The history of the close-up

The ancient filmmakers — such as Thomas Edison, Auguste and Louis Lumière and Georges Méliès — tended not to use close-ups and adopted to anatomy their capacity in continued shots. Film historians disagree as to which filmmaker aboriginal acclimated a close-up, but D.W. Griffith acclimated the attempt abundantly at an aboriginal date. For example, one of Griffith's abbreviate films, The Lonedale Operator (1911), makes cogent use of a close-up of a bend that a appearance pretends is a gun.

Close-ups may be added big-ticket than added shots due to the added lighting and composition needed.