Extreme Long Shot (Establishing Shot):

Used to show the subject from a distance, or the area in which the scene is taking place. This type of shot is particularly useful for establishing a scene in terms of time and place, as well as a character’s physical or emotional relationship to the environment and elements within it. The character doesn’t necessarily have to be viewable in this shot.

Full Shot:

Frames character from head to toes, with the subject roughly filling the frame. The emphasis tends to be more on action and movement rather than a character’s emotional state.

Close up:

Fills the screen with part of the subject, such as a person’s head/face. Framed this tightly, the emotions and reaction of a character dominate the scene.

Extreme Close up:

Emphasizes a small area or detail of the subject, such as the eye(s) or mouth.

https://www.bhphotovideo.com/explora/video/tips-and-solutions/filmmaking-101-camera-shot-types

High angle shot:

In a high angle shot, the camera points down at your subject. It usually creates a feeling of inferiority, or “looking down” on your subject.

Low angle shot:

A low angle shot frames the subject from a low camera height looking up at them. These camera shots most often emphasize power dynamics between characters.

dutch angle shot:

For a dutch angle (dutch tilt), the camera is slanted to one side. With the horizon lines tilted in this way, you can create a sense of disorientation. This video breaks down a key moment in Mission: Impossible when Ethan first realizes that he’s being set up.

shoulder level shot:

This is when your camera is roughly as high as your subject’s shoulders. Shoulder level shots are actually much more standard than an eye level shot, which can make your actor seem shorter than reality:

https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/#dutch-angle-shot

Pan :

When you pan, you’re moving your camera from left to right or vice versa, all while keeping the camera’s base fixated on a certain point. Though you’re not moving the camera, you’re changing the direction it’s facing and capturing a panoramic view. This movement uses a continuous shot to show the audience what you can’t fit in a single frame. Panning can help you establish the location of a scene or let you follow a moving character. Panning can also help you reveal things that were previously off-screen. For example, if there’s an uninvited guest in a party scene, you can build up the tension while you pan to reveal their presence as opposed to using a fast cut.

zoom:

Zooming is used to focus on a certain area in the frame and is commonly used to go from a long shot to a close-up of the subject you’re filming. It also lets you zoom out and move farther away from a subject in a shot. There are several ways to use this camera movement creatively, such as zooming in on a fast-moving scene to add more drama and energy or zooming in on a character’s face to emphasize a humorous expression or look of terror. It’s important to use this movement sparingly to minimize distraction or overuse.

Tracking (steadicam):

With this camera movement, you’re moving the camera toward or away from a subject, often by placing it on a track or motorized vehicle. When you “dolly in,” the camera moves toward the subject, whereas when you “dolly out,” the camera moves backward and away from the subject. Placing it on a stable track can help you move the camera with a fluid range of motion. This type of camera movement is often used to focus on a character when they’re lost in thought or when they’ve come to a sudden realization.

https://www.nfi.edu/camera-movements/

The shining features brilliant Mise-En-Scene, this simple fact can be rooted to the director, Stanley Kubrick. Kubrick is a well known director and for good reason, his films feature the best uses and interpretations of the micro elements in all of film, this is probably because he spent years just writing and planning any film he made because he wanted the few films he DID get to make perfect. But I choose his most popular film, The Shining(1980, Kubrick) because I feel the Mise-En-Scene carries great weight and meaning in the film.

In a Scene where Danny is playing with his trucks….

Track(steadicam):

A tracking shot is where the camera follows the character(s) while they traverse the setting, tracking shots can either be made with a Steadicam or without. In older movies you would probably tend to see more handheld tracking shots – this is because they had to use a track around the set for the camera setup, and since a tracking shot can follow the characters from behind the viewer would see the track the camera has yet to go on, this would tear the verisimilitude and make the movie objectively subordinate to others from a technical standpoint. An example of a tracking shot that doesn’t use a steadicam would be a scene in Pulp Fiction(1994, Quentin Tarantino) where the camera follows a character walking through a broken barb wire fence. The inevitable shaking of the camera can actually work in the filmmakers favour as the shaking can actually convey an ominous mood, this may be because the observer could relate the shaking to when they themselves may shake when they’re feeling anxious/nervous – so when they see this happening to the camera it almost universalises that emotion with the audience and the character which makes them feel further connected and therefore easier to follow (story wise)

Pan:

A shot which uses a pan is where the camera moves like how your vision shifts focus when you move your eyes. In simpler terms a pan moves the camera fairly quickly along either a vertical or horizontal plain in order to show the audience what: the character is looking at, the characters are talking about/referencing or what the character should’ve seen/noticed. A pan shot can also be used to simply follow something across the screen, for example in The Shining (1980, Kubrick) a pan shot is used to follow Johnny’s axe while he swings it at the door. By doing this Kubrick emphasised the force in which Jack is using to break down the door to then murder his family, showing this conveyed to the audience that the Jack they were introduced to at the beginning of the film is gone now and this version of him is not going to hesitate to kill anyone regardless of who they are – this idea was in fact demonstrated a bit prior to the scene where Mr Halloran was murdered by him for standing in his path.

Rack Focus:

Rack focus is when the focus is sharply changed – so lets say the character is in the background of a shot and there’s something the director wants the audience to notice, rack focus will then be used to focus more on the object (which is closer to the camera). This can be very dramatic and adds a lot of tension when it’s done right and saved for the right time, an example would be in Breaking Bad(2008, Gilligan) where Jesse is forced to shoot and kill someone(Gale) because otherwise he’ll be paranoid that someone will come after him and kill him. So while Jesse is facing a Self vs. man conflict silently the camera uses rack focus to shift the focus from Jesse’s distraught face, to the gun which he’s holding. By doing this Gilligan prepared the viewers for another untimely death in the show, he most likely did this because the previous episodes in the show built on his(Gale’s) character so instead of killing his character off, Gilligan made an effort to possibly just remind the viewers that Gale is dead for certain and he’s not coming back, by doing this obvious but secrete emphasis Gilligan builds more upon the already brilliant verisimilitude