APOGEE PHOTO MAGAZINE: Photo Close-Ups and Long Shots by Brian Ratty

Photo Close-Ups and Long Shots

by Brian Ratty
Text and pictures © 2000
Some photography by Diamar Portfolios

Lights, camera, action. It was an early film pioneer by the name of D. W. Griffith that reshaped the use and acceptance of close-ups and long shots in photography. In film terms the long shot is the establishing shot and the close-up the dramatic shot. In still photography this same general definition applies.

All too frequently the average photographer, both still and video, fails to utilize the spatial planes between themselves and their principal subject. Too many photographers shoot their pictures from some middle distance, not too near, not too far, and then wonder at the static quality of their images. What these photographers have not yet realized is that the closeness or distance of the camera to the subject, commonly designated as the close-up or long shot, offers a rich source of pictorial effects.

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In the close-up and long shot the photographer can discover and reveal many unusual and striking aspects of their subjects. An awareness of the possibilities inherent in the close-up and long shot often means the difference between an ordinary image and a distinctive one.

In the days prior to the interchangeable lens and widespread use of video cameras, every photograph was a long shot, taken from the position like that of a spectator watching a stage play. Close-ups of a detail within the whole, a prop, an expression on a face, could have been photographed, but for the most part were not. The exceptions were the portrait photographers who thought of a picture as a portrait bust or portrait group and not as a close-up or long shot. In all other types of photography a picture included the entire person, object, or scene. The photographer’s concern was with the subject itself, not with the manner in which the subject could be made more interesting.

Eventually photographers did realize that cameras didn’t need to be restricted to one viewpoint. It gradually became evident that if the camera was given the freedom and curiosity of an active observer who roamed about intelligently, the subject matter before the lens would gain in meaning, effectiveness, and importance. The early motion-picture cameraman, like W. B. Griffith, learned that by altering the distance and viewpoint of their shots they could control and intensify the impact of their images. If they came very close to the subject, their camera discovered details never realized otherwise; if they placed their camera at a more remote distance, larger aspects were revealed. Out of this discovery arose the concepts of the long shot, medium shot, close-up, and extreme close-up each designating the camera’s relative proximity to the subject.

Long shot	Medium shot
Close-up	Extreme close-up

Relative Distance

How near is a close-up? How far is a long shot? No two photographers will agree on the exact distance of each. All, however, will agree as to the consistency in the relationships of these distances to one another. For "far" and "near" are, of course, relative terms. What might be a sufficient distance for taking a long shot of one subject might be near enough to result in a close-up of another subject. For example, a long shot of a baby could be taken from a distance of approximately ten feet; yet if a tall building were photographed at a distance of ten feet, it would not be a long shot, but a close-up.

If distance is not always the deciding factor in achieving the close-up or long shot, what is? The essential point is not the number of feet from subject to camera, but how much of the subject is to be shown in the picture. A close-up eliminates everything but one feature of the subject; a long shot includes the whole of the subject and can establish the subject. Once this definition is understood, the problem of making interesting images through the use of close-ups and long shots is half solved, since the photographer has learned to think of his camera as a creative tool, instead of a mechanical one.

Function Of Close-up And Long Shot

The technique of shooting close-ups is undoubtedly one of the most exciting aspects of present-day photography. The close-up enables the photographer to convey facts clearly and dramatically. Proof of its popularity and effectiveness can be found on the advertising pages of almost every magazine and on the screens of every motion picture or video. The close-up brings pictures to life.

The chief function of the close-up is to itemize; the chief function of the long shot is to generalize. The close-up, in excluding unwanted portions of the subject, focuses attention only on what is important and makes this clear through magnification. The long shot, by including the entire subject, focuses attention upon its broader aspects and makes this clearer through its sheer size. The size that results from the close-up and long shot creates a difference in dramatic emphasis, enabling the photographer to play one against the other. It is the close-up, which is the photographer’s real attention-getter, while the long shot serves to define or reveal the subject as a whole.

When and how to use close-ups and long shots depends, of course, upon the subject matter and what the photographer wishes to say. Each subject requires its own treatment. Nevertheless, there are certain principles that hold true for the use of close-ups and long shots in both still and video photography. Knowledge of these principles is the best way to improve technique.

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Techniques Of Close-ups And Long Shots

In addition to the creative aspects, there are also the technical and mechanical factors involved in making close-ups and long shots, which should be discussed. The basic consideration here is the choice of lens.

The longer focal length lenses are very useful for close-up work. As the focal length of a lens increases, the field of view narrows down, for example, a 110mm telephoto cuts in half the width and height of an area covered by the normal 55mm lens. The practical effect of the longer focal length is that it spans distance, bringing the subject closer while maintaining a comfortable camera-to-subject working distance for the photographer.

Focusing is an important consideration in shooting the close-up. The longer focal length lens and larger apertures used for close-ups make the depth of field shallow. Thus a slight error in focusing will destroy the sharpness and definition of a subject in a close-up. It is therefore advisable to use a tripod as a steady camera platform. And if you are working with extreme close-ups you might also consider using a ‘cable release’ to fire your camera.

In the long shot the camera is placed at a considerable distance from the subject and the problem of distortion encountered in close-up work is avoided. For long shots the shorter focal length (wide-angle) lenses are useful in including the whole of the subject in the picture. At the same camera-to-subject distance, the wide-angle lens will, naturally, include more of the subject than the normal lens. In addition, wide-angle lenses are designed in such a way that their depth of field at small apertures will often extend from about four feet to infinity.

Exposure

If your camera is not equipped with a built-in light meter, the careful use of an exposure meter is recommended. For shooting close-ups from a far distance with a telephoto lens, the photographer will find a reflected-light meter an invaluable aid for determining exposure. The angle of acceptance of this meter is so small that you can make an accurate reading of distant objects while standing far away from your subject.

For long shots there are two good ways of taking readings of distant scenes:

1. If possible go up to the objects in the scene, read highlights and shadows, and then come to an average reading.

2. If you cannot reach the objects themselves, take readings of similar objects nearby, making sure that they are in the same light that is falling on your long-shot subject.

3. If working outside remember to always check your meter reading using the Sunny f16 Rule.

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Backgrounds

Backgrounds are very important in close-up shooting. Great care must be taken not to stress or emphasize the background, or it will conflict with the main subject. For videos, it is important to have the background tone of a close-up approximate the background tone of a long shot so that there will not be an abrupt jump when one shot follows the other on the screen. A safe rule concerning backgrounds is to keep them soft and let them "fade away" in a close-up.

Closing

The close-up is the specific, the dramatic shot; the long shot is the general, the establishing shot. The long shot reveals the genus, the comprehensive view; the close-up points out the variety. The long shot is inclusive and allows the spectator to wander over large areas. The close-up is definite, centering attention upon the characteristics of the subject. The long shot may be used to preserve a sense of mystery, create a general atmosphere, establish a broad location or setting, indicate the total action, or simply summarize. Intensity and dramatic appeal, however, are gained through the use of close-ups, which reveal specific points of view and specific details.

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