It’s quite possible, and common, to tell a story in third person with almost no narration. The “camera” is simply centered in the head of the third person main character, and we experience the story as if we “are” that person, experientially.
“The girl Ryan Callaway was following turned off the Boulevard St. Michel, where Ryan knew every shop and office, and onto a side street that he hadn’t been on before, even though he had been wandering the city streets for weeks. She walked past a papeterie and an abandoned shoe store and an art gallery selling glossy prints of American movie posters and then led the way into a dimly lit office that once might have been used by an insurance salesman. To Ryan the room smelled like his parents’ basement back in the states, a wet and musty resting place for the broken appliances and old clothes the family couldn’t bring themselves to part with…”
Opening from “Numerology” by Christian Michener
Here about the only concession to a narrator is to call Ryan by his first and last name, which he would not do himself, internally. Otherwise, we experience everything as Ryan does, in a scene. The only information we are provided is through his senses. We are thoroughly limited to his head. Later in the story, there is some background information provided, but it is done as “daydreaming” on Ryan’s part or sort of memory on Ryan’s part — events he has lived through, such as news of his parents’ separation. Many stories are told this way. They have the advantage of putting you right in the character, “suspending your disbelief,” and making you experience right along with the character. On the downside, they limit you as the writer to a plot-driven, scene by scene story. You are limited in terms of getting through a lot of background information quickly, or having some angle on the character that he or she might not have on him or herself. There’s no real narrative “voice” to this story. We are not being told a story, we’re being shown one.