CHOOSING AND USING LENSES Knowledge of lenses-knowing what each can do to enhance perspective and composition-is essential to creative cinematography. Th is initial article of a series deals with the attributes of wide-angle lenses. governs its for 16mm cameras would be the 17mm SOME MOTION PICTURE cameramen focal length, which in turn and 20mm lenses. Cameramen shooting separated from each at the sides and top often choose a lens for convenience angular coverage and depth of field. this is but one of its minor attributes. out and appear propriately placed for either television or normal 1 :85 to clarity than is ob­ e frame. If the compo­ in shooting, rather than for its pictor­ The shorter the focal length the wider Let us consider some of the advan­ other with greater or bottom of th 1 ratio wide-screen pictures have to re­ with longer focus lenses. Work­ set off with a strong fore­ ial effectiveness. Instead of moving the the a ngular coverage and the greater tages of the wide-angle lens : its wide tainable sition is sort to wide-angle lenses because the to the action, a vivid spa­ camera for a fresh angle an'd choosing the depth of field. Conversely: the long­ covering power and enormous depth of ing the camera in closer ground, and cross lighted, "cut-off" inherent in such filming that players, props will be captured con­ a lens more suitable for that viewpoint er the lens the narrower the lens angle field closely approximates that of Lhe and composing so tial relationship makes it necessary to either pull back positions at impression closely -the indifferent or inexperienced cam­ and the less depth available. But human eye. The eye sees sharply over and other objects occupy veying an intimate or switch to a shorter lens for the same re­ eraman will merely switch to a lens of there is much more to choosing a lens a narrow angle, hut its constant scan­ various distances from the camera, resembling the audience participation size image that would be recorded with that different focal length, simply to cover for a particular set-up than its focal ning action creates the impression that sults in a more realistic picture of the wide-screen processes. The same a normal lens. Experienced cameramen into the the area desired. The veteran profes­ length, angular coverage and depth. it is viewing a wide expanse, while ac­ seemingly brings the viewer effect cannot be obtained with longer per­ discovered long ago that greater real­ effect can be vastly they flatten images, squeeze sional cameraman knows, however, that Such important factors as linear tually much of the scene is viewed out scene itself. This lenses since ism and a more natural appearing components are ap- of various focal length possess spective, distortion, flatness of field, of the "corner of the eye." Since the enhanced if scene Continued on Page 314 lenses screen image is best captured with ry-telling powers when used modeling, image separation, image eye also changes focus rapidly, we re­ inherent sto shorter than hormal lenses. correctly. Flipping a lens turret so that speed, camera movement, vanishing ceive the additional impression that we wide­ every lens is brought into play from the point, camera angle and other im­ The demand for still shorter see everything sharply, regardless of considered. met by modern popu­ same camera set-up may be fine for portant things must be angle lenses have been distance. This accounts for the scientists using the latest in of the Cinerama and Cinemira­ covering an emergency news story Lenses ( other than zoom lenses optical larity rare element glass, possessing high re­ cle processes because they present a where there is little time for subtleties. which will not be discussed here) can fractive index and less dispersion, and wide-angle view that seemingly places Production filming, however, requires be broken down into three basic focal through the utilization of electronics the viewer in the midst of the screened a great deal of experience, thought and lengths. They are : normal, wide-angle and accurate computa­ action. and using the and telephoto. Actually the term " nor­ for more rapid planning in choosing This effect,· on a lesser scale of mal" is a misnomer since only the lens tions. right lens for the desired effect. course, can be extended to standard most effective for the shot at hand is Today we have 18mm, 25mm, The standard lenses most commonly ratio filming th r 0 ugh the deft em­ lens to use. Down 28mm, 30mm, 35mm and 40mm lenses used on studio and production 35mm really the normal ployment of wide-angle optics. The , the one­ for 35mm cameras and 9.5mm, 10mm, motion picture cameras are usually F /2 through the years, however wide-angle lens