Close-up and Macro Photography: A Primer Book Two: Macro & Close-up Lenses By Michael Erlewine 153 Pages, 150 Full Color Illustrations The second volume in a two-book series on close-up and…Full description
Close-up and Macro Photography: A Primer Book Two: Macro & Close-up Lenses By Michael Erlewine 153 Pages, 150 Full Color Illustrations The second volume in a two-book series on close-up and…Full description
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Polanski’s Lenses Sign up to vote on this title
Roman Polanski is one of the directors I always go to whenever I’m looking for Useful Not useful Water” inspiration, cinematography wise. His “Knife in the is also my all time favourite film which makes studying his visual language an even more enjoyable
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: 27mm, and 35mm : 27mm, and 32mm : 21mm, and 27mm : 21mm and 27mm : 25mm and 32mm (he used a 75mm for just a few close-ups) The reason behind the use of these lenses is to make the audience feel like being part of the movie since they mimic the field of view of the human eye and also reproduce the relation of sizes between objects in the frame as they are seen by us (according to Alonzo, the image focal length of the human eye is approximately 22 mm).
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Polanski in Rosemary’s Baby
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Useful Not useful Ewan McGregor has recently commented on working with Polanski in “The Ghost Writer” and his preference for wide angle lenses:
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DP Jerzy Lipman with Polanski in Knife in the Water
These wide angle lenses have become more popular in the 40’s. Until then, the most common lens was a 50mm Pan Tachar). But during the You're(Astro-Berlin Reading a Preview Second World War, the studios went through a difficult period, financially Unlock full access with a free trial. speaking, which forced them to reduce expenses and use smaller sets, which in turn, forced them into using wider lenses. Download With Free Trial
Here’s some of the films of the 40’s and the focal length. — –
: 30mm.
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(one of my favourite film noir movies):
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only one lens in the entire film: 28mm.
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Act of Violence (1948)
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: shot with a 28mm.
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(photographed by Stanley Cortez, a DP who worked with Orson Welles in several movies and photographed one of the most beautifully looking films I’ve ever seen,” “, unfortunately, the only movie directed by Charles Laughton). In “The Magnificent Ambersons”, he only used the 30mm, Baltar (which is still used nowadays when people go for a more retro look).
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The Magnificent Ambersons (1942)
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The DP Russell Metty only used a 30mm at F2.3 the entire film.
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Arch of Triumph (1948) — –
Only lens: 28mm. You're Reading a Preview Unlock full access with a free trial.
