The cinema as a graphic art : on a theory of representation in the cinema (1959)

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THE COMPOSITIONAL CONSTRUCTION OF THE SHOT ^v Fig. 26. — Portrait taken by long-focus lens. Fig. 27. — The same portrait, taken by short-focus lens. mable us to achieve the effect of multiplication of any other detail of the Dbject. The examples we have given illustrate certain possibilities of exploiting optics :o achieve a linear distortion of the object photographed. In these cases the distortion affects primarily the linear outline of the object and the linear correlationships of its details. Now we will consider another peculiarity of optical transmission, which plays no less part in the construction of the visual image. If our optical system is relatively entirely corrected against the basic defects arising in optics (spherical and chromatic aberration, astigmatism, coma, etc.) we jet a sharp image exactly reproducing the technical details of the object photographed. But if certain of the optical defects are retained in the optical system, the image will be less sharp and distinct in its technical details. The lens will ^ive a varying degree of sharpness of details, a varying softness of the image, according to the extent of the optical correction. This peculiar ability of an incompletely corrected lens to soften the details of the image is also exploited by camera-men as a means of giving expression to a specific scenario or directorial intention. Judged from the aspect of this optical peculiarity, existing varieties of lenses can be classified in three main categories, according to their effects. The first effect is the sharp outline obtained by using lenses with good optical correction. In practice these lenses are called ' sharp ' or ' hard \ The second effect is the soft outline obtained by using lenses with incomplete optical correction. The third effect is that produced by lenses which soften the image not throughout its field, but only in certain parts. There are varieties of lenses which soften the edges of the image, and others which soften its centre. By using soft-focus lenses the camera-man can convey the dimensions of 57