All language subtitles for Episode 18 Off Camera Vero y David (2)

Hello friends, how are you?

How are things going?

I hope August has started as best as

possible for you.

This is the fifth month that we have

been with this crazy adventure called Patreon, so,

well, both Erika and I want to thank

everyone, to all of you who, since the

end of March, that you started with all

this, and to follow us, of course, and,

of course, to all of you who are

signing up, and even to people who gave

up, but it seems that they have risen

again, so everyone, you are welcome, and really,

thank you, thank you because the times that

run are sometimes complex, and well, everything for

your support, as you can imagine, is incredible.

Well, in this video I wanted to talk

about a second part, that we left a

little forgotten, three chapters ago, because our idea

was, well, when we recorded the video off

camera of our last pre-wedding, as we

saw that everyone wanted to know more about

how we worked the weddings, and not that

video, so we left it a little stopped,

but it is time to resume it, because

we have photos that are really interesting, that

I would like to address a little, and

well, to describe them a little, okay?

I mean, remember that I'm talking about the

session that we published three chapters ago, so

let's rewind a little back, and well, I

mean, remember that I had had some little

problem with myself, little ghosts, little ideas that

came to my head, and well, I mean,

remember that it was a video in which,

more than anything, I told you a little

about the mistakes that we had had, okay?

What I did was describe five images, and

in this chapter, what I'm going to do

too, is describe five images, in which you

will be able to see both the final

result, as well as some videos that you

will see us working, and you will see

how we addressed the couple, and how we

did the report, okay?

Okay, I mean, first of all, I would

like to start by talking about this image,

in which you are seeing now, because it

is really important, because I think that the

light that is there, was very interesting, and

at the same time, complicated, sometimes, to get

to her.

Of course, I mean, notice that my mission

was, well, I proposed to the couple, that

it will be placed up there, and what

you notice is that the first photo that

I threw was this, and really, it may

be my mania, right?

But I don't like when I'm doing a

portrait, or even capture moments, to place the

objective so, right?

It's just that it seems that it's captured,

I mean, the couple is captured from a

shy angle, and it seems that the photographer

has not worked quite well.

Notice that I quickly lowered it down, and

I already placed them looking at the light,

the thread that came from the light was

very soft, not very soft from the light,

but very, very weak, I mean, it was

a narrow strip of light, I mean, and

that was the mission, right?

That, I mean, I told the boyfriend to

come a little for me, so that I

was illuminated, and the girlfriend too, and both

looking over there.

But I didn't quite like it, because even

though they were already at the same height

as me, and it already worked better, the

photograph was too static, and I didn't like

that there was almost no point of connection

between them, right?

So, again, I asked them to go up,

and notice that this time I already asked

both of them to hold hands, so that

there was a point of connection, in this

case, for example, of the hands, so that

the photo would work better.

And notice that I was clearly worried that

the background that was there was completely in

shadow, it was a completely clean background, so

that the couple could accept it more, and

what I did ask them, unlike in the

previous photos, they were...

it didn't end up working well, how they

held each other, or how they took each

other by the hand, notice that, I mean,

even in the first one, I tried to

make them walk, but notice that, when I

asked them to take each other in the

first image, I mean, it doesn't end up

working, because they didn't know which hand to

hold, if with the left or the right,

that was the reason why I put them

down, but then, when I put them up

again, that was the mission, right?

Instead of putting them side by side, as

you can see, what I tried was for

David to turn a little more so that

it worked better, right?

And I didn't ask them to walk, but

to stay 100% static, and to always

stand like this, looking at the light.

So now I have a perfect connection of

hands, but look at the perspective that works

well.

You see how they are completely at the

same height, and it seems that the couple

rests perfectly, I mean, I'm talking about what

composition is, about how, for my taste, I

think the image will work better.

I've been talking about hands all the time,

and the image I want to show you

now, aesthetically, we could say that it has

little to do with the images you have

seen so far, with which you saw in

the previous chapter, and with which you are

going to see next.

