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Let's actually bring Jesse and Jenny, come on
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over here.
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Eric has already been doing lots of up
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-close, nice emotional portraits for these guys, and
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I was thinking, is there a way that
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I can make a nice silhouette for them
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here?
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But I don't just want to have a
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boring silhouette of them on the sky.
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I want to fill the frame with context
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that shows where we are.
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We're out here in a forest, but there's
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not much topography.
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It's basically flat.
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So it's a challenge to find a position
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where I can get down low and have
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Jesse and Jenny silhouetted up on the sky.
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And I was drawn to go look in
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behind these trees to see if there's a
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spot where I can fill the frame with
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pine needles or branches or things that set
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the setting in the forest and fill the
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frame with interesting silhouettes as well as their
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silhouette.
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So what we're going to do is we're
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going to head over here to these trees
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and see what we can make here.
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Okay guys, so what I want you to
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do is just hang out here.
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Just keep each other warm for now.
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Snuggle up, whatever.
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It's going to take me a few minutes
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to sort of find my spot.
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And I'm going to be kind of hidden
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back in behind these branches there.
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So just watch for me there and I'll
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cue you guys what to do, okay?
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So what I'm doing basically is I'm coming
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around here and seeing if there's a spot
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where I can shoot through these branches.
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And I know I'm going to have to
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get down low so that I can have
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them on the sky.
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So I'm trying to find a good shooting
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angle where I can have lots of branches
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silhouetted on the sky but also Jesse and
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Jenny's profiles.
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A little landscaping here.
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Okay guys, so actually maybe like another step
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closer to me if you can.
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Okay, right about there.
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Okay, now move into the penguin position.
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Side by side.
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Yeah, facing each other.
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And now I'm going to expose for the
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sky.
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So I'm going to go really dark and
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dramatic.
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So everything's silhouetted.
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All the branches are silhouetted.
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100 ISO, f2.8, one five thousandth of
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a second.
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One eight thousandth of a second.
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Really dark, okay?
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Expose for the highlights in the sky.
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And now, okay, I think I've got a
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composition that's going to work.
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Can you take like half a step backwards?
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Not away from me, but Jenny if you
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step backwards and Jesse you go with her.
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Yeah, okay, right there.
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All right, and I might try this at
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a few different apertures.
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Right now I'm wide open on my 16
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to 35 lens.
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And actually as I zoom out into like
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the 20 millimeter range, it gets much more
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interesting because now I've got lots of cool
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branches.
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I'm zoomed out close to 16 millimeters because
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they're so close to me.
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And because they're silhouetted, I just want them
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small within the frame.
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I think my best composition is down here.
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Okay, and now what I want you guys
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to do actually, let's take off the jackets.
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Because we just got small silhouettes, the sleeker
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they are, the more recognizable they're going to
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be.
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Okay, now side profiles looking at each other,
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almost touching noses.
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A little bit of separation.
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Yeah, like that.
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That's great.
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Okay, so now I'm going to back button
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focus on their silhouette.
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I'm going to recompose to fill the frame
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with lots of silhouetted branches and make sure
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they're right in the little window.
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Guys, can you actually, it feels weird, but
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I want you to actually lean over my
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lens at the hips.
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So Jesse, you're going to tilt left and
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Jenny, you're going to tilt right.
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Yeah, exactly.
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But you're still side profiles facing each other.
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That just counteracts the perspective here because I'm
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shooting from below.
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And so the closest thing to my camera
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is their hips.
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So this counteracts that.
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Okay, almost touching noses.
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That's actually really good there, guys.
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They're just a little bit too big for
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this space.
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So I can go there.
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That, that fixes that.
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If I go, if I move my camera
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closer, I get a little bit of a
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bigger window.
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And guys, can you actually just move away
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from my camera, like half a step?
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And then the exact same thing there.
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Now they fit in that little opening a
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little better.
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Okay.
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All right.
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And give each other a tickle there.
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So you're kind of laughing.
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Yeah.
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And kind of throw your head back in
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laughter for me, Jenny, like laughing up to
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this guy.
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Okay.
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And back up, almost touching, almost touching foreheads.
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There we go.
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That's great.
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That's great there.
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What I'm going to do now is just
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out of curiosity, is I'm going to go
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up to a high F-stop.
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So let's try F11 here, where everything's kind
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of sharp now.
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Different look.
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All right.
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Almost touching noses.
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That's good.
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And let's go even higher.
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Let's go, let's go F22.
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F22, 1 1 25th.
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Okay.
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Now everything's sharp.
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Okay.
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That's great, guys.
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Perfect.
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Straightforward, natural light silhouette up on the sky,
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but bringing in some foreground interest to shoot
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through, to fill the frame with a more
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interesting silhouette.
10269
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