Original subtitles

¿Qué onda, Patreons?

How are you all? Hi again,

This is the second video we do for you.

We did a great production. We went to Veracruz

and we did good pictures with Mayra and Arturo

they accomodate us in their house/cabin/lifestyle.

I really liked to hang out with them.

Ever came with me to this adventure.

He is the right-hand man, production, edition,

post-production, motion graphics. He does all of this.

And for this, he also did the filming.

We hang with them for a day and a half,

we went to meet them, to know them a little bit more.

These guys are photographers, travelers,

and they are always creating contents on their sites.

Here are their IGs, so you can take a look of them.

They are awesome.

This trip was very... full of everything,

that gave us a lot of good stuff.

I want to always connect with those who come.

When there are more than 10 years of age difference

between the people, the generation gap can be hard, so...

I think that as a photographer, we have to be aware of...

-particularly on weddings- that people come with

other perspectives, other ideas.

And for me, it has been this reminder...

to always be receptive, to always listen about what is coming,

it can be a trend or a new way of seeing things.

We have go with the flow, to adapt,

so that everything goes right, and the flow...

Not be "old school" so early, I mean.

I think we, as creators, we have to...

to be aware of that. We want to have our own style

and once we have it, sometimes, it can turn boring.

We have to open that perspective,

that visual background to keep growing

and get closer to people we admire.

It is not a matter of how much experience they or we have

but to open new channels of how to see and how to get inspired

and get surprised of this amazing life.

So, lets take a look of the pictures we did

I will try to talk to you about the behind the scenes

so that you can feel the vibe.

The first hours we didn't take pictures,

instead we went to meet the place, and to get to know them too,

how is their relationship, how are they together.

For this little tips,

or this little...

How can I call them?...

Like "sparks" of seeing how they talk to each other

if they are affectionate or not,

we can use this during the shooting.

I am always alert about human interactions,

so, once I have my camera and I can work with that

I look to optimize that.

You cannot force a shy couple to do something extrovert or crazy

because they won't reflect themselves when they see their photo.

I want to be faithful to their personalities,

that's what I try to do,

to match the photoshoot with their personalities.

About this couple... They like to live this "simple life" style:

a relaxed life. The photo style was based on this,

lots of intimate moments of them.

The place was amazing,

but I chose to stay home.

I wanted to take most of their photos in their home

and to add in the images who they are.

As photographers, when we are in a place, in a set

we want to use all of what is around us

and sometimes the idea is to stop for a moment,

find some peace, to calm down and analyze everything

because we don't need to use all the set,

we have to be prompt.

That has always been my goal: not to conquer the world,

but to make images that get into me and into the couple

and the rest is fine, is not about to do it all, all the time.

This is something that I've been changing through the years,

and now this is how I see it: I want to create a good experience for them,

I want them to remember the vibration we had as a team

and not necessarily all about the photo.

And we, as photographers, get that thought stuck in our head

and it is hard for us to get out and try to be with them

so that we can give that "human touch" to what we do.

That balance attempt is always there,

the balance between this to be a great experience for the couple

and the joy of having those pictures that you had in your head, done.

My idea is always to arrive in the place, to meet it,

to see how the light hits in different areas,

to observe the textures, -if they are deep or smooth-

and from this, start to build the scenes.

The first pictures were at the kitchen,

I really like polished concrete,

I do like the texture but I also like the simplicity,

this is very smooth, and it won't compete with your subject.

I always look for that: a background that won't compete with my subject.

We went to the floor at the kitchen countertop.

I was on my knees, they were sitting on the floor,

and it was just about playing with the elements

When I see the couples I see them as geometric figures,

so in the first photo, where they are seated

-Arturo is standing and Mayra is laying down-

so we are doing an "L".

I am always looking for these "negative spaces", that...

when you read a picture it is a picture of that couple

but also let the atmosphere to tell you a story

and also let you some air to breathe.

This is why I play with negative spaces,

so that when you read the picture you can stay in this invented little world.

About the interacting part... it is just about make them feel comfortable.

To put them into activities so that they forget about the photographer,

make them forget that we are doing an image.

So it is just about... letting them act.

To give them the way, not like "put your hand here..."

but more like: "Ok guys, for this scene we will be happy,

let's enjoy life and let's talk about how you guys meet."

So, while they are interacting I am making photography.

The "direction" is more about posing a scene,

like being a film director,

and not just a photographer of still photography.

So that, for me, makes the difference,

that they have a little more moving, that they feel free,

and in this image, because it is a soft light,

you can move their faces and the light, in their faces, will still be flat.

So, that is what I am always looking for:

that they can move if there is a soft light.

Most of the times I try to start with those pictures

so that they feel comfortable. Hard light is more punctual

and you have to be more specific on where to look at or where not to,

but in this case, we had the chance to play and have fun.

So, now that we were there, in the same place,

I love the texture -it is not disturbing-,

I start to see... I have the puzzle

I just showed a big part of my scene

Now what? Now I go with subtracting...

What do I like? Mayra's look is very strong

and the texture of Arturo's arm is amazing,

so let's play with that; squeeze their tattoos...

*Be the example, don't be afraid of interacting*

We played with his arm...

the first part we did was about "body love"

I said to Mayra: "Arturo is a whole arm, only an arm...

he doesn't have legs or a face, he is just an arm,

so give all your love to that arm."

And I like that, to remove parts of the human body

and use more of the place we are in.

If we always use the whole body or half body

the photo can be very similar,

because it can be very hard to change the background every time.

So I like to squeeze every place; every magic corner I find.

Tip 08: *Find variables that complement your idea*

So, once we give love to his arm, let's play with the mystery...

Let's cover Mayra with that arm,

let's make the emotion not so obvious,

let's leave that emotion on the imagination of the viewer,

it is not always about: "Oh, love, pure love",

this was more about playing with a concept,

maybe he is my defender, or maybe I am hiding of something...

It is this psychological part that we are able to see

if we put a little time on that

and it also depends on your personal records

maybe for you it symbolizes strength or maybe fear

maybe is an emotion or a memory that you have.

I like to go on that way, making the picture not so obvious.