The third key element of media language, camerawork, has already been covered on this blog before, so today's post is mostly a reproduction of a post first written in 2019 for the GCSE group. However, this updated post contains a link to a quiz that you can complete and a suggested clip for you to work with, and is suitable for both GCSE and A-Level pupils. The importance of shot choice and composition on a piece of media cannot be understated. Choosing the wrong shot - or worse, badly composing your shot - can completely detract from your message and the effect you were intending to have. Equally, getting it right can enhance a photograph or a scene massively.
There are three considerations to make when using a camera:
1) What distance will I shoot the subject from?
2) What angle will I shoot the subject from?
3) If filming video, am I planning any movement with the camera?
Camera shots and angles are not restricted to any one part of the exam. They apply to absolutely all of the source materials you study. Being able to correctly identify them and discuss them will enhance your answers in any of the exams, while in others you could be asked outright about the use of camera shots in TV productions or music videos. As for camera movements, these will vary dependent on the content being watched.
For the purposes of this post, I'm going to assume that we are photographing a human-shaped subject (although no actual humans would volunteer for this particular post), so I will refer to parts of the body.
Shot distances
The first consideration is how far away the photographer places the camera from the subject (or, if the camera has a zoom as most do, how they make use of this). This will affect how much of the subject we see and how much of the final image they occupy.
An extreme long shot is taken from maximum distance. The entire subject is in view from head to toe but takes up only a very small portion of the image. In such a shot, the emphasis is on the surroundings while also having the effect of making the subject seem very small and insignificant. This shot is comparatively rare in the media, but may feature to place emphasis on the stage or setting.
A long shot moves the camera as close as possible while keeping the whole subject still in view. Usually, a small space is left above the head and under the feet, but both are fully visible. In such a shot, there can be more of a focus on the pose and overall physique of the subject and an equal focus on their backdrop. This is especially useful for fashion magazines and music videos to best appreciate the subject's clothes and movements.
A medium long shot is sometimes called a three-quarter shot because it takes in three quarters of the subject. Typically, this involves shooting the subject from the knees up to emphasise the body language of the upper half and to begin to see facial expression. In some cases, the shot may be made from the neck down, emphasising the subject's clothing and pose. Unsurprisingly, medium long shots are therefore popular in a wide range of media.
A medium shot is made from the waist up. Here, a balance is struck between the subject's facial expressions and body language, especially of the hands. Medium shots tend to give us the best overall view of both and so are very useful for general emotional moments. They're the shot distance you'll see most often in film and TV when focused on a single character.
A medium close up shoots just the head and shoulders of the subject. In such a shot, the emphasis is wholly on the subject's facial expressions, and we get the full range of mouth, eyes, eyebrows and overall face, as well as any clues offered by the subject's shoulders. This emotional depth makes it another popular shot distance across a variety of media.
A close up zooms or moves the camera such that the subject's whole face (but only the face) is in view. This is the best distance at which to see facial expressions in full detail, although this is at the expense of any wider body language. It (and the next type) are comparatively rarer in media as the unnatural closeness of the face can be discomforting for audiences, especially in...
...an extreme close up! This shot type does not feature often in media. The camera is positioned (and invariably zoomed, as in this shot) to take in just part of the subject's face. Usually the eyes or the mouth. It's a shot type that you might see most often in music videos and only rarely in print media (unless you happen to be advertising toothpaste or mascara!) It is very rarely seen in TV and film unless the specific situation calls for it.
Shot Angles
In all the examples thus far we have seen the subject filmed from a neutral angle. We can, however, angle the camera high or low.
Bird's eye view is when the camera is held at a very high angle and potentially right above the subject looking down. This makes the subject look small and vulnerable. It's seen less often outside the action and horror genres.
High angle is when the camera is held at an angle, still making the subject look smaller and more vulnerable but allowing us to still see facial features.
Low angle is when the camera is instead held at a low angle with the subject looking down upon us. This makes them look bigger, more powerful and potentially threatening.
Worm's eye view is a very low camera angle and potentially from foot level looking up at the subject. This makes the subject look very big and imposing and, again, is less often seen outside the action and horror genres.
Canted or Dutch shots are ones where the ground or horizon isn't level. These can add drama or uncertainity to your shot (or a lot of motion sickness for your viewer if overused!)
Camera Movement
Not only can you consider how the camera is angled and distanced but also the ways in which it moves throughout the physical space!
1. Dolly or tracking - a smooth motion towards (dolly in) or away (dolly out) from the subject, so called because the camera may be placed on a wheeled device called a dolly to make this motion smoother; 2. Pedestal or crane - a smooth motion up (pedestal up) or down (pedestal down) without tilting the camera; 3. Truck - a smooth motion left (truck left) or right (truck right) but without panning the camera. Most often used to follow a subject left or right; 4. Pan - rotating the camera through its y-axis, allowing the viewer to look left or right; 5. Tilt - tilting the camera through its x-axis, allowing the viewer to look or up down; 6. Roll - rolling the camera through its z-axis, giving a sensation of spinning. Given its ability to induce confusion at best and sickness at worst, you won't see it often.
An example
Check out this clip from The Dark Knight (2008) which uses a wide range of the techniques described above. The aim of any film maker is not to try and use all of the techniques but to use a decent range of them effectively. As ever, my observations follow with the reminder that it's okay if you didn't spot anything first time - and you should be proud if you spotted anything I did not! As this is a longer clip with lots of examples, I will provide observations only of the first minute this time.
Shot distances - three-quarter shots as the robbers climb out of the window emphasises the physicality of their movements rather than their faces. Extreme long shot as the robbers zipline across the street makes them seem small and insignificant in comparison to their setting. Shot angles - establishing shot of the Joker moves to a low angle, highlighting the character's menace. Birds eye view as the robbers zipline across the street reminds us of the sheer drop to the road below. The low angle shot as they land clarifies that they've arrived from height but also adds to their threatening nature. The shot of the Joker and the robbers exiting the car is almost worm's eye, making both them and the surrounding buildings seem incredibly imposing. Camera movement - combined dolly/crane movement as the robbers jump out of the window makes us feel part of the crew and conveys the height between the window and street level. Further crane movement as the robbers break open the fusebox makes us feel like we are standing up with them. The combined truck/dolly movement as the Joker leaves the car brings us into the crew as a 'fourth member'. In Summary
Hopefully, you can see now how we don't just 'point and shoot' the camera at our subject and that directors and photographers think very carefully about where the camera is, how it is moving and what effect this will achieve.
Think You've Got It?
Prove it! You can take our Camera Shots, Angles and Movements Quiz!
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