Establishing shot
An establishing shot is usually the first shot of a new scene, designed to show the audience where the action is taking place. It is usually a very wide shot or extreme wide shot. An establishing shot in film making and television production sets up, or establishes the context for a scene by showing the relationship between its important figures and objects. It is generally a long- or extreme-long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place. Establishing shots were more common during the classical era of film making than they are now. Today's film-makers tend to skip the establishing shot in order to move the scene along more quickly. In addition, the expositional nature of the shot (as described above) may be unsuitable to scenes in mysteries, where details are intentionally obscured or left out.A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. It is often a long shot and can sometimes perform a double function as an establishing shot. Usually, the master shot is the first shot checked off during the shooting of a scene—it is the foundation of what is called camera coverage, other shots that reveal different aspects of the action, groupings of two or three of the actors at crucial moments, close-ups of individuals, insert shots of various props, and so on. Historically, the master shot was arguably the most important shot of any given scene. All shots in a given scene were somehow related to what was happening in the master shot. This is one reason why some of the films from the 1930s and 1940s are considered "stagey" by today's standards. By the 1960s and 1970s, the style of film shooting and editing shifted to include radical angles that conveyed more subjectivity and intimacy within the scenes. Today, the master shot is still an extremely important element of film production, but scenes are not built around the master shot in the same way that they were when professional film making was in its infancy. A single shot that includes the complete scene from its start to the finish. Usually a master shot is filmed and then the rest of the other kinds of shots (close-ups...etc.) are then shot later.
Close-Up
Photography, television or cinema 'Shot' which focuses into the subject. (Informal) 'Close-Up'. A close-up in filmmaking, television production, still photography and the comic strip medium is a type of shot, which tightly frames a person or an object. Close-ups are one of the standard shots used regularly with medium shots and long shots (cinematic techniques). Close-ups display the most detail, but they do not include the broader scene. Moving in to a close-up or away from a close-up is a common type of zooming. One of the best claims is for George Albert Smith in Hove, who used medium close-ups in films as early as 1898 and by 1900 was incorporating extreme close-ups in films such as As Seen Through a Telescope and Grandma's Reading Glass.
Extreme close up
Mid-Shot
The mid shot shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary. The MS is appropriate when the subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters. You will often see a story begin with a MS of the reporter (providing information), followed by closer shots of interview subjects (providing reactions and emotion). As well as being a comfortable, emotionally neutral shot, the mid shot allows room for hand gestures and a bit of movement. It is the dividing line between "long shot" and "medium shot" is fuzzy, as is the line between "medium shot" and "close-up".
Long shot
In photography, filmmaking and video production, a long shot (sometimes referred to as a full shot or a wide shot) typically shows the entire object or human figure and is usually intended to place it in some relation to its surroundings. It has been suggested that long-shot ranges usually correspond to approximately what would be the distance between the front row of the audience and the stage in live theatre. It is now common to refer to a long shot as a "wide shot" because it often requires the use of a wide-angle lens. The long shot should be a locked shot (no camera movement of any sort -- rock steady.) There are many exceptions; but a moving long shot draws the attention of the audience to the fact that they're watching a movie, and what you're usually concerned with, especially in the establishing shots, is in creating the basis for believability, the illusion of reality. 
It is very
similar to a long shot. A wide shot (WS) reveals where the scene is taking
place. Also referred to as a long shot or master shot, a wide shot helps orient
the audience. A wide shot also gives the actors room to move within a shot,
without the camera having to follow them. It is
useful in scenes where the action is very spread out. For example, in a
war movie an wide shot can show the scale of the action. Extreme wide shot
Two- shot
There are a few variations on this one, but the basic idea is to have a comfortable shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Two-shots are good for establishing a relationship between subjects. If you see two sports presenters standing side by side facing the camera, you get the idea that these people are going to be the show's co-hosts. As they have equal prominence in the frame, the implication is that they will provide equal input. Of course this doesn't always apply, for example, there are many instances in which it's obvious one of the people is a presenter and the other is a guest. In any case, the two-shot is a natural way to introduce two people. A two-shot could also involve movement or action. It is a good way to follow the interaction between two people without getting distracted by their surroundings. he subjects do not have to be next to each other, and there are many common two-shots which have one subject in the foreground and the other subject in the background. It is very useful if the film is about two people.
Aerial shot
An extremely high angle view of a subject usually taken from a crane or a high stationary camera position, but may also refer to a shot taken from an actual airplane or helicopter. Aerial shots are usually done with a crane or with a camera attached to a special helicopter to view large landscapes. This sort of shot would be restricted to exterior locations. A good area to do this shot would be a scene that takes place on a building. If the aerial shot is of a character it can make them seem insignificant. Circular shots are also possible.
Over the shoulder shot
This shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy about 1/3 of the frame. This shot helps to establish the position of each person, and get the feel of looking at one person from the other's point of view. It's common to cut between these shots during a conversation, alternating the view between the different speakers. In older 4x3 framing, the person facing away from the camera would typically be cut off just behind the ear. In 16x9 and other widescreen framing, there is more width available and more of this person can be shown. This shot can be varied quite a bit to include the shoulder or back of the person facing the subject.
Point of
view shot
This shot shows a view from the subject's perspective. It is
usually edited in such a way that it is obvious whose POV it is.
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