stretches perspective 16mm cameras and the 12.5mm, 13mm, 15mm, 17mm and or F /2.3; usually slightly faster­ inch l ens for and thus records a more distinct sepa­ e been 20mm lenses for 16mm cameras. While or F /1.5-on 16mm cameras. two-inch for 35mm cameras hav ration of planes, which in turn creates F / 1.9 the recently introduced Kinoptic 5.7 This is sufficient speed, compatable considered as normal or standard a pseudo third-dimensional effect. Peo­ con­ lens ( with an angular field of 113 d-;,. with lens quality, for shooting under lenses, while anything shorter is ple, furniture, trees or other objects in of longer grees ! ) can be considered in the freak any conditions, particularly with mod­ sidered wide-angle. Optics a scene - particularly if variably ephotos. class-it, too, has dramatic possibilities ern ultra-fast black-and-white emul­ focal length are designated tel spaced and cross-lighted - will stand and opens up completely new avenues sions. Extremely fast "emergency" Professional cinematographers, par­ of cinematic expression in 16mm pho­ an the order of F /1 or there­ ticularly those filming for theatrical re­ lenses tography. abouts are available, and these are lease, have almost completely discard­ Cameramen generally think of the ideal for occasional filming under diffi­ ed the use of normal lenses, especially wide-angle lens for "tight spot" film­ cult conditions, especially in color. So, for interiors. The slightly shorter than small rooms or small and crowd­ lens speed can be dismissed as no prob­ normal lenses-the 35mm and 40mm ing: in ed sets. While it is very useful for tak­ SCENE FROM "Johnny Belinda" photo­ lem since ordinarily there is lens speed optics for 35mm cameras, for instance, graphed by Ted McCord, ASC, for Worner ing in wide areas from a short dis­ to spare on most set-ups. have become the workhorses since they Bros., demonstrates the type of composi­ stage shoot­ tance and making small sets appear tio~- Which use of a wide-angle lens at The most important factor in choos­ are better adapted to sound low elevation con enhance pictof'ially much larger than they actually are- ing a lens for a particular shot is its ing. The corresponding focal lengths when aided by imaginative lighting. AMERICAN CINEMATOGRAPHER MAY • 1959 297 296 The terrific vanatlon in size be­ wide-angle's inherently greater depth in place by the gearing that focuses the \liith the BNC model, distance meas­ tween near and far objects when filmed of field, even wide open under adverse lens, and focusing is achieved remotely urements start from the tape hook, BOLEX ACCESSORIES with a wide-angle lens exists because condtions, covers focusing errors and by manipulation of focusing knobs at which is located on the upper left hand the camera is usually placed clcse to makes it a natural for hurried shooting BY STEVENS the rear and left side of the camera. corner of the camera. The lens footage the near person or object-making it when little time is available for careful Variable Shuller • Split-Frame Made • Synchronou1 Rn-,HI speci•li1h fo, ov-, • dec•de. dial lock-screw should be tightened and Battery CC1mera Drives • Time lapse Timer • Our Jong Hp-,ienc:e insures superior qu•lity. Lenses for use on either model cam­ loom larger in relation to the more dis­ focus deliberation. lens Extension Tubes • Rackover • Turret lever • El tdronic:elly controlled mechinH keep tem• after each adjustment. Also, after using Third Turret Stop e Tu,,., Filter Slides e Come,o p,urdure const.nt within .2 of one degree, era are mounted in conventional tant images which are greatly reduced N1tiontl "Brilli•nfone" Cine prints tre the finest either the 25mm or 30mm lens on the The wide-angle is especially valu­ lase • lens Control Handle • 400-Ft. Magadne 0 threaded focusing mounts having iris in size. This technique can be useful in Sound Sprockets •·•il• blt . WritefotfTeecatol09ue. NC, these lenses must be unscrewed a able under poor lighting conditions, in­ C,1.)HTACT ,11NT1NG I I W DU,LICATING diaphragm control rings. On the NC OUR NEW ADDRESS WORK ,11NTS KODACHlOMi 0u,uC.ATIN& sufficient distance before rotation of the speeding up moving vehicles or ani­ doors or out, when a large aperture is [n&i NUMIUIN& VAC.UUMATIN& model. lenses are mounted in the turret All we,~ o,Heleol ol •e ul•• ••••te turret is attempted, otherwise turret mals. A speeding auto, for instance, necessary and maximum depth of field Stevens Engineering Co., Dept. A with four machine screws. So that the 340 N. Newport Blvd. NATIONAL CINE LAB may be forced and misaligned. moving directly toward the camera and desirable. E\'en when used wide open, barrel of a long focal length lens will Newport Beach, Calif.