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 /NE OF THE DISTINCTIVE VISUAL sharp focus, so that, even at maximum aperture, IMPRESSIONS OF A TELEPHOTO the sharpness in an image can be distributed DISTANT VIEW IS AS IF THE PLANES more or less at will. Tilting the sensor or film also OF THE SUBJECT HAVE BEEN TILTED UPWARD TO FACE THE CAMERA 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).'