How does perspective work in pictures?
Perspective is a huge challenge in photography, in some respects a central challenge.<p>Here&#x27;s [1] an image, made with a rectilinear lens, which manages to convey oodles of depth and structure.  It is difficult to overstate how challenging it can be to express that level of depth in a flat image.<p>When people talk about how a focal-length &quot;compresses&quot; or &quot;exaggerates&quot; an image, what they&#x27;re really talking about is perspective. Each field of view carries with it its own perspective.<p>Variable focal-length (&quot;zoom&quot;) lenses encourage us to select our subject and composition first, then choose a perspective to match. Frequently, it is more important to begin with our desired subject and the perspective with which we wish the viewer to see it (focal-length), then figure out how to build a composition to match.   A 24-70 mm lens isn&#x27;t really a lens, it is at least six lenses with significantly-different perspectives: 24, 28, 35, 40, 50, and 70mm, each of which can take a lifetime to master.<p>One can deliver the perception that Hertzmann is after with a rectilinear lens, but it isn&#x27;t easy.  Composition, lighting, and dodging&#x2F;burning are all tools to that end.<p>Think about your memory of the Tank Man in Tiananmen Square, now look at the image [2].  I bet he&#x27;s a much smaller part of the frame than you recall, yet he utterly dominates your perception of the image, even when you look at the actual rectilinear image.<p>[1] <a href="https:&#x2F;&#x2F;www.phillips.com&#x2F;detail&#x2F;HENRI-CARTIER-BRESSON&#x2F;NY040517&#x2F;37" rel="nofollow">https:&#x2F;&#x2F;www.phillips.com&#x2F;detail&#x2F;HENRI-CARTIER-BRESSON&#x2F;NY0405...</a><p>[2] <a href="https:&#x2F;&#x2F;en.wikipedia.org&#x2F;wiki&#x2F;Tank_Man" rel="nofollow">https:&#x2F;&#x2F;en.wikipedia.org&#x2F;wiki&#x2F;Tank_Man</a>