Must always think that we can also tell a story with several photographs. In this case the cinematographic language will be of great use to us. To tell a story with different images you can always start in the most classic way first a large general shot to locate us. Then get closer being more and more specific. The location plan to decipher what is being seen. And then come the shots of expression when we can see people's feelings. It's even time to see details within the scene. Then you can play with the order of the story and if you want to do something proactive we can start with expression planes and then give context.
A photograph of Serra Pelada by Salgado has already been e-commerce photo editing reviewed. Take a look at the opening scene of Does it start with a location map No on the contrary it is a detailed plan of a flat that is being washed. But Cuarón has to locate us he must place us in the scene and there is a moment in which we understand that we are in the patio of a house. This paragraph is an excellent pretext as if it were needed to look carefully at this scene from the movie or the whole of Rome. Why not romephotogram Still from Roma Alfonso Cuarón romafotograma Still from Roma Alfonso Cuarón.
Photographic life is an endless series of resolutions but even before framing the first decision is the distance from which the photo will be taken and another fundamental element that will alter the way you see the photo the optics. We already remember that Henri CartierBresson urged never to use a lens that was not mm. That's fine when taking photos like his and when you're a little shy like him or okay maybe because he just didn't want to interfere with the scene let's grant it. But it also generates a certain distance. Henri Cartier Bresson On the other hand there is someone who gets too close and removes the context.