Original subtitles

Let's actually bring Jesse and Jenny, come on

over here.

Eric has already been doing lots of up

-close, nice emotional portraits for these guys, and

I was thinking, is there a way that

I can make a nice silhouette for them

here?

But I don't just want to have a

boring silhouette of them on the sky.

I want to fill the frame with context

that shows where we are.

We're out here in a forest, but there's

not much topography.

It's basically flat.

So it's a challenge to find a position

where I can get down low and have

Jesse and Jenny silhouetted up on the sky.

And I was drawn to go look in

behind these trees to see if there's a

spot where I can fill the frame with

pine needles or branches or things that set

the setting in the forest and fill the

frame with interesting silhouettes as well as their

silhouette.

So what we're going to do is we're

going to head over here to these trees

and see what we can make here.

Okay guys, so what I want you to

do is just hang out here.

Just keep each other warm for now.

Snuggle up, whatever.

It's going to take me a few minutes

to sort of find my spot.

And I'm going to be kind of hidden

back in behind these branches there.

So just watch for me there and I'll

cue you guys what to do, okay?

So what I'm doing basically is I'm coming

around here and seeing if there's a spot

where I can shoot through these branches.

And I know I'm going to have to

get down low so that I can have

them on the sky.

So I'm trying to find a good shooting

angle where I can have lots of branches

silhouetted on the sky but also Jesse and

Jenny's profiles.

A little landscaping here.

Okay guys, so actually maybe like another step

closer to me if you can.

Okay, right about there.

Okay, now move into the penguin position.

Side by side.

Yeah, facing each other.

And now I'm going to expose for the

sky.

So I'm going to go really dark and

dramatic.

So everything's silhouetted.

All the branches are silhouetted.

100 ISO, f2.8, one five thousandth of

a second.

One eight thousandth of a second.

Really dark, okay?

Expose for the highlights in the sky.

And now, okay, I think I've got a

composition that's going to work.

Can you take like half a step backwards?

Not away from me, but Jenny if you

step backwards and Jesse you go with her.

Yeah, okay, right there.

All right, and I might try this at

a few different apertures.

Right now I'm wide open on my 16

to 35 lens.

And actually as I zoom out into like

the 20 millimeter range, it gets much more

interesting because now I've got lots of cool

branches.

I'm zoomed out close to 16 millimeters because

they're so close to me.

And because they're silhouetted, I just want them

small within the frame.

I think my best composition is down here.

Okay, and now what I want you guys

to do actually, let's take off the jackets.

Because we just got small silhouettes, the sleeker

they are, the more recognizable they're going to

be.

Okay, now side profiles looking at each other,

almost touching noses.

A little bit of separation.

Yeah, like that.

That's great.

Okay, so now I'm going to back button

focus on their silhouette.

I'm going to recompose to fill the frame

with lots of silhouetted branches and make sure

they're right in the little window.

Guys, can you actually, it feels weird, but

I want you to actually lean over my

lens at the hips.

So Jesse, you're going to tilt left and

Jenny, you're going to tilt right.

Yeah, exactly.

But you're still side profiles facing each other.

That just counteracts the perspective here because I'm

shooting from below.

And so the closest thing to my camera

is their hips.

So this counteracts that.

Okay, almost touching noses.

That's actually really good there, guys.

They're just a little bit too big for

this space.

So I can go there.

That, that fixes that.

If I go, if I move my camera

closer, I get a little bit of a

bigger window.

And guys, can you actually just move away

from my camera, like half a step?

And then the exact same thing there.

Now they fit in that little opening a

little better.

Okay.

All right.

And give each other a tickle there.

So you're kind of laughing.

Yeah.

And kind of throw your head back in

laughter for me, Jenny, like laughing up to

this guy.

Okay.

And back up, almost touching, almost touching foreheads.

There we go.

That's great.

That's great there.

What I'm going to do now is just

out of curiosity, is I'm going to go

up to a high F-stop.

So let's try F11 here, where everything's kind

of sharp now.

Different look.

All right.

Almost touching noses.

That's good.

And let's go even higher.

Let's go, let's go F22.

F22, 1 1 25th.

Okay.

Now everything's sharp.

Okay.

That's great, guys.

Perfect.

Straightforward, natural light silhouette up on the sky,

but bringing in some foreground interest to shoot

through, to fill the frame with a more

interesting silhouette.