What 'Stranger Things' Fics Explore Trauma And Healing Through Henry'S Camera Lens?

Standing next to him on screen, Tyrus reads as one of the bigger presences you'll see on cable TV — and that holds true behind the camera too. He's commonly billed around 6'7", and when you put that next to many of his co-hosts the difference is obvious. For instance, a lot of Fox panelists and comedians hover in the 5'2"–6'1" range depending on who you look at, so he often towers over folks like Dana Perino or Kat Timpf while being noticeably taller than Greg Gutfeld or Tom Shillue. Beyond simple numbers, I've watched clips where camera angles and footwear subtly change how height reads: heavier shoes, higher chairs, and camera placement can nip a few inches visually. But off-camera, in studio halls or press lines, the 6'7" billing feels real — he fills vertical space in a way that makes group shots feel weighted toward him. I like that contrast; it makes the panel dynamic more visually interesting and, honestly, a little theatrical in a fun way.

There's something about Elizabeth Taylor on film that still catches me every time — not just the legend, but those eyes that seemed to change with the light. When I look at photos from 'Cleopatra' or her red carpet moments, what really made her violet-blue eyes sing were cool, reflective jewels: big white diamonds and platinum settings created a bright, mirror-like sparkle that pulled focus to her gaze. Diamonds framed her eyes by reflecting back the camera lights, so chandelier earrings and solitaire studs did more than decorate — they brightened the whole face. On the other hand, she also leaned into colored stones that echoed or contrasted with her eye color. Deep sapphires and amethysts echoed the cooler tones in her irises, while rich emeralds offered a lush contrast that made any hint of green pop. Pearls — like the famous 'La Peregrina' she wore sometimes — softened the look and gave a warm, classic glow that made her eye color seem softer on film. Metal tone mattered too: platinum and white gold read as cool and crisp on camera, yellow gold warmed the complexion and could bring out different undertones in her eyes. If you want that Taylor effect now, think big but balanced: face-framing earrings, a collar or high necklace to lift the face, and gems that either echo or contrast your eye tones under bright light. I still catch myself studying those magazine spreads for tip details every few months.

My brain instantly goes to close-ups when I think of a smug face — but not just any close-up. A slightly low, medium close-up with the camera tilted just under eye level gives the actor a tiny edge, literally lifting them above the viewer and suggesting superiority without shouting it. I often picture a scene where the smirk reveals itself slowly: start wider so the audience sees posture and breathing, then cut or dolly in to a three-quarter medium close-up as the smirk blooms. That gradual intimacy sells confidence like nothing else. Lighting and lens choice do half the work. A subtle rim or backlight separates the smug character from the background, making them feel untouchable; soft key light from above keeps shadows soft but a little shadow under the brow preserves mystery. Use a longer lens — 85mm or longer — to compress features and flatten expression, which makes a smirk look more deliberate. Shallow depth of field isolates the face and forces viewers to read every twitch of the mouth or eyebrow. Finally, play with movement and reaction. A slow push-in or a minute dolly-in at the moment of the smirk adds arrogance, while an over-the-shoulder reverse shot holding on the other character’s reaction sells the smugness cinematically. Dutch tilts or slight handheld can add discomfort if you want the smugness to feel unsettling instead of charming. Little cutaways — an extreme close-up of the eye, a flick of a finger, a glass being set down — are the seasoning. I like scenes that let smugness breathe; timing, frame, and light combine to turn a tiny smile into a memorable cinematic moment.

There’s a hush that certain camera moves bring to a scene — like the film itself is inhaling. For me, poetic filmmaking thrives on slowness and deliberation: long takes that let the image breathe, slow dolly-ins that compress time, and lingering lateral tracks that allow scenery and actors to share a quiet conversation. Tarkovsky’s fluid pans and extended compositions in 'Stalker' or 'The Mirror' taught me how a single movement can feel like a thought unfolding; the camera doesn’t just show space, it meditates in it. I also love the intimacy of a gentle push-in or a slow crane rise at dusk, the way the world reshapes as the lens moves — think of the floating Steadicam passages in 'The Tree of Life' or the golden-hour cranes of 'Days of Heaven'. Micro-movements matter too: a barely perceptible nudge forward, a slow tilt that reveals a detail, or a long rack focus paired with a slight lateral drift can feel like the filmmaker is leaning closer to a secret. Those restrained choices create textures of memory and longing rather than narrative punch. Then there are more playful poetic devices: axial zooms or snap-zooms used sparingly to give a dreamlike hiccup, or 360-degree re-frames that orbit a character and externalize inner turmoil. Sound rhythms and camera motion must partner — a slow mobile frame with layered ambient sound makes images feel tactile, like you can almost smell the place. When I rewatch these moves late at night with tea in hand, it’s the quiet choreography between camera and world that lingers longer than plot.

