1 The Director of Photography – an overview

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Composition and the rule of thirds 165 Another variation is to combine different compositions within different elements of a single frame. Let us say that we are going to put a ‘heavy’ object within the right-hand vertical three boxes and a small, perhaps fragile, object in the bottom left-hand third box. If the subject looming in the right-hand third could be made to have an eyeline to the subject in the lower left-hand box, we would have a very effective composition. Figure 18.11 is such a composition. The bear on the right is wholly composed within the right-hand third, while the butterfly is beautifully contained and composed within the lower left-hand third box. Here, combining at least two rules has given us an unusual and very effective composition. There are many, many variations on this, and other, themes.
Figure 19.1 A wide-angle, medium-angle and medium close view 19 Lenses and perspective Frame size and focal length Figure 19.1 represents a general view of a city scene. Marked on it are the framings for a wide-angle lens, a medium-angle lens and a medium close lens. As you can see, the different lenses only select different amounts of the scene. There is no change in perspective – none of the figures or items in the shot change their relationship to each other. In Figure 19.2 you can see four more lens sizes – again there is no relational change between the elements of the scene in the different framings, even though the frame size has now changed radically. In Figure 19.3 the framings for even more extreme long focal lengths are illustrated and again the relationships haven’t changed. 166
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Dedication To the memory of my fath
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Focal Press An imprint of Elsevier
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vi Contents 5 Lenses 49 Artistic de
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viii Contents 17 Testing 146 Why so
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4 Practical Cinematography In early
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8 Practical Cinematography Nowadays
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Page 219 and 220: 202 Index Colour correction (contd)
Page 221 and 222: 204 Index Lenses (contd) Panavision
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1 The Director of Photography – an overview

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