Cinematography lenses

The close up shot is really an art of it’s own, and like any other shot type there are many rules that you can follow (or not follow) that will help you to achieve an optimal look. For the purpose of this article though, I’m not going to be talking about framing, lighting, or aspect ratio, but rather focus on lens choice as it is arguably the most important element in achieving a flattering close up shot. My personal favorite focal length for close ups is 85mm, and I’m certainly not the only…

Atlas Lens Co. on Instagram: "🤺USAF Women in Sports🏀 Cinematography by @taylor_camarot Directed by @abigail.enright B-Cam/Steadicam Op by littlesteadi “This was my first shoot on the Mercury Lenses and they exceeded my expectations. You don’t get to shoot anamorphic on a commercial very often, but the 1.5x squeeze of these lenses struck the perfect balance for us. In open gate, we achieved a 2.25:1 ratio, so it was easy to crop to various standard formats. The versatility of these…

#photography #eye #retro #film #filmcamera #canon #cinematography #filter

Find out here everything you need to know about anamorphic vs spherical lenses and the optical differences between the two. The stunning anamorphic lens flares of The Neon Demon (2016) Directed by Nicolas Winding and cinematographer Natasha Braier. Shot with Cooke Xtal Express and Panavision C Series anamorphic prime lenses. The Neon Demon Aesthetic | anamorphic flare | lens flare | lens flare effect | spherical lenses | cinema aesthetic | cinematography lighting | film stills | movie

This information is an extension to the LEARN article in the Winter 2020 Newsletter. If you are starting here, do go and check out the newsletter, too. Many photographers do not use the full creative potential of their lenses. And many don’t realize what the controls of the lens are. I believe that one thing […]