Same woman, same fish stall, same market as the reference image — same navy apron over a floral shirt, blue rubber gloves, white visor cap, the same stainless tray of mackerel and croaker on ice. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. EXTREME LONG SHOT (establishing): the camera has walked about 40 metres back down the covered market aisle. The woman and her stall are a small distant figure deep in the frame, barely identifiable as her. The whole aisle surrounds her — rows of stalls receding on both sides, a chain of hanging bare bulbs, green tarpaulin overhead, shoppers between the camera and her. The place is the subject; she is an element in it. Real documentary photography. No real company logo, no real brand name.

Same woman, same fish stall, same market as the reference image — same navy apron over a floral shirt, blue rubber gloves, white visor cap, the same stainless tray of mackerel and croaker on ice. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. LONG SHOT: the camera is about 12 metres back. Her full body is visible with clear headroom above and floor below, and her whole stall plus the neighbouring stalls on either side are in frame. She reads as a person in a place — you can tell what she is doing and where she is, but not what her expression is. Real documentary photography. No real company logo, no real brand name.

Same woman, same fish stall, same market as the reference image — same navy apron over a floral shirt, blue rubber gloves, white visor cap, the same stainless tray of mackerel and croaker on ice. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. FULL SHOT: the camera is about 7 metres away. Head to feet just fits the frame with a little space top and bottom, and her stall fills the width. Her whole posture is readable — how she stands, where her weight is, how she holds her arms — but the frame stops at her own stall. Real documentary photography. No real company logo, no real brand name.

Same woman, same fish stall, same market as the reference image — same navy apron over a floral shirt, blue rubber gloves, white visor cap, the same stainless tray of mackerel and croaker on ice. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. AMERICAN SHOT (cowboy shot): the camera is about 5 metres away and the frame cuts her just below the knees, at mid-thigh. Enough of the stall remains to see the tray of fish in front of her, and enough of her to read her stance and both hands at once. This is the classic mid-distance the eye settles on. Real documentary photography. No real company logo, no real brand name.

MEDIUM SHOT — the subject framed from the waist up, filling the middle of the frame, shot on a 50mm lens from about 3 metres away. Eye level. Scene: a fish stall in a Korean traditional market. A woman in her 60s in a navy apron over a floral shirt, blue rubber gloves and a white visor cap, standing behind a stainless steel tray of mackerel and croaker laid on crushed ice. A hand-written cardboard price sign, a red plastic basin, a bare bulb hanging overhead, a green tarpaulin awning, wet concrete floor. She is caught mid-gesture, reaching toward the fish. Real documentary photography. No real company logo, no real brand name.

Same woman, same face, same fish stall as the reference image — same navy apron over a floral shirt, blue rubber gloves, white visor cap. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. MEDIUM CLOSE-UP: the camera is about 2 metres away, framed from the chest up. Her face and shoulders now dominate the frame; the tray of fish is only a blurred band along the bottom edge and the market behind her has softened. Her expression becomes the subject. Real documentary photography. No real company logo, no real brand name.

Same woman, same face, same white visor cap and navy apron as the reference image. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. CLOSE-UP: the camera is about 1.2 metres away. Her face fills the frame from just above the visor brim to just below the chin. Skin texture, a damp strand of hair stuck to her temple, the reflection of the bare bulb in her eye. The background is an unreadable wash of green tarpaulin and market colour. Real documentary photography. No real company logo, no real brand name.

Same woman, same face and same white visor cap as the reference image. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. EXTREME CLOSE-UP: the camera is about 0.4 metres away. Only her eyes and the bridge of her nose run across the full width of the frame — crow's feet, the hard shadow of the visor brim cutting the forehead, the bare bulb as a tiny highlight in each eye. Nothing else in the frame is identifiable; you cannot tell she is at a market. Real documentary photography. No real company logo, no real brand name.

Same fish stall, same blue rubber gloves and navy apron sleeve as the reference image. The LENS DOES NOT CHANGE: 50mm throughout. Only the camera's DISTANCE changes. INSERT / DETAIL SHOT: the camera is about 0.3 metres away, pointed down at the tray. NO FACE AT ALL — only her blue-gloved hand closing around a single mackerel, the wet scales throwing back the bare bulb in a hard streak, crushed ice packed around the fish, a smear of water on the stainless steel. This is the cut-in a film drops between two wider shots. Real documentary photography. No real company logo, no real brand name.