Original subtitles

Hello friends, how are you?

How are things going?

I hope everyone is doing as well as

possible and welcome to a new chapter.

In this chapter I want to talk to

you about a very, very interesting little thing

called 2x1.

The 2x1 thing is not about a mega

-offer like in supermarkets or things like that,

no, no, no, no, no.

I just want to talk to you about

pure and hard photography and how to turn

your images into something more than that, right?

That is, in images that tell several stories.

The 2x1 simply goes by how to capture

or how to get two or more stories

in the same photo, okay?

I mean, if we are photographing, for example,

a couple, it is not just about photographing

the couple as such, but with some elements

or people who are around her.

Of course, that will require a maximum concentration

and a willpower and incredible patience to get

this type of images.

Keep in mind that it will not be

the result of chance, but it will be

the result of constancy and anticipation of knowing

and imagining that something can happen and it

will require us to wait until the action

or actions happen and the image is as

round as possible.

When I say two or more stories, it

is because one can already complicate life, what

he wants and what he needs, right?

But in short, when we start adding or

when we put together so many stories or

two or more stories in the same photo,

what it will do is reinforce the concept.

For example, if a girlfriend is putting on

makeup and there are people or girls who

are around putting on makeup, all that is

going to be reinforced more and the viewer

is still going to get like twice as

much information and twice as rich.

And also, speaking of the viewer, which you

see that I am always thinking about him,

it is a way of directing it to

the points that you want, right?

If, for example, in a frame like this,

here we have the main scene, but there

are like several stories around, that is, what

we are going to direct to the viewer

from where we want to get to the

main story.

And in short, what is going to happen

is that there is going to be so

much information and so interesting that the photo

is going to gain much more strength, right?

Simply, as well as some small tips, okay?

In which I usually use when I want

to capture this type of images.

And the main thing is to always divide

the frame or the photo as such into

two parts.

We can divide it vertically, in which we

have a part here with another part here,

okay?

And what we are going to try to

play between the two stories are the stories

that there are, but always dividing the frame.

Of course, when I say that I divide

the frame both to the left and to

the right, mentally it helps me to place

the elements on one side and I already

know that now I have to start placing

them on the other side, okay?

Or it can be vertical, as I am

telling you, or it can be horizontal, in

which there are elements above and below, and

we are going to try to play with

them so that the thing starts to work,

okay?

Another tip, to call it that, because of

course it is complicated to give tips on

something so complicated, right?

But another tip is to think a little

bit like in the Tetris game.

Yes, it is not a fake, right?

I mean, the Tetris game, the classic of

all life, in which we had to fit

little pieces, right?

Well, in photography it is the same, I

mean, we have to think that a piece

is here, which is the main story, let's

say it's the bride, and the little pieces

that have to start fitting, and each of

the pieces should occupy the corresponding place.

Speaking a little more seriously, another approach that

I have is something like playing with two

compasses.

Do you remember when in school or when

in high school they made us do, for

example, technical drawing in which we had to

draw, for example, circumferences with a compass?

What I mean is that, I mean, I

am a compass as a photographer, and I

have to know, depending on how I move,

a step forward, a step back, left and

right.

I have to know the possibilities that I

have to be placed, and at the same

time I have to know if the bride

in front of me is another compass, the

possibilities that she has to take a step

left, right, up or down.

Why this?

Because she can't catch me unprepared.

It's like the compass law, in which a

step forward is like a step to the

right, a step to the left, front and

back, and the same will happen with the

elements that we have to photograph right in

front.

For what?

So that we never mutilate hands, cut heads,

and everything is always within the same frame.

That is really important.

Now, what I would like to show you

photos, but I'm not going to show you

my photos as we have done until today's

chapters, because I think you are already tired

or you already know most of my photos,

and well, I would like to give a

little bit of a new wash to this

Patreon, and well, I would like you, who

are the protagonists of this whole story, to

have a little more prominence, right?

And as some of you are a little

shy when it comes to sending me photos,

I go directly to your websites and I'm

taking them.

I always ask for permission.

And that, right?

I would like, well, I have taken a

few images so that we can take a

look and they will serve me to explain

myself better and so that you understand perfectly

what I'm talking about, right?

The first image I would like to show

you is from Alex, and it's this one,

right?

In which, as you can see, we have

a guy who is lying down perfectly.

Do you remember when I told you that

the frame can be divided either vertically or

horizontally?

This is a good example of how to

divide the frame horizontally.

You see how from top to bottom we

have the boy sleeping, that is, we have

the first story, but notice that we have

another story, which could be the girl who

is putting on makeup in the window, next

to two other girls who are doing things,

and notice on the other side that there

is still the television with another face, right?

It really works like hell, it's a great

photo, right?

Of course, this, as I tell you, was

not the result of chance, but it is

more than likely that Alex, well, will take

a risk to get close enough, not to

bother the one who is asleep and know

how to see what was happening.

I mean, also think about what I had

told you, the importance that when we put

together, for example, two stories, they may be

parallel and reinforce a lot what the final

story is, they may not be parallel stories.

