Shot on an ultra wide 14mm lens: a narrow European street where the cobblestones in the immediate foreground loom enormous and the buildings at the end of the street shrink to tiny distant shapes, vertical lines bowing outward at the frame edges, extreme exaggerated depth, everything in focus from inches away to infinity

Shot on a 24mm wide angle lens: the interior of a small apartment made to feel spacious, walls receding sharply toward the corners, the near edge of a table stretching into the frame, generous headroom above, natural but noticeably expanded sense of space, mild edge stretching

Shot on a 35mm lens: a street scene rendered exactly as human eyes would see it, no distortion at the edges, no compression of distance, foreground and background in believable proportion, documentary reportage feel, natural perspective

Shot on a 50mm standard lens at f/1.8: a still life of fruit on a table, perfectly neutral perspective with no wide-angle stretch and no telephoto flattening, gentle background separation, the most honest rendering of the scene

Shot on an 85mm portrait lens at f/1.4. The subject's face must be TACK SHARP: eyelashes, iris detail, skin pores and individual hairs all crisply resolved and in perfect focus. ONLY the background is out of focus. The plane of focus sits exactly on the eyes. Natural window light, flattering telephoto compression, creamy bokeh behind.

Shot on a 200mm telephoto lens: a row of parked cars along a street photographed from very far away, so compressed that the cars appear stacked directly on top of each other with no gaps, the distant background rising up like a flat wall right behind them, layers pressed together, no sense of depth

Shot on a 100mm macro lens at 1:1 magnification: the surface of a dew-covered leaf where a razor thin plane of focus catches only a few water droplets, everything a millimeter in front of and behind that plane falling into complete blur, extreme shallow depth of field, tiny world

Shot on a 180 degree circular fisheye lens: a skateboard park seen from ground level, the horizon curving into a full circle, straight ramp edges bent into arcs, the sky occupying a domed region overhead, extreme barrel distortion, the photographer's own feet visible at the bottom edge

Shot on an anamorphic cinema lens: a night city street with horizontal blue lens flares streaking across the frame from every bright light source, oval shaped bokeh balls instead of round ones, slight edge softness, wide 2.39:1 cinemascope framing, filmic