. . . pull back . . .. . . to show where this takes place and who else is central to the story.
The focus usually moves in and out then, throughout the story: sometimes close in, sometimes further back.
Someone recently asked me how I choose which sort of focus to use, and the answer is that I simply follow how the scene is playing out (like a movie) in my head. I don't feel as if I'm manipulating the 'camera'; I feel as if I'm following it, instinctively leaning in and pulling back.
Occasionally when I feel bogged down in the story, it is often because the focus is stuck--too close or too removed for too long--and a simple change of lens revives the movement.
Or something like that . . .