1 The Director of Photography – an overview

Lenses and perspective 167
Figure 19.2 Close shots
Figure 19.3 Long focal lens
shots
If you were filming in Super 16, the widest framing in Figure 19.1
would perhaps be taken on a 9.5 mm lens and the tightest framing in
Figure 19.3 would be at least a 500 mm lens.
What has happened is we have simply selected smaller and smaller
segments of the original scene. Now, for the storytelling purposes of
the film this might be just what we want, going closer and closer until
we isolate the girl either within the middle of the scene, or even from
the scene, thus concentrating the audience on that one person.
Perspective
Whereas in Figures 19.1–19.3 the camera was a very long way away
from the subject and all the elements of the scene were relatively close