Camera Lens - An optical lens or assembly used in conjunction with a camera body and mechanism to make images of objects either on photographic film (celluloid) or on any other chemical or electronic media storing device.

Focal Length - Distance (mm) between optical centre of the lens and the camera sensor.

• 50mm lens = Standard / Closest to human vision

• 50 - mm = Wide Lens

• 50 + mm = Telephoto Lens

• Above ALL Prime Lenses

Angle of View - An optical property of the lens that does not change regardless of the type of camera being used

Field of View - Result of the lens / camera combination that also depends on camera’s sensor size

Aperture -  The opening in the lens in which light can pass through to enter the camera.

• Light intensity of a specific image or set of images

• Lens aperture controls light passing through lens to the image sensor or film

Depth of field - Distance between nearest and farthest objects that are in acceptably sharp focus in an image.

• Calculated based on focal length, distance to subject and aperture

• Can be chosen for technical or artistic purposes

Lens Breathing - Shifting of angle of view of a lens when changing the focus

Lens Flaring - Light is scattered or flared in a lens system, often in response to bright lights, producing a sometimes undesirable effect within the image.

Bokeh - Foreground and / or background intentionally blurred around a subject.

• ‘Blur’ in Japanese

• Achieved by adjusting a camera’s aperture for a shallow depth of field 

• Aesthetic choice & gives images a dreamlike appearance

Chromatic Aberration - A common optical problem that occurs when a lens is unable to bring all wavelengths of colour to the same focal plane, and / or when wavelengths of colour are focused at different positions in the focal plane. 

• Caused by lens dispersion, with different colours of light travelling at different speeds while passing through a lens

• Image can look blurred

• Noticeable coloured edges can appear around objects (especially in high contrast)

‘Another Twist in the Tale’ - Catherine Bruton

Extract - pg 170

He graced the pages of Master Twist’s story - was described as shrivelled, with a villainous and repulsive face obscured by a quantity of matted red hair. In these respects he was unchanged. He no longer wore the filthy old dressing gown, however, but was now attired in an inky black greatcoat, which might once have belonged to an undertaker, along with a black moth-eaten hat that only half obscured his virulent red eyebrows.

His face still held the stamps of villainy upon it - more deeply etched than before and ever so slightly tinged with blue around the eyes - and now, as Twill beheld it, it was contorted into an expression of such shock that it oddly recalled the expression on Dodger’s face a few hours since.

“What… what… what are you doing here?” he muttered in a trembling voice. 

“H-h-have…you come for me at last?”

“What?” asked Twill - with an odd sense of having this same conversation with Dodger already.

“Tush, tush, my dear! I have eluded justice, slipped the trape of the law - lived like a cat with nine lives… but have you come to claim me now and take me to my final reckoning?”

“Final reckoning?”

END

For this extract, I would use a camera lens of 135mm. A 135mm lens will create more background compression, however it would focus heavily on Twill and Oliver’s face and facial expressions. The lens will also help 

Using the 135 lens, it will emphasise the fear that has struck over Oliver and create a much more claustrophobic and eerie atmosphere. 

I would place the camera in a low angle to create a more menacing and intimidating tone, moreover announcing Twill as a superior figure, which is fitting with the darker description of Twill.