It was during a film class in my teens that I first watched Goodfellas. It was like nothing else I’d seen. Having studied the fundamentals of cinematography throughout the year, watching it was like a snapshot of what an exquisitely captured piece of art was supposed to be. Particular frames used to elevate the narrative arc, like Henry running out of the fire but the image illustrating a run towards it; optics and lighting that blur the audience's perception along with our protagonists; and needless to say, the infamous long shot that recrafted our understanding of film, tracking, and the possibilities that could be established in the visual telling of a story.