Lens perspective refers to the way lensesrepresent space.
Different kinds of lenseshave different effects on the way
weperceive depth and dimensionality within animage. . . . Lenses
are usually chosen forhow they represent space. - Bruce Mamer, Film
Production Technique: Creating the Accomplished Image (2008)
WIDE - ANGLELENS
The wide-angle lens elongates spaceand exaggerates distance.
Days of Heaven (Malick, 1978)
The wide-angle lens can make peopleseem dwarfed by their
environment. The Piano (Campion, 1993)
The wide-angle lens stretchesperspective. The Shining (Kubrick,
1980)
The wide-angle lens can maintaindeep focus. Citizen Kane
(Welles, 1941)
The wide-angle lens can create afeeling of vast space. The
Conversation (Coppola, 1974)
The wide-angle lens at a low anglecreates a sense of cavernous
space. Citizen Kane (Welles, 1941)
The wide-angle lens distorts facesclose to the camera. Do the
Right Thing (Lee, 1989)
TELEPHOTOLENS
The telephoto lens squashes spaceand compresses distance. Barry
Lyndon (Kubrick, 1975)
The telephoto lens brings people closerto the camera. The
Conversation (Coppola, 1974)
The telephoto lens can create a shallowdepth of field. Days of
Heaven (Malick, 1978)
The telephoto lens distorts movementtoward the camera. The
Graduate (Nichols, 1967)
NORMALLENS
A normal lens represents space anddistance as they normally
appear. Sunset Boulevard (Wilder, 1950)
. . . Changing lenses for the amount ofinformation the lens
gathers (its field) is only apartial use of a lens. Lenses have
differentfeelings about them. Different lenses will tell astory
differently. -Sidney Lumet, Making Movies (1996)