You see that in this image they are

not parallel stories, although they make sense, they

go a little out of hand, but it

seems like there are people who are active

and there is a person below who is

totally passive, right?

Well, that's what it's all about, right?

You see that it's like taking a little

more out of your images and giving it

an extra content.

Okay, let's go for another image, the one

we're seeing of Phil Rolands.

I guess Phil would be entertained, right?

Or he would know how to perfectly capture

the situation, as I had told you, of

knowing how to wait, knowing about the space

in which you are moving, analyzing your space

perfectly.

When I say analyze the space, what I

mean is that you know all the lines

you have.

I mean, for example, you know you have

a ladder on one side, you know you

have a point here, for example, that is

horizontal, you know you have a table behind

and if you are a magician, maybe you

know how to put someone behind there.

You see that it's about that and also

if we split, for example, this photo vertically,

I mean, if we split it in half,

if we cut it in half, sorry, the

photo on the left would have a story

and the photo on the right would have

another.

They are two stories that complement each other

perfectly and give a huge depth.

This would be a transition photo, right?

It's a captured image, it's more than likely

during dinner, we already know that children get

bored, or during the reception, right?

Well, let's go for another image of my

friend Viviana and like the first one that

I had explained to you that the frame

was divided into two parts, horizontally, up and

down, this is the same.

And notice that both complement each other perfectly,

right?

Of course, if there were no girlfriend, the

photo could work, in quotes, because there would

be a reflection of a man.

If there were no man, it could work,

but you see that both complement each other

perfectly, both have strength, right?

Let's go for another image, also super interesting,

which is of my friend Simon, and notice

how well it works and how it fits

us perfectly in the story.

It is divided vertically, in which we can

see both on the left and on the

right two parallel stories, but in reality, what

we are seeing are two stories that complement

each other perfectly and we already understand that

in the ceremony in which they were getting

married, there was an element like the organ,

and we have it working.

That is, without listening to the music, which

we cannot listen to, we understand that in

that ceremony there was that.

And I always say, it is not a

better photographer who tells the story with many

photos, but the one who tells it with

less.

A medium photographer would take a photo of

the boy with the organ and another photo

of the couple.

A good photographer is the one who tries

to think, to extract the brain of how

to say, okay, I have the one with

the organ and the couple here, we have

to get it in the same frame.

And let's go for the last photo, for

the photo of our friend Rodrigo Carvajal.

I have chosen it because I really love

it, and it makes us get into the

story perfectly and we understand that at first

you say, okay, it's like a girlfriend who

is reflected in a mirror, but soon you

see that there is someone who is holding

the mirror, with which you understand that there

is something else.

And you are already telling several stories, a

story that is the girlfriend putting on makeup

and another story in which you imagine or

that your mind thinks that there is someone

beyond, someone who is holding.

And to finish, I would like to show

you this image, which is the one you

are seeing, it is mine, I had to

get at least one more of mine.

I could have captured everything in the same

frame, that is, on the right the father

with the girlfriend and with the audience in

the background, but I saw that there was

a mirror with which to move.

And you see that in this case, for

example, what I did was to divide the

frame into two parts, but horizontally, up and

down, that is, down all the audience and

then up the mirror.

So, in a way, I had that extra

connection and made the image look twice as

round and twice as interesting.

So, this is all.

I don't know if I have run this

video a lot, I think I have gone

a little fast, but I hope you have

understood me, I hope you liked it and

I would just like to invite you to

it, to that in the next event, in

the next wedding, you turn it around and

maybe there are moments of the wedding in

which one can take risks, such as those

dead moments of dinner, that sometimes almost nothing

happens, or those dead moments of the reception,

that the photographers sometimes that we are going

to have a cigarette or a soda, that

is, to think that maybe they are moments

to be working and that they are going

to work very well.

And finally, I would like to give you

some names of some photographers who are a

source of inspiration and that precisely this, the

2x1, putting stories in the same photo, is

quite good for them.

And speaking as wedding photographers, I would like

to tell you, or I would like to

invite you to see the work of Susana

Barberá.

Susana is one of the best photographers of

weddings that I know and her specialty is

this, is to tell or put stories and

sub-stories in the same frame or in

the same photo.

Another wedding photographer, also very, very good, I

think she lives in Rotterdam, her name is

Isabel Hatting, she is an incredible photographer and

more capturing moments, her specialty, I think, could

be that, the photojournalist or photo-documentary to

the highest degree.

It is incredible and I would invite you

to take a look at it.

If we talk, for example, about photographers who

no longer dedicate themselves to weddings, I would

love to talk about Alex Webb, one of

them, and if you ask me about a

Spanish, Daniel Ochoa de Olza, for example, could

work, or Manu Bravo too.

They are photographers or photojournalists, in this case,

their specialty, among others, is that.

So this is all, friends, I hope you

liked it, I hope you had a good

time, and here I am preparing for the

last chapter, which we will publish in a

couple of weeks, and I would like to

talk a little about what has been the

balance of this year, that something good will

have, although also very bad.

So nothing else, friends, be good and see

you very soon.

Bye!