You're going to love this tip on how to get great portraits with a panoramic format
Trish exempt made a stop motion has a front [lens] logo
She's going to teach you how to do this and much much more if you go to the slanted lens comm Ford
Stop [motion] by the download will teach you everything you need to know about stop motion
[titus] [JPMorgan] today on [slide] [lines]. I want to talk about my [journey] from going from panoramic images
Which I love doing I love doing in New York to panoramic portraits
I had this thought I was shooting all these panoramic images in New York City
and I kept thinking I'd love to put people in these I'd
Love to put people with strobes in these so I can light an individual and have this scene on the New York trip
I was driving down the road
I saw this guy working his field [too] said hey
I'm going to do a panel [write] portrait of that guy jumped out the car ran out there. He stood there
I did several passes with my panoramic setup
And that [was] my first
Panoramic view I've got him in the foreground that great fall leaves behind him the first penrod portrait that I ever did so let's take
A look at how I'm setting these up first off. I'm using my syrup mini. I've got an L bracket on it
So I'm shooting
Vertical because I want to shoot these vertical to be able to stitch them together to give me the most amount of detail possible
I'm shooting in [3] [4] mode, so I'm getting the entire sensor. I absolutely love the a7 R2 because you get a gorgeous
Image on that sensor and when you pet when you stitch that together it's Incredible. I've said it before and I'll say it again
I love these tamara on prime lenses
I start out with a 35 which is gorgeous because you get this great view of all the environment these people are standing in
But I started to go to longer lenses as I want to get my person closer to me
[so] I see them more clearly
And now I can pan through that view in the background when the person steps forward I need a larger depth of field
so I'm going to go to
F/8 11 or even 16 if I can get it so 4 shutter speed it varies on all of these we'll talk about that as
We go the process started to grow [when] I was in colombia, so let's go to the footage [that] I shot there
And I'll explain that [process] in Colombia
The lars and I are here in Colombia had a few minutes here at the end of the day
I decided want to do another one of my panoramic portraits
We're in Medellin area it's a great area
it's a lot of
growing that goes on in this area one might say
So we're going to do a portrait of these two gentlemen with their plant of unknown origin
We do a panoramic view stitching that together. It's a little hard because I've got [5.6] on the camera
I've got a thousand [iff] we're at the end of the day
It's pretty dark here here the birds in the background so the backgrounds going to be a little bit soft
But I wanted to be focused on them. I want them up close enough, so we can see them
I love his Idaho shirt. I think that's fabulous
Used to live in Idaho, so that's wonderful
So when we shoot that stitch that together it's going to be a nice nice look at this entire Valley
Which is beautiful and just a portrait of a couple of guys from Columbia with their plants of unknown origin
It's organic so here's our first portrait of the guys in their plants of [anything]
I've started [do] something with these things that in the beginning
I wasn't doing [that] is all framed my panoramic portrait up, and then I move the camera to the center place
And I'll shoot about 8 or 10 [shots] of my subject
and
[I] know that I can patch that into this whole panoramic piece any one of those and so it gives me a lot of options
So [I] can have make sure I have a great shot of my person and I shoot my panoramic view and I'll choose the one
I like and I throw it in there renumber them in either bridge or in lightroom
And then I'll stitch it together as a panoramic portrait, and it looks really good
Here's our panoramic image of this guy who has cut these terraces with that. Hoe he's got in his hand
I thought it was really fascinating in Cuba. I had a strobes the equation now
I brought a [speedlight] with me because I really didn't want to carry a lot of weight
And I didn't bring a stand for the speed light my daughter became the light stand for the speed light the way I do it
is I [would] start my pan over to the camera left side and
As the panelists are start my daughter would just kind of step out of the shot
point the strobe away
and the pan it would start panning and
as soon as it cleared she would step into the shot to be able to light the person with the speed light so here's the
First image, we did at [nighttime] now on this one?
I'm using a long shutter speed because I've got a strobe light [on] him
But I've got tungsten lights all through the buildings around on Street
And I wanted to be able to see those
So my shutter speed got longer and longer to be able to accommodate the tungsten lights to [see] the street that he's standing on
When I did these last two portraits my daughter wasn't with [Jelena]
I that day and so I had to hold the strobe myself so what I would do is. I would start my
Panoramic view I would run over
And get my strobe where I wanted to go and as soon as the strobe lit my person and past that
Then I would turn it off
I'd run back to the camera and be able to shut it down
So it worked out fine
But a life stand would have really been a very beneficial item to carry with me so anyway in the future
So but on those I have a shorter shutter speed
But I am trying to get a larger aperture because I the guys closer to me
I want to see the buildings behind him that was a struggle
I've got to push my iso up get a larger aperture like
F11 so I can see the buildings in the background and focus as well as him and makes those things look a lot more successful
There's just no reason to do a big panoramic view of all this city and all this kind of information
And not have [it] be at least somewhat in focus. So here's a taxi driver in his car
He was pretty excited how to take a picture of him [in] his car on the street
Where you live so here's a couple we shot in front of the apartment building [where] they lived he was so excited about his old
Car that had a nissan engine in it. I thought it was kind of fun. I
Am going back to cuba if you want to come back with me
shoot an email to judy at the slanted lens calm and tell her I'm interested in going to cuba and we'll get you on the
List and we'll let you know what that cost is [going] to be and when we're going to go
So if you're interested reach out to us, and if there's enough interest, I'll take people with me if not, I'm going by myself
So my messenger bag that carry on the airplane right underneath my gummy [sabers] next to my granola and [buy] the snickers bar
[I] always carry my lysse drive. It's like JPMorgan pictures one which is a two terabyte drive, and then I have JPMorgan pictures, too
which is a
Another it's a one terabyte drive, and I back everything up to both these drives
And then I leave all of the stuff all the data on the cards
I don't ever erase the [cards] shall I get back and I try to carry enough card
So I don't have to and so at that point. I have everything in three places
I'll now give this to somebody else like lars when I was in Colombia
[Angeline] when I was in cuba carried this in her bag, so if my bag got stolen
Or lost at least be in two places and then I sometimes will throw this into my suitcase
So I have one in the suitcase one of my bag one of my companions a bag and that way I have it backed up
into three places to get home and I can get home [work] and complete my gummy [savory] Snickers bar and
Granola yes, I am a junk food addict
So these are a lot of fun to do
But the two things that I've learned that I think made them more successful as I've grown this experience
and I'll continue to do these because I love them one is to be able to shoot my panoramic view and
Once I have that like it I go back, and I shoot several images of the person now
I can just concentrate on
Photographing the person [8] 10 [20] frames then I'll choose the one I like and put it with the panorama because I've already shot
That's been very helpful
[I] don't have to shoot all 20 of those frames every single time and
Hoping the person's looks going to be good in each one
I can just choose the one I like the second thing is depth of field you really when the I want the peel to get
Closer, and I will do these with people getting closer and closer to the camera
Which I think demands a deeper depth of field I might even play around with the thought of
Bringing the person up front shooting them pulling the focus to the background and then stitching those together which would be another level that have
To be done a photoshop, but anyway those are two things
I think made this more successful got the field and shooting number of images in the same place
So I hope you enjoyed this thing on panoramic [portraits] so get out do your own put some of those up on our Facebook group?
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