I've always loved taking old cameras apart and peeking at the little worlds inside, and one of the things that always jumps out is how the tiny nuts and bolts seem to age dramatically faster than the rest of the body. There are a few straightforward science-y reasons for that, and a bunch of practical habits that make it worse or better. Most of the time it comes down to metals rubbing up against each other, moisture (often with salts or acid mixed in), and failing protective plating or coatings. A steel screw in contact with brass or chrome-plated parts becomes part of a mini electrochemical cell whenever a conductive film of water shows up; that’s galvanic corrosion, and it loves the cramped, slightly dirty corners where screws live. Plating and coatings are a huge part of the story. Vintage cameras often use combinations like brass bodies with nickel or chrome plating, plus steel screws and small aluminum bits. Over decades the thin nickel or chrome layer can craze, chip, or wear away, exposing the softer underlying metal. Once you have exposed brass or steel, oxygen and moisture do their thing: steel rusts into reddish-brown iron oxide, brass can develop greenish verdigris, and aluminum forms a flaky white oxide. Add salt from sweaty fingers, salty air from coastal storage, or acidic vapors from old leatherette glue and you accelerate that corrosion big time. There’s also crevice corrosion — the tiny gaps around threads and under heads create low-oxygen pockets where aggressive chemistry takes off — and fretting corrosion when parts move microscopically against each other. Old lubricants and trapped dirt make things worse. Grease thickens, oils oxidize and become sticky, and film-processing chemicals, dust, or cigarette smoke can leave residues that act as electrolytes. Temperature swings cause condensation, so a camera stored warm and then moved to cold will pull water into those little nooks. That’s why cameras kept in damp basements or unventilated boxes often show more corrosion on fasteners and hinge pins than on smoother exterior surfaces. If you collect or use vintage gear, some practical steps help a lot: keep cameras dry with silica gel or a dehumidifying cabinet, wipe down with a soft cloth after handling to remove salts from skin, and replace or carefully clean old greasy lubricants. If the fasteners themselves are sacrificial, swapping in stainless screws can stop galvanic couples, but that can affect value if you’re a purist. For preservation, light coating with microcrystalline wax or a corrosion inhibitor after cleaning is a nice, reversible option. Major pitting sometimes needs professional re-plating or careful mechanical restoration, and you generally want to avoid aggressive polishing that destroys original finishes. I love the slightly battle-worn look of vintage pieces, but knowing why those tiny screws corrode helps me take better care of the cameras I actually use — they hold their stories in the smallest parts, and that's part of their charm.

the short version is: yes, camera filters can absolutely change the color of water in photos — sometimes subtly, sometimes dramatically. A circular polarizer is the most common tool people think of; rotate it and you can tame surface glare, reveal what's under the water, or deepen the blue of the reflected sky. That change often reads as a color change because removing reflections lets the true color of the water or the lakebed show through. I once shot a mountain lake at golden hour and the polarizer cut the shine enough that the green of submerged rocks popped through, turning what looked like a gray surface into an emerald sheet. It felt like pulling a curtain back on the scene. Beyond polarizers, there are color and warming/cooling filters that shift white balance optically. These are less subtle: a warming filter nudges water toward green-gold tones; a blue or cyan filter pulls things cooler. Underwater photographers use red filters when diving because water eats red light quickly; that red filter brings back those warm tones lost at depth. Infrared filters do a different trick — water often absorbs infrared and appears very dark or mirror-like, while foliage goes bright, giving an otherworldly contrast. Neutral density filters don't change hues much, but by enabling long exposures they alter perception — silky, milky water often looks paler or more monotone than a crisp, high-shutter image where ripples catch colored reflections. There's an important caveat: lighting, angle, water composition (clear, muddy, algae-rich), and camera white balance all interact with filters. A cheap colored filter can introduce casts and softness; stacking multiple filters can vignette or degrade sharpness. Shooting RAW and tweaking white balance in post gives you insurance if the filter overcooks a shade. I tend to mix approaches: use a quality polarizer to control reflections, add an ND when I want long exposure, and only reach for a color filter when I'm committed to an in-camera mood. It’s the kind of hands-on experimentation that keeps me wandering to different shores with my camera — every body of water reacts a little differently, and that unpredictability is exactly why I keep shooting.

Close-ups are a secret handshake between the lens and the actor that can say more than pages of dialogue. I get obsessed with three basic levers: lens choice, light, and the camera's motion. A longer focal length (85mm, 100mm, or even a 135mm) compresses features and flatters faces, making an actor’s eyes pop; a wider lens close in will distort and can feel raw or uncomfortable — useful when you want the audience to squirm. Opening the aperture for a super shallow depth of field isolates the eye or mouth with creamy bokeh; it’s one of the fastest ways to make a close-up feel intimate. Lighting determines mood: low-key, rim light, or a single soft source can carve musculature of the face and reveal memory lines the actor barely uses. Think of 'Raging Bull' or 'The Godfather' where chiaroscuro tells half the story. Beyond the optics, micro-techniques matter: a slow push-in (dolly or zoom used tastefully) increases pressure, while a sudden cut to an ECU (extreme close-up) creates shock. Rack focus can shift attention from a trembling hand to the actor’s eyes mid-scene. Catchlights are tiny but crucial — without them the eyes read dead. For truthfulness I love to work with naturalistic blocking, letting the actor breathe within the frame so facial beats happen organically. Even sound and editing choices support close-ups: cut on breath, hold a fraction longer for a silent reveal. It’s those small choices that turn a face into a whole world, and when it lands properly it gives me goosebumps every time.

As someone who's studied photography for years, Roland Barthes' 'Camera Lucida' completely reshaped how I view images. This book introduced the concept of punctum - that unexpected detail in a photo that emotionally punches you in the gut. Before Barthes, photography theory was all about composition and technique. Now we understand that the most powerful photos contain elements that transcend technical perfection. The book also distinguished between studium (general interest) and punctum (personal wound), giving photographers a vocabulary to analyze why certain images affect us deeply while others don't. I see its influence everywhere - from photojournalism prioritizing raw emotional moments to portrait photographers seeking that one authentic gesture.