viewpoint or by moving one of the objects, but

only a telephoto lens allows it to be done without

major changes to the rest of the image. Moreover,
when the two things are a distance apart, the
compression effect of a telephoto lens helps to
bring them together.
Finally, the way that a telephoto lens is
normally used—from a distance—communicates
itself to the viewer and leaves an objective, less
involved impression. There is a major difference
in visual character between shooting within a
situation with a wide-angle lens and an across-
the-street view away from the subject.
Certain other designs of lens, apart from
variations in focal length, alter the shape of the
image. Their intended uses are specialized, but
enable the image to be stretched or curved in
various ways. One such is the fish-eye, of which
there are two varieties, circular and full-frame.
Both have an extreme angle of view, 180º or
more, but in the full-frame version, the projected
circle is slightly larger that the normal rectangular
SLR frame. The pronounced curvature is highly
abnormal, and at best it has only occasional use.
Little subtlety is possible with this type of lens,
unless the subject lacks obvious straight lines
(such as in the forest photograph on page 88).
Another way of changing the image structure
is by tilting the lens or camera back, or both—a
procedure relatively common in view camera
4%,%0(/4/#/-02%33)/.
photography. Tilting the lens tilts the plane of /NEOFTHEDISTINCTIVEVISUAL
sharp focus, so that, even at maximum aperture, IMPRESSIONSOFATELEPHOTO
the sharpness in an image can be distributed DISTANTVIEWISASIFTHEPLANES
more or less at will. Tilting the sensor or film also OFTHESUBJECTHAVEBEENTILTED
UPWARDTOFACETHECAMERA
controls the sharpness distribution, but distorts the
image, stretching it progressively in the direction in
which the sensor or film is tilted. The example of
the raindrops here shows how this works.
4),4,%.3!,4%2).'3(!20.%33$)342)"54)/.
35"*%#4)6%#!-%2!
"YTILTINGEITHERTHELENSORTHEBACKOFTHECAMERATHELATTERONLYPOSSIBLE
!WIDE ANGLELENSUSEDCLOSEINTOACROWDSCENE
WITHSPECIALISTCAMERAS THEPLANEOFSHARPFOCUSCANBETILTEDFROM
GIVESTHESENSEOFBEINGINTHETHICKOFTHINGSTHAT
ITSNORMALVERTICALPOSITIONFACINGTHECAMERA)NTHISEXAMPLEACLOSE
ISTYPICALOFSUBJECTIVECAMERASHOTS4RUNCATIONAND
VIEWOFRAINDROPSFRONT TO BACKSHARPNESSWASPOSSIBLEDEPTH OF FIELD
LOSSOFFOCUSATTHESIDESANDEXTREMEFOREGROUND
ADJUSTMENTBYMEANSOFTHEAPERTUREWOULDNOTHAVEBEENSUFFICIENT 
HELPTHISIMPRESSIONOFBEINGINSIDETHEVIEW

104 4( %0(/4/'2!0( %2´3%9% '2!0( )#0(/4/'2!0( )#%,%-%.43 105