Because, look, all the lights that I have

been showing you and that I am going

to show you are very hard lights, in

which I was playing at all times with

very marked shadows, but notice that this is

just the opposite.

But it works perfectly for me, first to

explain to you how I usually pose, or

how I usually direct, for example, the couple,

because I have told you more than once

that it is not that I don't do

it, that if you have to do it,

you do it, but I always try to

avoid saying to the couple to stand face

to face, to put their faces together, I

mean, united faces, with closed eyes, smiling, happy,

maybe it's a photo a little too much

more soft, with which I needed something more

that changed me a little.

One of the poses that I usually use

a lot with couples is that the girl

turns her back to the boy, they get

together, and already ask her always, that one,

not to stick very like this, but as

I am doing now, but with this part

trying to find the position and I always

tell them to imagine as if they were

about to go to sleep, as if they

were leaning on the same bed, as if

the boyfriend was on the same bed, and

I always tell them that they don't bend,

that is, they don't bend up, that is,

the neck does not bend up, because it

is very strange what it is to show

this, and I always say that it is

the boy who should pull forward, the one

who should go forward and the one who

should try to position better.

I always tell her to stand there, to

rest, and to try to play with her

hands.

I always tell them that before we start

the session it is super important, guys, that

we play with our hands.

I always tell the boys, we men, when

we don't know what to do, when we

are nervous, we always tend to put our

hands in our pockets, and I always tell

them, your hands have to be there to

hold her, to show the love or the

connection between both, so I always say that

all hands have to go to a place,

that's why you see, for example, in the

photo, look how David holds her by the

waist, as I told her, for example, to

her, I want you to settle in him,

that you find yourself comfortable, and once you

find yourself comfortable, that one of your hands,

for example, on the left, you are going

to stand on his chest, and if you

can, play a little with the chin area,

with the neck area, with something else, ok?

Notice that, as I told you, aesthetically it

is not the photograph that would fit perfectly

with the rest, but it serves me perfectly

to explain to you how I direct the

couples and how I try to play with

the hands.

I prefer this type of poses than telling

the couple to be face to face, ok?

And now, well, as you can see, as

I was walking around, there was a perfectly

defined shadow that fitted like a kind of

frame, or a kind of window perfectly illuminated.

What I discovered is that by placing the

couple there were areas that, depending on how

I moved them forward, there were areas where

the shadow was going up and up, and

practically, as you can see in the image,

it was almost up to here, right?

Of course, notice that my mission, or what

I wanted to achieve, was an image in

color that seemed monochrome, that seemed to have

only two colors, almost as if they were

black and white, right?

And to create that mysticism, to create that

ambiguity, I asked them if they could put

on their two sunglasses, right?

Why?

Because it would seem that everything was black

except their faces, and notice that their faces

are semi-illuminated, they do not end up

being 100% illuminated, which fitted quite well

with what I was looking for, and well,

it could be an interesting photo.

Let's go for another photo, which is the

one you are seeing now, and this was

the final photo, the one I got, and

what I simply wanted to play with what

were the two, that is, the two bodies,

right?

One, for example, static, as you are seeing,

which is completely in shadow, it is completely

in silhouette, and the other one that came

to me, that is, the girl coming to

me from the front.

But I did not start with this.

Remember that I have always told you, and

you will be tired after listening to me,

that we are like architects, or we are

like builders, that we try to make the

first photo be only the foundation for what

is going to come later, right?

It is very rare, in my case, that

the first photo I make is the final

photo, right?

If not, from the first photo I use

it to build the second, and the second,

the third, until I get to the end,

right?

But notice that the first one is this,

in which they come out jumping, because I

was interested in the triangle that is formed

with the shadow, and what I thought, okay,

I want only the waist of them, I

want her to make a jump, I want

him to make another jump, and see if

that works for me.

Of course, there was something that did not

quite convince me, maybe because it could be

basic, or maybe because it did not call

me so much attention, or I thought it

was not so interesting, so I already proposed

them another completely different shot, which is like

the one you are seeing now, but that

she went to one side, and that he

was in another, for example, and it did

not quite convince me either, so what I

proposed to them was that she would come

to me from the front, and what I

discovered was that when she came to me

from the front, there was just part of

her body that was illuminated, and part of

her body that was not illuminated.

