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4. THE ELEMENTS OF SHOT COMPOSITION
Having established that the principles of compositional construction of the single shot are in functional dependence upon the principle of the organisation of the shots in the course of editing, we can now consider the compositional factors by means of which we organise the image shot spatially and temporally.
As the photographed object is reproduced in the space of the frame and so is limited by definite bounds, the camera-man is faced with the task of selecting those representational elements which can and must be included in the shot's field of vision. He separates out, abstracts from the environment those objects which are required to reveal the purpose of the shot.
The next stage is to place the object in the space of the shot. Here we are faced with the problem of the perspective relationships between the various parts of the image, with the problem of the inter-relationships of the various objects in the shot, their movement and rhythm. In order to determine the place of each object in the shot, we need to understand the optical laws of perspective. On the principle of perspective unity we have to base our decisions respecting the cameraangle 1 of the subject, its foreshortening, and the relative proportions of the various masses and surfaces.
The picture of the image is obtained by the action of the optical apparatus used in photography. Each lens possesses its own peculiar optical properties, and the character of the optical transmission of the linear and plastic aspects of the object photographed depends on the choice of lens. Consequently, the cameraman has to include optical resources among those which he creatively exploits in carrying through his plan of compositional construction.
In order to transfer an impression of the bulk of a three-dimensional object to the two-dimensional plane of the shot, he must not only place it correctly in the shot, but give it correct lighting. This raises the problem of distribution of light and shade, which is one of the chief factors in the camera-man's art.
The tone of the image is closely connected with the question of light and shade distribution. Tone and its distribution in the shot play a large part in displaying the specific features of the object photographed. To this end the camera-man exploits several technical resources which assist in varying degrees j to modify the tonal correlationship of the shot.
Finally, in order to organise the movement of the object within the shot the camera-man must understand the effect of the speed of photographing as a means of representing and modifying dynamic processes.
We can now turn to an analysis of the various compositional elements with
1 ' Camera-angle ' means plane of distance of the camera from the object shot, i.e. long-shot, mid-shot, close-up, etc. The word derives from the fact that it is possible to determine the apparent distance of the object by change of lens, with a specific angle of embrace, in one and the same set-up. (For secondary meaning see note, p. 20.) — Ed.
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