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‐ Manual Focus Turn the ring anti‐clockwise for closer objects and clockwise for objects that are
further away.
COMPOSITION
FRAMING
It is very important to adhere to framings in a piece. Consistency between framings is crucial. In other
words, keep your close‐ups, mediums and wides, etc. the same throughout your piece.
1. Extreme Close‐Up
‐ In this shot the subject fills the frame
‐ Convention holds that the distance between the mouth and the bottom of the frame be greater than
the distance between the eyes and the top of the frame (i.e. more chin than brow should show).
‐ This type of look creates connotations of a large personality, and lends an intensity to the picture.
‐ Overall an atmosphere of power is created.
‐ If this shot were to be reversed with the forehead being more prominent, the opposite effect would
be achieved.
2. Medium
‐ In this shot there's more space at the bottom than at the top of the frame
‐ This type of shot generally validates the subject more
‐ If this shot was reversed with less space at the bottom and more at the top, then the opposite effect
would be achieved: the subject would look weaker and more subservient.
‐ Be careful to make sure there is some headroom in these shots though
MOVEMENT
‐ When moving within a shot it's a good idea to start slow, speed up, and end slow
this allows you to accommodate for any changes that may occur. It is also important to speed up
your shot over any boring bits and rather keep it slower during interesting bits. Make sure you go slow
enough to keep the interesting bits in so as to cover the boring bits, then zip past the boring bits and
go slow on the interesting bits.
‐ This applies to all movements, such as pans
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