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Okay, so here we are.
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What I'm going to demonstrate for you now
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is a natural light silhouette and just to
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set the scene for you we are in
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our hometown of Canmore and surrounded by glorious
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mountains.
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It's pretty overcast right now and one of
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the things we're often asking ourselves when we're
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out in a natural scene is where's the
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brightest spot which is often the sky right
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and I'm drawn to this whole mountain range
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that I see here.
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I've got Holling Peak, I've got Mount Rundle
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and I've also got a natural kind of
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bright V that the mountain ranges form with
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the sky and I'm thinking that could be
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a nice spot to silhouette my couple because
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there's natural symmetry there and I know that
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a silhouette is going to allow me to
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bring out the drama in the clouds by
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going dark and exposing for the sky but
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the tricky thing is often finding a spot
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where we can get our subjects up on
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the sky and it's hard to do on
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a flat terrain right we generally need to
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get them somewhat elevated and over here I
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see I've got a big down sloping it's
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not very steep but it kind of rolls
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down the grassy hill so I'm thinking if
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I go down there with my camera I
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can probably shoot up towards the sky and
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have the couple hopefully up on the ridge
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line and I can position them in between
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the mountains so that's what I'm going to
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do now we're going to head down this
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slope a little bit and basically I'm going
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to go down like near the bottom you
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guys are going to be up near the
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top so it's going to be a little
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bit hard to communicate but what I'm going
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to do is I'm just going to be
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silhouette so you don't have to worry about
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what you're doing with your faces it's the
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bodies and I want motion right so I
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don't want just a static pose there because
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you're going to be small and so I
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want you guys moving and so what I
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want you to do so Florian you would
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be me Sachi you're going to hold my
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hand like this actually that's the wrong way
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because I'm going to be down there so
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open to me like this and not like
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this but like this and then basically just
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running back and forth and then this way
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okay like this yep back and a little
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hop in the step okay so that's what
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I'm going to be asking you to do
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once I'm down there okay what's that back
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and forth back and forth okay so now
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the reason I'm going down this slope is
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I realize as I come down I'm hoping
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I'm going to be able to basically shoot
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up towards the sky and have them right
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on the bottom so that I can position
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them between those two mountains so you guys
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stay here for now and then we'll adjust
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as I get in position and as I'm
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coming down I'm starting to see I'm eliminating
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all the trees in the foreground I'm starting
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to see that v and as I duck
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down now the the tricky part is because
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this isn't a very steep slope I have
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to go enough that I can get their
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whole bodies in that bright spot so I
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haven't gone far enough yet okay so now
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what I'm starting to see is the v
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is coming right down onto the crest of
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the hill which is about what I want
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so just go to the other side of
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those bushes there guys okay right there right
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there okay right away I see it as
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I come down here so now that I'm
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in position here what I'm seeing is is
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the skyline the v the point of the
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v is basically meeting right at the crest
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of the hill so by having them right
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there I'm able to silhouette almost their entire
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bodies within that within that bright spot within
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the v let's get a camera here and
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I need to choose my focal length I
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want to go wide I've got a 28
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mil on right now and that's about what
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I want yeah that's about perfect so now
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basically what I'm going to do to silhouette
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is essentially just expose for the highlights um
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so I'm going to expose for the highlights
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in the sky and what that's going to
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do is it's going to kill all the
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mid-tones in the mountains and the grass
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here and the couple are all going to
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fall into darkness and be silhouetted and by
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going dark and exposing for the highlights in
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the sky it's going to pull out all
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the drama in those clouds in terms of
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because I'm out outside here in the bright
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light I'm just going to choose 100 iso
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okay because it's nice and bright and I
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know I'm going dark anyways and then for
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aperture because this is a portrait and they're
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a predictable static distance from the camera I'm
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going to choose a nice wide open aperture
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because that's going to help me make them
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pop within the scene because they're going to
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be sharpest more sharp relative to the mountains
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so let me get this back in the
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right focusing mode there we go center point
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back button focus okay now what I'm drawn
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to do here compositionally is because what's most
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interesting is the sky the mountains in the
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sky and really anything down below them on
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this slope is uninteresting it's just darkness so
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I'm going to frame I'm going to frame
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the composition by having them down along the
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bottom edge and fill the rest of the
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frame with the mountains in the sky okay
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so there's my silhouette so now I've got
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light taken care of I've got the composition
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taken care of now I need some motion
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right I can't have emotion because they're silhouette
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and they're tiny but I can have motion
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so guys what we're going to do is
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we're going to do that holding hands frolicking
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back and forth you only have to go
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like two steps in each direction okay so
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let me get set here oh yeah right
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away now that they've separated perfect okay and
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go okay and back yes yes yes okay
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pause relax there so Florian what do you
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have underneath your jacket yeah let's take off
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the jacket just the outer layer so the
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thing with silhouettes is they work a lot
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better as as sort of sleek as possible
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right so we're taking off that layer I
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think I can have more separation between their
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bodies and let's move this way into position
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right there and now let's just let's just
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walk casually across and go looking back at
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each other yeah and back the other way
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now yeah and back again great and
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pause and I'm shooting I'm only shooting at
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about five frames per second here I might
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go up to 10 frames per second when
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I get them to frolic and move I
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kind of get this ups my chances of
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getting a nice clean silhouette all around their
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bodies remember the most important thing with silhouettes
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is is not the silhouette itself but the
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negative space in between the silhouette that gives
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it the identity the identifiable form as you
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know two human two humans up there and
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go um okay and back and this time
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a hop in the step frolic yes and
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back again so this would work obviously is
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working well in the current conditions which is
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overcast if the sun were out depending on
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where the sun were right now but if
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it was a blue sky would also work
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as a very different but you know very
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dramatic silhouette as well as long as there's
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no direct sun on the couple they're going
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to be silhouetted right if there's sunlight on
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them obviously they're not going to be silhouetted
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but as long as they're either backlit or
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no direct light on them they're going to
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be silhouetted on the sky because the sky
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is just so much brighter than they are
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and you know I've got dramatic sky I've
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got mountains but you can do this literally
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anywhere that there's sky you can often find
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an area where you can get your subjects
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up on that bright sky relative to you
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and you don't need a big cliff side
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or a deep hill to do so often
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it's just a slight incline like this is
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just a slight slope and you know some
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of our you know most dramatic silhouette photos
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that we've made have been like literally in
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in cluttered parking lots or right by the
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side you know right in a ditch beside
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a road so you don't have you don't
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have to search far the ingredients essentially is
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where's the bright spot where can I have
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them up on that bright spot relative to
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my to my camera okay so that's a
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straightforward natural light silhouette and this photo is
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cool but I definitely see potential to elevate
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it to something more interesting by possibly shooting
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through something in the foreground to frame the
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subjects and or bringing in a reflection or
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something so from here I would definitely try
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to keep climbing the ladder and make my
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way towards a more interesting composition
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