Extreme Wide Shot the view is so far from the subject that he isnt even visible. The point of this shot is to show the subjects surroundings.
Very Wide Shot much closer to the subject than an extreme wide shot, but still much further away than a wide shot. The subject is visible here but only just (in this case its a boy leaning against the fence). The emphasis is very much on placing him in his environment.
Wide Shot the subject takes up the full frame. In this case, the boys feet are almost at the bottom of frame and his head is almost at the top. Obviously the subject doesnt take up the whole width and height of the frame, since this is as close as we can get without losing any part of him. The small amount of room above and below the subject can be thought of as safety room — you dont want to be cutting the top of the head off. It would also look uncomfortable if his feet and head were exactly at the top and bottom of frame.
Mid shot in film, a medium shot is a camera shot from a medium distance. The dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up". In some standard texts and professional references
Medium Close Up A medium close up is between a medium shot and a close up. It shows the face very clearly, without getting too close. It is just a “softer” version of the close up, used more in films than in television.
Close Up In film, television, still photography and the comic strip medium a close-up tightly frames a person or an object. Close-ups are one of the standard shots used regularly with medium shots and long shots. Close-ups display the most detail, but they do not include the broader scene. Moving in to a close-up or away from a close-up is a common type of zooming
extreme close up When you look at objects around you, you actually see them in tunnel vision, focusing on just one detail at a time. As you are reading this, you are probably unaware of the surroundings of this text. To simulate this on television, you need extreme close-up shots.
Cut-In This shot shows a part of the subject, or another object, in detail. It can be used purely for editing (to insert between similar shots), or to indicate an important element of the story. Examples of a cut-in would be a person’s hand or a coin on the ground.
Cutaway shot thats usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subjects hands), or just about anything else.
Two Shot There are a few variations on this one, but the basic idea is to have a comfortable shot of two people. Often used in interviews, or when two presenters are hosting a show.
Over the Shoulder Shot This shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy about 1/3 of the frame. This shot helps to establish the position of each person, and get the feel of looking at one person from the others point of view. Its common to cut between these shots during a conversation, alternating the view between the different speakers.
Noddy Shot Common in interviews, this is a shot of the person listening and reacting to the subject. In fact, when shooting interviews with one camera, the usual routine is to shoot the subject (using OSS and one-shots) for the entire interview, then shoot some noddies of the interviewer once the interview is finished. The noddies are edited into the interview later
Point-of-View ShotThis shot shows a view from the subjects perspective. It is usually edited in such a way that it is obvious whose POV it is (see the example below).
Establishing shot in filmmaking and television production sets up, or establishes the context for a scene by showing the relationship between its important figures and objects. It is generally a long- or extreme-long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place
Angle of shot The direction and height from which the camera takes the scene. The convention is that in factual programmes subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment. A low angle shot places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.
selective focus The trick is to use the selective focus technique - one of the standard techniques used by professional photographers