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A close-up or closeup in filmmaking, television production, still photography, and the comic strip medium is a type of shot that tightly frames a person or object. Close-ups are one of the standard shots used regularly with medium and long shots (cinematic techniques). Close-ups display the most detail, but they do not include the broader scene. Moving toward or away from a close-up is a common type of zooming. A close up is taken from head to neck, giving the viewer a detailed view of the subject's face.

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Most early filmmakers, such as Thomas Edison, Auguste and Louis Lumière and Georges Méliès, tended not to use close-ups and preferred to frame their subjects in long shots, similar to the stage. Film historians disagree as to the filmmaker who first used a close-up. One of the best claims is for George Albert Smith in Hove, who used medium close-ups in films as early as 1898 and by 1900 was incorporating extreme close-ups in films such as As Seen Through a Telescope and Grandma's Reading Glass. In 1901, James Williamson, also working in Hove, made perhaps the most extreme close-up of all in The Big Swallow in which his character approaches the camera and appears to swallow it. D. W. Griffith, who pioneered screen cinematographic techniques and narrative format, is associated with popularizing the close up with the success of his films. For example, one of Griffith's short films, The Lonedale Operator (1911), makes significant use of a close-up of a wrench that a character pretends is a gun. Lillian Gish remarked on Griffith's pioneering use of the close-up:

The people in the front office got very upset. They came down and said: "The public doesn't pay for the head or the arms or the shoulders of the actor. They want the whole body. Let's give them their money's worth." Griffith stood very close to them and said: "Can you see my feet?" When they said no, he replied: "That's what I'm doing. I am using what the eyes can see."[1]

Close-ups are used in many ways and for many reasons. They are often employed as cutaways from a more distant shot to show detail, such as characters' emotions or some intricate activity with their hands. Close cuts to characters' faces are used far more often in television than in movies[citation needed] and are especially common in soap operas[citation needed]. For a director, deliberately avoiding close-ups may create in the audience an emotional distance from the subject matter[citation needed].

Close-ups are used for distinguishing main characters. Major characters are often given a close-up when they are introduced as a way of indicating their importance. Leading characters will have multiple close-ups. At the close of Sunset Boulevard (1959), the main character, a faded star under the delusion that she is making a triumphant return to acting, declaims melodramatically, "All right, Mr. DeMille, I'm ready for my close-up."

Close-up shots do not show the subject in the broad context of its surroundings. Low-budget films may use close-ups to avoid the expense of set construction. If overused, close-ups may leave viewers uncertain as to what they are seeing. Close-ups are rarely done with wide-angle lenses because perspective causes objects closer to the lens to be unnaturally enlarged. That may convey a sense of confusion, intoxication, or another unusual mental state.[citation needed]

A close-up shot is a photograph or movie shot taken of a subject or object at close range intended to show greater detail to the viewer. If the subject is a person, the close-up starts at the shoulders and ends at the top of the head. You should be able to recognize the imagery in the frame, and if the close-up is on an actor, there will be a much more significant emotional connection between your viewer and the subject or object featured in the shot. Close-up shots signal to the audience that something is important, and this can be a prop or reaction, but often it is best when the subject or object has a significant influence on the story and the viewers understanding of your story.

It's more than just acting or the writing, but also the directing choices with the camera, how certain moment were poorly represented by the shot choice or maybe how big the actor played a scene in a close up.

The insert shot refers to a close up that can function as exposition in your story. It moves the plot forward or highlights an important detail the audience needs to know so they better understand the moment in the film.

The insert shot can be used in conjunction with a close up of a characters face to accentuate a reaction. Answer the question in an insert, then show the characters emotional reaction to the new data.

Now you know more about the close-up shot, and how to apply it to your next shot list and project. Now it is time to move up a size and check out our post on The Medium Shot: Examples of Camera Shots.

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From a stack of moth eggs that look like a perfect minimalist sculpture and a close encounter with a daddy long-legs spider (which is, for the record, still an order of magnitude less terrifying than that ant) to a presentation of slime mold that would be perfectly at home decorating a Christian ministry with new-age vibes, these incredible images show the true artistry of nature at its most detailed.

Attracting more than 9,000 entries from 53 countries, the annual celebration of close up photography was won by a poignant shot of salamanders being devoured by a pitcher plant, by Canadian photographer Samantha Stephens. Here is a selection of the best entries to the CUPOTY

This image shows a close-up portrait of the magnificent spiral galaxy NGC 4603, which lies over 100 million light-years away in the constellation of Centaurus (The Centaur). Bright bands of blue young stars make up the arms of this galaxy, which wind lazily outwards from the luminous core. The intricate red-brown filaments threading through the spiral arms are known as dust lanes, and consist of dense clouds of dust which obscure the diffuse starlight from the galaxy.

At the end of Sunset Boulevard, delusional crackpot (i.e., actress) Norma Desmond stalks toward a camera, thinking it's a movie camera, saying, "All right, Mr. DeMille, I'm ready for my close-up." In reality, it's a news camera and everyone is there because she's about to be arrested for murder. What a misunderstanding.

Many people misquote the line as "I'm ready for my close-up, Mr. DeMille." It's a minor mistake that doesn't change the meaning of the quote. But hey, that's what we do. We take a close-up look at quotes and find all the flaws. Check yourself before you misquote yourself.

Close Up or Full Field Diopters are used to shorten the close focusing distance when using a fixed focal length, allowing the camera to focus closer to the subject. This is extremely useful for lenses, especially Anamorphic lenses do not have a close focusing distance.

Why Three Weeks? Dry cows should be moved to the close-up pen three weeks before due date, but where does this recommendation come from? For a lactating cow to be successful, she needs to be able to mobilize calcium from her bones and absorb calcium in her intestines. During the dry period she has not needed to mobilize calcium in great quantities in comparison to the lactation period so her body needs help to start the process to mobilize calcium. This process can take 10 to 15 days. Without adequate time to prepare for lactation, milk fever, both clinical and subclinical (which we cannot see), can be a major issue. Not only are you giving time to set the stage to mobilize calcium, your cows need time for their rumen to adapt to the forages and higher energy diets which are essential to absorb nutrients and prevent problems after calving.

Why Minimize Stress? The close-up period is already a stressful time for the dam, and decreasing external stresses can help with calving ease, immunity, feed intake, and overall well-being of the cow. Some ways to decrease stress are providing enough feedbunk space (36 inches per cow), limit the number of pen moves (ideally no pen moves), minimizing heat stress, and giving cows enough resting space (at least a 1:1 ratio of beds to cows housed in freestalls or 100 to 125 square feet for bedded pack).

Close-up dry cow management is essential to an easy transition into the milking herd. Some management practices that are recommended are moving far off dry cows to the close-up pen three weeks before their due date, changing the feed ration to prepare the rumen for the lactating cow diet, minimizing stress and using heat abatement practices. A successful close-up period is linked to a successful lactation.

Cost and portability are the primary benefits of close-up filters. Because they are like other photo filters, they can be easily transported in your camera bag, backpack, handbag, or even in your pocket. You can venture out on an expedition with only a single lens, come across a tiny photographic detail out in the wild, reach into your pocket, screw the filter on, and get up close and personal with your subject. Remove the filter and press on! 041b061a72


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