*Tinker, Tailor, Soldier, Spy (Alfredson, 2011)*

In the realm of cinematography, the choice of lens is more than a technical decision. As discussed in The Art of Directing course, camera choices are narrative choices that shapes the visual language and psychological underpinnings of a film. Among these tools, the telephoto lens - or long lens - stands out for its unique ability to compress space and focus attention, offering filmmakers a powerful instrument to manipulate audience perception.

Aesthetics

In aesthetic terms, compression can be used to create visually striking compositions. By reducing the perceived distance between foreground and background elements, filmmakers can achieve a layered aesthetic that emphasizes patterns, repetitions, or contrasts. This can be particularly effective in urban landscapes, where the telephoto lens can collapse the depth of field to highlight the density of architectural structures or the chaos of a crowded street. The aesthetic appeal here lies in the abstraction of space, transforming a three-dimensional world into a two-dimensional tableau where every element competes for attention.

Compression and the Illusion of Proximity

One of the most defining characteristics of a telephoto lens is its ability to compress spatial depth. This phenomenon, often referred to as "compression," alters the perceived distance between objects along the z-axis. Objects that are physically far apart appear closer together, creating a flattened perspective. This visual effect can evoke a sense of claustrophobia or interconnectedness, depending on the context.

In Civil War (Garland, 2024) the telephoto lens uses compression to great effect, playing a crucial role in the intense confrontation scene featuring Jesse Plemons' character. The scene is set in an open farmland landscape where the telephoto lens visually narrows the space, creating a feeling of claustrophobic tension despite the vast environment. This technique isolates Plemons' character, focusing the viewer's attention to his performance, whilst still maintaining distance in a medium shot. Combined with the narrow depth of field he is the only object of attention - just as he is for the terrified characters. The use of compression also makes the distant trees appear ominously close, magnifying the oppressive nature of the scene.

Compression can also heighten the dramatic connection between characters in the same shot as shown below. The important thing to remember is that this is not just an aesthetic composition choice. The use of compression presents a pschological reality - the overbearing sense of threat Jessie’s character feels from Plemons’ character - which then translates into an emotional affect on the audience. Similarly, and in fitting with the plot, telephoto lenses are the primary choice of war photojournalists who need to get good shots whilst staying distant from the action. Using the reportage connection with this lens choice enables Garland and his cinematographer, Rob Hardy, to bring another level of realism to the drama.

Isolation

Compression can also be used to detach characters from their environment, accentuating feelings of solitude, alienation, or introspection. A compelling recent example can be observed in Dune Parts 1 & 2 (Villeneuve, 2021, 2024), particularly in scenes depicting the protagonist, Paul Atreides, against the vast, desolate landscapes of Arrakis.

*Dune* *Parts 1 & 2* (Villeneuve, 2021, 2024)

The use of telephoto lenses compresses the expansive desert terrain, visually juxtaposing the enormity of the environment with Paul's solitary figure. This technique not only highlights the overwhelming nature of his journey and the weight of destiny but also underscores his emotional isolation amidst the political and familial turmoil he faces. Through such precise visual storytelling, telephoto compression serves as an essential narrative device, encapsulating the character's internal state while reinforcing the broader existential themes of the film.

Intimacy

Conversely, the same characteristic can create a sense of intimacy. When used in close-ups, a telephoto lens can fill the frame with a character's face, accentuating minute facial expressions and nuances. The resulting visual proximity can create an emotional closeness between the character and the audience, fostering empathy and connection. This dual capacity to isolate and connect makes the telephoto lens a versatile tool for shaping narrative tone and character dynamics.

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Manipulating Time and Movement: Temporal Displacement

A less commonly discussed aspect of the telephoto lens is its effect on the perception of time and movement. Due to the compression of space, objects moving toward or away from the camera seem to traverse less distance, often appearing to move slower than they actually are. This can be used to create a sense of temporal displacement, where time appears to slow down or even freeze, amplifying moments of tension or contemplation.

This manipulation of time is not merely a visual trick but a psychological cue that can alter the audience's emotional experience. By slowing down the perceived movement, filmmakers can extend the emotional resonance of a scene, allowing viewers to dwell longer on a character's expression, a critical event, or a dramatic revelation. This elongation of time can heighten suspense, underscore emotional gravity, or create a dream-like atmosphere, enhancing the narrative's psychological depth.

In The Revenant (2015, Iñárritu) this technique is used effectively. The use of a telephoto lens compresses expansive snowfields, making the vast distances appear closer and, as a result, the journey through the Z space seems slower and more grueling. This compression not only emphasizes the arduous nature of Glass’ (DiCaprio) journey but also conveys the immense physical and emotional challenges he faces.

The Metaphysical Implications of Flattened Space

On a more abstract level, the telephoto lens can evoke metaphysical themes by distorting the viewer's perception of reality. The flattening of space and the reduction of three-dimensional reality to a two-dimensional image can serve as a visual metaphor for the limitations of human perception or the blurred boundaries between reality and illusion. This can be particularly poignant in films that explore existential or philosophical themes, where the visual style serves to underscore the narrative's exploration of human consciousness, reality, and the nature of existence.

Conclusion: The Telephoto Lens as a Narrative Instrument

The telephoto lens is not merely a tool for capturing distant subjects; it is a narrative instrument capable of profound aesthetic and psychological manipulation. By compressing space, isolating subjects, manipulating time, and even challenging perceptions of reality, the telephoto lens offers filmmakers a rich palette of expressive possibilities. Its use requires a nuanced understanding of both visual storytelling and the psychological impact of imagery, making it an essential element in the filmmaker's toolkit. To get a greater understanding of how to use aesthetic and psychological techniques to improve your voice as a filmmaker, check out The Art of Directing course and workshops.

Bobby

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The French Over