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	<title>nofilmschool &#187; photo</title>
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		<title>Forget 24FPS, How About a Hollywood Production for Just One Photo?</title>
		<link>http://nofilmschool.com/2012/12/gregory-crewdson-photography-brief-encounters/</link>
		<comments>http://nofilmschool.com/2012/12/gregory-crewdson-photography-brief-encounters/#comments</comments>
		<pubDate>Sat, 29 Dec 2012 22:08:36 +0000</pubDate>
		<dc:creator>Dave Kendricken</dc:creator>
				<category><![CDATA[Featured Content]]></category>
		<category><![CDATA[news]]></category>
		<category><![CDATA[construction]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[film]]></category>
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		<category><![CDATA[photo]]></category>
		<category><![CDATA[photography]]></category>
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		<guid isPermaLink="false">http://nofilmschool.com/?p=38395</guid>
		<description><![CDATA[Exercising micromanagement and fine-tune control over the minutia of scenery is a must in filmmaking for all but the most hardcore run-and-gun-style productions. It&#8217;s not very often, however, that you see production-level set design and construction, prop manipulation down to the inch, or cinema lighting used to illuminate deep lived-in landscapes in still photography. Gregory [...]]]></description>
				<content:encoded><![CDATA[<p><img style=' float: left; padding: 4px; margin: 0 7px 2px 0;'  class="alignleft size-medium wp-image-38396" title="gregory crewdson brief encounters ben shapiro" src="http://nofilmschool.com/wp-content/uploads/2012/12/gregory-crewdson-brief-encounters-ben-shapiro-224x145.jpg" alt="" width="224" height="145" />Exercising micromanagement and fine-tune control over the minutia of scenery is a must in filmmaking for all but the most hardcore run-and-gun-style productions. It&#8217;s not very often, however, that you see production-level set design and construction, prop manipulation down to the inch, or cinema lighting used to illuminate deep lived-in landscapes in still photography. Gregory Crewdson does just this, implementing an unheard-of degree of visionary control upon the constituents of his still frames &#8212; the image at left, for one, is no incidental happenstance. Filmmaker Ben Shapiro has documented Crewdson&#8217;s decade-spanning pursuit of creating true-to-life vignettes by fictitious articulation in <em>Brief Encounters</em> &#8212; screenings are limited, but the doc looks to be a must-see. Watch the trailer and some clips from the film below. <a href="http://nofilmschool.com/2012/12/gregory-crewdson-photography-brief-encounters/#more-38395" class="more-link">(more&#8230;)</a></p>
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		<slash:comments>45</slash:comments>
	
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			<media:title type="html"><![CDATA[Forget 24FPS, How About a Hollywood Production for Just One Photo? - nofilmschool]]></media:title>
			<media:description type="html"><![CDATA[Exercising micromanagement and fine-tune control over the minutia of scenery is a must in filmmaking for all but the most hardcore run-and-gun-style productions. It&#039;s not very often, however, that you see production-level set design and construction, prop manipulation down to the inch, or cinema lig]]></media:description>
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		<title>How Your Lens Choice Affects Your Subject&#039;s Appearance</title>
		<link>http://nofilmschool.com/2011/11/lens-choice-affects-subjects-appearance/</link>
		<comments>http://nofilmschool.com/2011/11/lens-choice-affects-subjects-appearance/#comments</comments>
		<pubDate>Tue, 08 Nov 2011 06:31:30 +0000</pubDate>
		<dc:creator>Ryan Koo</dc:creator>
				<category><![CDATA[news]]></category>
		<category><![CDATA[distortion]]></category>
		<category><![CDATA[geometry]]></category>
		<category><![CDATA[lenses]]></category>
		<category><![CDATA[photo]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[portraits]]></category>

		<guid isPermaLink="false">http://nofilmschool.com/?p=16031</guid>
		<description><![CDATA[A longer lens can flatten and widen a face, whereas a wider lens can pinch/pull facial features into an ugly distortion. This is true because of the varying physical distance to your subject that accompanies your choice of lens. This is not just a consideration for portrait photography, but also comes into play when choosing [...]]]></description>
				<content:encoded><![CDATA[<p><img style=' display: block; margin-right: auto; margin-left: auto;'  src="http://nofilmschool.com/wp-content/uploads/2011/11/xlarge_e4315eb25d608da3dcf848172e4f2928-616x346.jpg" alt="" title="xlarge_e4315eb25d608da3dcf848172e4f2928" width="616" height="346" class="aligncenter size-large wp-image-16033" /></p>
<p>A longer lens can flatten and widen a face, whereas a wider lens can pinch/pull facial features into an ugly distortion. This is true because of the varying physical <em>distance</em> to your subject that accompanies your choice of lens. This is not just a consideration for portrait photography, but also comes into play when choosing a lens for filming actors. For the the full size images of the thumbnails above, see photographer <a href="http://stepheneastwood.com/tutorials/lensdistortion/strippage.htm">Stephen Eastwood&#8217;s site</a>, or watch a video of how different distances (and accompanying lens choices) affect facial geometry by <a href="http://www.lensprotogo.com/">LensProToGo</a>: <a href="http://nofilmschool.com/2011/11/lens-choice-affects-subjects-appearance/#more-16031" class="more-link">(more&#8230;)</a></p>
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		<slash:comments>38</slash:comments>
	
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			<media:description type="html"><![CDATA[ A longer lens can flatten and widen a face, whereas a wider lens can pinch/pull facial features into an ugly distortion. This is true because of the varying physical distance to your subject that accompanies your choice of lens. This is not just a consideration for portrait photography, but also co]]></media:description>
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