Original subtitles

We're going to do a bokeh pano shot

in this beautiful aspen grove here.

And I've chosen this location because it's got

two things.

It's got tons of depth.

As you can see, those aspens go on

forever and we've got lots of texture.

And this is when we're really drawn to

do these Bruneiser shots.

And Lani explained this in the studio, what's

going on with these shots, right?

We're using a telephoto lens to make a

wide angle photo, right?

So if I were just to take a

picture of our models in this forest with

a regular wide angle lens, we wouldn't get

the same depth of field that we get

with the telephoto lens.

So I've looked, I've just looked with my

eye to find an opening in which to

place Jesse and Jenny.

And there's this beautiful opening right here.

And I want to get them fairly into

the forest, right?

Cause then I'm really taking advantage of that

depth of field, that 1.4 that I've

got with this lens.

So I see an opening right through here.

There's not too many distractions in the background

either.

So I'm going to put them right in

there.

So come on over guys.

So you guys are going to stand right,

right about right here.

And let's do for the start, let's do

like a backwards spoon.

So Jesse or Jenny, you would stand around

here and Jesse, you would come around behind

her, right?

Yeah.

And then, well, let's do like the front

hand under.

Yeah.

And then just sort of cuddle it in

that way with whatever feels natural.

And maybe I'll get you guys to turn,

uh, the other way.

Yeah.

And then you move back a little bit,

just so I can see both your faces

and then I'll probably get you to nuzzle

into her temple there.

Okay.

Let's actually, now I'm just going to micro

adjust the couple just because right now I've

got some trees coming right out of the

box growing out of the tops of their

heads.

So I'm going to have you guys move

slightly this way and a little bit more

towards me.

So I'm trying to get them a little

bit further away from the trees behind them

so that they really pop.

So they're really the only thing in focus

in the frame.

Okay.

So I'm going to set my F-stop

to one four and my ISO is all

the way down to 100 and my shutter

speed in order to get the exposure I'm

looking for is currently one 500.

Then I think that's perfect.

Okay.

This is one of the only times we

ever shoot vertical ever because that first frame

of the, all those frames that I'm going

to stitch together, I want to fill as

much of the couple with that frame as

possible so that I can really take advantage

of the fact that I'm at 1.4.

So I'm going to put my camera in

a place where I can fill the vertical

frame with their bodies.

So I'm going to move a bit closer.

Yeah, that's good.

And then I'll just get you guys into

each other.

So Jesse into a little bit higher with

your nose on her temple and just sort

of rub, rub her temple with your nose.

And then Jesse, you could, or Jenny you

can look up towards Jesse.

Perfect.

I'm just getting a whole bunch of shots

of the couple and let's get big laughing

smiles up at the sky.

Indira temple there again though.

Great.

Awesome.

Okay.

And mine is just getting a wide shot.

The same shot from the exact same perspective,

but with the 35 millimeter lens wide open

at 1.4 so that we can compare.

Yeah.

Okay.

So now you guys are just going to

stay in the same spot.

I'm not, you're not going to be in

the, say in the frame.

So you don't have to worry about looking

happy, but I'm just going to fill in

the frame here.

So first I'm going left and I'm going

to go back to my couple for reference

and I'm going to go right.

And I've got about a 30% overlap

with each picture.

I'm going to go back to the couple.

Now I'm going up and left, back to

the couple up and right.

Right.

And I'm getting way more than I know

I want, which is the, which is okay.

And I'm going up and left one more

layer and up and left or sorry, up

and right.

And maybe I'll do one more just for

fun.

I don't think we'll use this last layer

because it's got the sky in it, which

is a highlight that I'm trying to avoid,

but just to be safe, I'll get that

extra layer and I'm going to do one

layer on the ground here.

So I'm always going back to my couple

for reference.

And I'm going to do one more here.

And of course all these frames that I'm

taking here to fill in the frame or

to fill in the composition are all completely

out of focus.

And that's exactly what I want.

All right.

The other thing I make sure I do

because this can get really confusing when I

bring these photos into photo mechanic and I'm

calling later, I make sure when I'm done

taking all the photos, I take a picture

of something to signify that I'm done.

So then I can easily find that group

of, you know, 70, 80, 100 photos in

Photoshop to merge together.

So I'll just take a picture of my

feet.

Perfect.

And now I know when I'm in Photoshop,

I go from the first frame of them

to the picture of my feet.

And that's why I try and stitch together.

All right.

So we're going to bring this into Photoshop

and see if it works out.

Fingers crossed.