isn't Safe
You'd think eye-level, dead-on, would be the "safe neutral" — but it has two faces too. A calm, slightly-off-centre eye-level shot feels like a relaxed conversation. The same eye level pushed dead-centre and held too close becomes a stare — confronting, almost a stand-off. So "eye level" isn't one thing; it depends on framing and distance as well.
The trap, every time, is accident: grabbing the first angle that's handy and letting it speak for you. In the toy, flip one figure through the three angles and watch the meaning lurch — same person, three completely different impressions. Choose the one that matches your story. Don't let the angle choose for you.