All language subtitles for Episode 41º Patreon Winterfell

Hello friends, how are you?

How are things going?

As you can see in this video they

are all news and not only because of

the beard that I have taken it off

thinking that I was going to leave the

face of an 18-year-old boy and

as you can see I look very weird,

right?

Well, and we are also in a place

where we have not recorded ourselves yet because

there is no natural window, since when we

moved to this house we decided to place

the work space here, since there would be

no type of light, for example intruder, that

would bother us when we were editing since

what you are seeing here is the place

where we edit all the images that you

see and on the table that you are

seeing is very long and in the background

is Erika and there Erika is also editing

both Patreon videos and other stories, right?

But hey, this is not to explain a

little about this room but simply to tell

you that a couple of days ago here

in Zaragoza, in the place where we live,

it snowed a lot and the thing is

that we have not left the house for

almost three days simply because we can't, since

all the streets that surround us are ice

plates, we can't even get out with the

car so well, here we are as prehistoric

and as if we were almost in winter,

right?

Well, having said these nonsense, just yesterday, well,

yesterday afternoon I told Erika that we could

do a little bit of the Snow Clown

we could a little bit, I mean, well,

play with Leo, have fun with him and

do a little bit of the Monger and

also, well, if there was a possibility, why

not take a few photos?

So as I say, well, we took a

few photos, some of them I'm showing you

now but in particular I would like to

have three images that have a certain chicha

and I think it can be interesting to

break a little the monotony of the videos

that we are publishing lately, right?

So I want to show you this image

and finally this image that you are also

seeing now I would like to stop in

particular a little bit and I would like

to talk to you about how I made

this image which, well, is not so complex

either, but well, I would like to share

with you that first of all as you

can imagine, it was done with flash, the

zoom of the flash, what I did was

close it to the maximum and also, as

I tell you, well, place this, right?

Well, this flash, well, it goes with pearls,

it's my favorite, but there are other complements

with other flashes that surely, well, you can

do the same effect simply as an anecdote,

right?

As a little story, I put the flash

in a monopod, 45 degrees, a little high

like this to create a kind of more

natural light and later the power of the

flash is more than likely that I would

put it, well, I don't know, more than

likely it would be, not a 7, but

I'm talking that it would be a 4

or a 3 because, you know, to greater

power of natural light we have to place

greater power of light in the flash but,

as you can see, I waited to take

this image in the last part of the

day Why this?

Because, as everything was full of snow, the

snow is white, it's obvious, how clever, damn

and the story is that, of course, in

the last part of the day, I already

knew or I already knew or I guessed

that the sky would be completely blue, dense,

with which all the snow would be in

that tone, right?

With which, then, I asked Erika to dress

Leo again, to go to the garden and

to be placed in a precise place where

I had already prepared everything, all the set

Camera dials were 200 of speed, 2.8

of diaphragm and ISO 100 Something very basic

to be able to play a little bit

in post-production, right?

