1 The Director of Photography – an overview

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Lenses and perspective 173 Figure 19.11 A less extreme wide angle creating a subjective shot – that is, the camera, and therefore the audience, has become part of the subject, since their point of view is almost within the composition and the perspective is telling them the same thing. If we now move on to Figure 19.11, things have changed somewhat. We are still using a wide-angle lens, but one having nothing like so extreme a wide-angle perspective. The shot width is roughly similar but the emotional positioning of the audience has changed. Although we can see roughly the same amount of information, the audience now has a feeling that, although they would clearly be seen from the house, they are not quite intruding on the privacy of its occupants. This is because the drawing power of the lens in use, which creates the perspective, has changed and this, together with the camera moving away from the house to get as wide a shot, has forced inclusion of the outer wall to the property; this has heightened both the physical, and more importantly, the emotional distancing, separating the audience from the scene. Again, in Figure 19.12 we are maintaining roughly the same width of shot as far as the house is concerned, but have had to move further away again to achieve this. We now feel almost as if we are on a path, which indeed we are, and while we can see clearly into the garden we feel little emotional involvement with its occupants or anything that may be happening within.This is because we now have a perfectly normal perspective taken, not surprisingly, by what might be considered the normal focal length for a camera of this type. We have not forced either a subjective or an objective positioning of our audience. The relationship between subject and viewer is completely relaxed. In Figure 19.13 we have moved back a little further while still trying to maintain the same width of shot. The effect is only subtly different from Figure 19.12, but can be important. By occluding the view of the
174 Practical Cinematography Figure 19.12 Shot with a more ‘normal’ lens Figure 19.13 A longer lens terrace we have, in a certain way, made it more interesting, a little more mysterious. If we go back further still, and attempt to maintain the size of the house in the frame, on this location we are forced to include some branches in the foreground, thus giving the impression that the camera is almost a ‘peeping Tom’ and is observing the house very much without the occupant’s permission, as in Figure 19.14. We have now reached the focal length and therefore the perspective that makes this very
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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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6 Practical Cinematography ● If t
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8 Practical Cinematography Nowadays
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10 Practical Cinematography nearly
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12 Practical Cinematography Camera
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14 Practical Cinematography Lightin
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18 Practical Cinematography Film St
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20 Practical Cinematography Technic
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24 3 The camera crew An overview Be
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62 6 Film stock What is film? Rolls
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120 14 Colour temperature What is c
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1 The Director of Photography – an overview

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