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Gregg Wesley Toland (May 29, 1904 – September 28, 1948) was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home (both, 1940).
The tycoon has overextended himself and is losing control of his empire. After he signs the papers of his surrender, he turns and walks into the back of the shot. Deep focus allows Welles to play a trick of perspective. Behind Kane on the wall is a window that seems to be of ordinary size.
Deep focus is a photographic and cinematographic technique using a large depth of field. Depth of field is the front-to-back range of focus in an image, or how much of it appears sharp and clear. In deep focus, the foreground, middle ground, and background are all in focus. Deep focus is normally achieved by choosing a small aperture.
Cinematographer Arthur Edeson used a wider-angle lens than Toland and the film includes many long takes, low angles and shots of the ceiling, but it did not use deep focus shots on large sets to the extent that Citizen Kane did. Edeson and Toland are often credited together for revolutionizing cinematography in 1941.
In Citizen Kane, Welles used a deep-focus technique, in which heavy lighting is employed to achieve sharp focus for both foreground and background in the frame. Wise later used the technique in films that he directed. [ 17 ]
In Citizen Kane (1941), cinematographer Gregg Toland and director Orson Welles used tighter apertures to create every detail of the foreground and background of the sets in sharp focus. This practice is known as deep focus. Deep focus became a popular cinematographic device from the 1940s onward in Hollywood. Today, the trend is for more ...
A single shot example of the OTS shot occurs in Citizen Kane. Cinematographer Gregg Toland uses a specially-made wide-angle lens with a very deep depth of field to get sharp focus from three feet from the camera to 25 feet away, which seems further because of the wide-angle lens. In the scene, Kane is preparing to sign away control of his ...
It's truly radical. If it were deep focus the way Gregg Toland had shot Citizen Kane, maybe it would have been noticed or written about in the last 70-odd years. [11]: 12:32 The set facilitated long takes in which conversations begin indoors, move outside to actual storefronts, and continue across the town square.