Speaking of post-production, I didn't use any

kind of color gel to, I mean, to

enhance or to change the tones a little

bit in Leo and Erika's faces Simply what

I did was to lower the color temperature

in the whole image It was a tone

a little colder than it had given me

And then, I went with smart object to

edit just a little bit, to raise the

color temperature in Erika and Leo's faces And

then, as always, edit a little bit in

Photoshop to darken some parts Darken the sky

a little bit more, some part of the

ground, some little corner And, well, then clone

some little snowflake that didn't end up working

well Well, up to here was this image,

but now I would like to stop in

this image that I really find very, very

interesting I was inspired by this image by

one of the photographers that I admire the

most His name is Daniel Ochoa de Olza

He is a photojournalist, he is not a

wedding photographer And, as I say, he is

one of the most talented photographers that we

have in our country, in Spain The thing

is that I was inspired by a photo

that he took back in 2009 in the

congress of the deputies Specifically, the person that

you are seeing, if you are not from

Spain, I have to explain a little bit

everything The person that you are seeing here

photographed was the president of the government in

Spain Specifically, in the stage in which, well,

the Spaniards suffered a crisis, like the rest

of the world A huge crisis, back in

2009, as I was telling you And, well,

in the photograph you can think that, well,

it's not that complex, it's not that complicated

But, the truth is that, it's not that

it's complex, but the magic resides in the

moment it was taken and how it was

taken The moment it was taken was because

the president of the government had lost all

the support of his partners in the parliament

In addition, the opposition was, well, literally ending

him And the press, or according to what

kind of press, also, as it is obvious,

was trying to end him I mean, come

on, everyone was going for him The thing

is that I still have several colleagues who

are working as photojournalists in the congress And

what they told me, well, this story, right?

It's the one that I'm going to tell

you now In those days, all the photojournalists

of the different media had a few seconds

to get to the trail Or to the

place where the president was sitting, to take

a few photos running And to leave, right?

Of course, the light that there is in

the congress, it's not that it's wonderful, but,

well, you can calmly go with your camera,

you upload the ISO And it's not that

complex, right?

Of course, the truth is that all photojournalists,

perhaps from becoming that in routine, had or

usually have the same photos Which are of,

well, the president or the opposition, in the

atril sitting, there talking and nothing more But,

as I say, the magic lies in how

they are taken and the meaning that is

taken, right?

All photographers took the same image until Daniel

arrived, put the flash at enough power And

obviously wanting to leave everything around dark to

represent that the only thing that surrounded the

president or the former president was all darkness

Of course, this photo, well, I mean, it

came out in all the media, it was

a post-national and surely post-international cover

And even, in fact, the cabinet of the

political party of the president, the next day,

called the press agency Associated Press Which was

the agency for which Daniel Ochoa de Olza

was working And they told him that it

was worth it, that no more photos like

that, because photos like that, please no Of

course, that was the real thing, right?

And the photo, as I say, had a

lot of travel and it was, or was,

the photo with which I was inspired, right?

I mean, I just had Leo there and

I just put the flash here like this,

I hit him with a bomb and everything

stayed there, right?

Just to finish a little bit, and to

finish talking about the photographer for whom I

was inspired, who was Daniel Ochoa de Olza

He is a photographer from Pamplona, but as

I say, he is living in Madrid, he

is working for Associated Press For those of

you who do not know what Associated Press

is, it is one of the most important

international press agencies in the world I mean,

you could say that there is Franz Press,

Reuters, Getty, in Spain we have EFE, and

surely there is Cholom, right?

But Associated Press, I mean, let's say it's

one of the best And Daniel is one

of the best, in fact, I mean, look

if he is a photographer who is loved

by the agency for which he works That

when in Europe there is, for example, some

kind of event, they can be Olympics or

political events or whatever, they usually call him

And that, and that, that they call him,

has caused him some other problem for envious

issues But hey, that's another story that I

don't want to get into, right?

But, I mean, in fact, from what I

was saying, he is so good that until

recently he was taken to Mexico to cover,

a few months ago, the whole problem with

the fence with the United States and all

this In addition, he has an incredible personal

project, both in Holy Week in the interior

area of Spain, as little towns and all

this And he also has an incredible project

of what Euromaquia is You may or may

not like what bulls are, but the truth

is that these photos are works of art,

right?

I mean, how he has worked them, the

time he has dedicated to them, and well,

that's why Daniel's work, as I tell you,

well, it's incredible In addition, I was lucky

a couple of years ago to meet him,

I mean, in a talk he had here

in Zaragoza And well, we shared a little

bit of a chat and the truth is

that he is a really cool guy And

the truth is that we have a lot

of friends in common, all photojournalists, and well,

and they tell me, right?

That in addition to being a great photographer,

he is a very honest person, and well,

and noble, right?

And humble, which is the important thing So

nothing else, guys, I don't mess up anymore,

I don't roll up anymore, and here I

leave you in this place that you see,

which is known as the cave Because in

the wedding season, when we still did weddings

like canallas, here I used to spend hours

and hours and hours So nothing, until next

time, and be good bastards, bye!