![]() ![]() Long (or telephoto) lenses bring background elements more prominently into the frame and a long lens is sometimes employed when a background element is meant to loom large or seem menacing. As a compositor, you use this to your advantage, not only to re-create reality, but to provide dramatic information.Īs an example, consider Figure 2, shot with a long lens. This is a subtle yet omnipresent depth cue: With any particulate matter in the air at all, objects lose contrast further from camera the apparent color can change quite a bit, and detail is softened. Look at photos of the moon landscape, and you'll see that the blacks in the distance look just as dark as those in the foreground.Įssentially, particulate matter in the air lowers the apparent contrast of visible objects secondarily, objects take on the color of the atmosphere around them and become slightly diffuse ( see Figure 2). Particulate matter doesn't occur in outer space, save perhaps when the occasional cloud of interstellar dust drifts through the shot. The color of the particulate matter offers clues to how much pollution is present, what it is, even how it feels: dust, smog, dark smoke from a fire, and so on ( see Figure 1).
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