Movies are all, in one way or another, about looking. Even experimental stuff like Stan Brakhage’s Mothlight is about looking and seeing. But movies about photographers are perhaps the kind most likely to bring looking to the forefront of the movie-watching experience. The photographer protagonist will have an eye out for compelling compositions and the film camera will often emulate those compositions so that the film audience can experience some version of the act of photographing that the protagonist is partaking in. Movies about musicians have to go to great lengths to make you feel like you have an understanding of what it means to write or play music, but with a simple camera placement and a meaningful cut, audiences can be transported into the mind (or at least the eye) of the on-screen photographer. That ease of experiential transference makes movies about photographers particularly suited to the study of looking. Michelangelo Antonioni’s Blow-Up (1966) is one such film, a beautiful movie about what happens when you look too closely.