I thought that could be more interesting than

what I had done so far, so then

I asked him, please, you have to put

yourself in this imaginary line, and you have

to come to me walking.

Of course, this photo is made like the

ones you have seen so far, with the

45mm still shift, and of course, it was

a real joke, because remember that the 45mm

is a manual lens, with which, I had

to focus perfectly at all times, in every

step I took, so that I was perfectly

focused on her, until in the end, as

you are seeing, I got it.

Of course, the mission of not putting her

face, for example, was because I was giving

too much information, I think I was not

adding, if we are not seeing his face,

we no longer need, or I thought that

we did not need to see her face

either, and we already understood that she is

a woman, she has a perfect figure of

a woman, with which, I told her to

come to me, and I said this, well,

it is the image that you have seen,

now we are going to go for another

image, for the last image, and what you

notice, as I tried a little bit to

change the rhythm, because notice that, although it

is a portrait session, although it is a

pose session, as you have seen in all

the videos, I directed the couple at all

times, it is the mission of a pre

-wedding, here there is no documentary photograph that

is worth it, and what I wanted to

break a rhythm, when I talk about breaking

the rhythm, I always try that the photos

are not taken from the same angle, what

I mean, if you are the couple, it

is as if all the time I was

here like this, it is like the same

height of the eyes, in the end it

becomes repetitive, that it is always the same,

hence the mission, that I place for the

couples for example a high position, or that

I place for the couples here, or that

I place for the couples on one side,

or that only shows the side of the

couples here, cutting the head, or the silhouette

of the boy, I try to find resources

that help me that the series of images

that are being seen, that are not the

same, in fact, it comes from the function

that I made them throw, that is, that

I threw them to the ground, and I

was already, as you are seeing in the

video, just above, there I was shooting them,

and the first mission of mine, or the

first idea that I had, was to throw

up a little their hands, I was a

little bored, I asked them to put on

their glasses, but it seemed to me an

act too forced, and that did not give

me an answer, it was like saying, why

have they done this?

I did not like it, and then came

when I changed the third, and I asked

them to put their heads together, if David

came, and see a little more close, and

try to play, this is the only photo

that occurred to me, for example, to shoot

vertically, and what I wanted to keep the

body of Mero completely, and what I wanted

to keep only what was David's head, this

shot seemed interesting to me, but look at

the shot I made, and it's crazy, it

may be that many of you that does

not convince you, or that you do not

like it very much, but I ended up

with this one, why?

because it seemed to me that among all

the cement mass, among all the history of

cement that was there, which is an inert

mass, another inert mass appeared, which was, in

quotes, the skirt, but notice that the rhythm

of the skirt, with its lines, with its

bright color, aesthetically broke with all the cement,

and also the gesture that she put her

hand here, right in the chest, and what

is, for example, her belly, I loved it,

I finally shot with this one, and this

is the photo that I finished the report,

with which I found it really interesting, and

then, as I say, it may seem to

the couple one more photo, and it may

be that to you I did not attract

your attention, but at the time I found

it interesting, and when you already have the

whole gallery in Lightroom, and you are seeing

all, curiously, all the eyes were going to

her, as if I liked it, and honestly,

I was carried away by what I felt,

by the image, after all, we have to

bet for ourselves, for our ideas, and for

what we like, it is obvious that the

couple is going to have the photo that

I told you, the most romantic one, the

one that I told you that I broke

aesthetically, but it will have both, and if

there is a photo that I love, I'm

going to die for her, I'm going to

bet for her, and I'm going to give

it to the couple, and it will be

almost sure that it will be the photo

that I end up publishing, so that's it,

friends, I hope everything goes great, I hope

you are on vacation, and if you have

not had time to see this video, it

is great, I think that we are going

to take a few days to get out

of all this, from all the fuss of

this strange season, and to help us a

little, so see you very soon, be good

and enjoy August, bye!