Telephoto lens

A telephoto lens can also change the perspective of the picture, giving a completely new angle or focus to your photo. Also, telephoto lenses are handy at compressing perspective. This is when the background of a photo appears to be closer to the subject than what is experienced with the naked eye. This is beneficial when you cannot physically move your subject closer to the background. You can also fill the frame of your photo by getting shots from a far distance. This will bring in objects further

How about creating a law against the use of telephoto lens and parabolic listening devices? How about creating a new crime—One that will penalize those persisting and persuading photographers, the Paparazzi also known to celebrities as stalkarazzi who follow the rich and famous for the thousand dollars snapshot that reveals some special, intimate moment or an embarrassing one. Should there be a law rebuking such act? Should there be strict laws preventing press photographers (paparazzi) from pursuing

Portrait Photography Made Simple By Balal Rizvi | Submitted On April 20, 2011 Recommend Article Article Comments Print Article Share this article on Facebook Share this article on Twitter Share this article on Google+ Share this article on Linkedin Share this article on StumbleUpon Share this article on Delicious Share this article on Digg Share this article on Reddit Share this article on Pinterest Expert Author Balal Rizvi Becoming a portrait photographer is one of the toughest tasks a

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences

‘Interpreter of Maladies’ is a collection of nine short stories. The stories are about the Indians, caught between the culture they have inherited and the one, they have to adapt. All the stories almost remain the same in themes yet ideas differ in their perspectives. They present Indian immigrant people in different and variant roles and situations. Being herself the child of immigrant parents, living in the United States, Lahiri’s characters are also portraiture of such people, torn between two

The paparazzi - a fusion of the Italian words papatacci, meaning gnat and razzi meaning the popping of flashbulbs. It is also known as aggressive photography. The word paparazzo was coined by Federico Fellini, the name he gave to a prying society cameraman in his 1959 film "La Dolce Vita". Paparazzi photographers are fueled by large sums of money offered by the tabloid press. They try to catch the rich and famous in unflattering situations. The new breed of journalism grew by leaps and bounds after

binoculars is a morally problematic development in Jefferies’s voyeuristic project. This is acknowledged by the film itself. As Stam and Pearson note, Stella criticizes Jefferies as a ‘Peeping Tom’ and “‘window shopper’, and […] refers to Jefferies’s telephoto lens as a ‘portable keyhole’”. Inherently, the lenses represent a more potent and intentional violation of privacy than merely gazing out of the window. But despite the film’s self-conscious critique of voyeurism, Jefferies continues to utilize his

Prenom Carmen uses a academy ratio of 1.37:1. Starting with the first shot, it begins with a man, named Uncle Jean, in the hospital staring out of the window. Godard’s use of a middle lense, a straight-on camera angle along with high key lighting all made the visuals seem somewhat muted. The colors are all “soft” or “subdued” with no other prominent lighting effects in this first shot. Yet while the visuals does not necessarily capture my attention, Godard’s use of sound and framing certainly

black one trotted over to the herd, and mounted one of the Jennies; and the entire herd let out a combined burro chant and charged as one, down the slope in my direction, the coupled pair leading the way! There I stood in awe, camera with telescope lens dangling at my side. I looked around for a route of escape, or some kind of protection, and thought of running to my Jeep, but it was too far away, and the slope was barren of tree or boulder; I was trapped, doomed to be trampled to death by a raging

Like many of his films, Alfred Hitchcock’s Rear Window (1954) is an intense study in the sometimes-jarring idiosyncrasies of its main character, L.B. Jeffries (James Stewart). Jeffries is an observer by nature, a professional photographer confined to his apartment by an injury, with only insurance company nurse Stella (Thelma Ritter) and his girlfriend, Lisa Fremont (Grace Kelly) for company. This limitation impels him to begin observing his neighbors, and he witnesses events that lead him to believe