Photography was provided by Willy Hameister, who went on to work with Wiene on several other films. The camerawork in "Caligari" is fairly simple and is used primarily to show the sets, mostly alternating between medium shots and straight-on angles, with occasionally abrupt close-ups to create a sense of shock. There are few long shots or panning movement within the cinematography. Likewise, there is very little interscene editing. Most scenes follow the other without intercutting, which gives "Caligari" more of a theatrical feel than a cinematic one. Heavy lighting is typically absent from the film, heightening the sense of darkness prevalent in the story. However, lighting is occasionally used to intensify the uneasiness created by the distortions of the sets. For example, when Cesare first awakens at the fair, a light is shone directly on a close-up of his heavily made-up face to create an unsettling glow. Additionally, lighting is used in a then-innovative way to cast a shadow against the wall during the scene in which Cesare kills Alan, so the viewer sees only the shadow and not the figures themselves. Lighting techniques like this became frequently used in later German films.