All language subtitles for Episode 112º Off camera Michelle Carlo

What's up friends, how are you?

Welcome to a new episode, as I always

wish you all to be as good as

possible.

And here we are, almost sure, like most

of you, editing weddings like assholes.

You see that I don't get out of

it, and the truth is that a second

ago I took off all September, I mean,

I've already edited all September, so soon I'm

going to start with what is October, and

in October, well, October was full of weddings,

but well, that will be another story, so

here we are.

But, as always, every week I want to

record a few chapters of Patreon, and this

week it's not going to be, well, something

strange, that I record, as it is logical,

a couple of chapters.

And this week, this week, I just want

to show you a couple of off-camera

chapters of a session that I did in

Cancun, of an incredible couple.

I always say that my couples are incredible,

but the truth is that this couple, both

Michelle and Carlos, are a wonderful couple.

It's a Mexican couple who live in the

United States, but who got married in Cancun,

and I'm really happy because, well, they counted

on me, and then, having said all this,

I'm going to show you a little bit

about the session that I did with them

the day before their wedding.

And first of all, I have to tell

you that it was a very, very short

session, maybe it lasted about an hour and

a quarter, an hour and twenty, and it

is not too much to say that it

was a session that I gave them, I

mean, the day before I had it free,

and I said, hey, guys, why don't we

take a few pictures and take advantage of

the hotel environment a little bit, okay?

So, having said that, they agreed, I was

delighted, and I told them that the session

was going to be short, but effective, and

that we were going to try to get

the most out of the hotel.

I also told them that we were not

going to visit the beach, I mean, just

to give you a little background, the hotel

where we were, both them and me, is

a hotel that, well, the typical incredible resort,

five stars, everything included, in which it is

in the same, well, I mean, it is

on the same beach, but as you already

know, for me, the beaches do not usually

have a visual attraction to take pictures, so

then we took advantage of all the infrastructures

that the hotel had, both, as you are

going to see, rooftops, indoor areas, like an

indoor patio, which there I took a large

part of, well, because of the report, and

a little more, and a terrace area, that

there were a couple of lines, as you

already know, that I like so much, and

that's where it all ended.

The first photo I took, or the first

photo I took, was this one, and as

always, it's not that it happened to me

alone, or that it happened to me only

with them, but with all the couples I

photographed, the first photo I take is always

a contact with the couple, because I need

to know who the couple is, how nervous

they are, how much I can play with

them, and not only that, I always tell

my partners that I am not a robot

in which you introduce a coin and take

good pictures, but I need to get used

to it a bit, and the first photo

to break the ice was this one, as

I told you, and of course, this was

the result of having worked a little, because,

as you already know, when I start playing

with couples, I don't usually take the big

picture as soon as I start, but I

play with the couples until I finally get

something that I really like, and as you

are seeing, well, I started playing with them,

I asked, for example, Michelle to separate on

one side, Carlos on the other, I started

to see how much game I could get

out of that same environment, because the first

thing I should tell you is that I

chose that environment because of the clean background

it had, the sun was just above me,

the session was shot around 10 in the

morning, 10 and a half, before the sun

began to be totally destructive, because, as you

well know, or as you can imagine, in

the Cancun area, from 11, 11 and a

half, 12 noon, the sun is already the

absolute mess, I mean, it is very, very

powerful, with which we started at 10, 10

and a half, and we were an hour

and a little, as I have told you,

already returning to the session, that is, to

the photograph as such, I started first separating

them, separating or asking Michelle to be on

the right and Carlos to be just on

the left, because I separated them, because it

is the best way to break the ice,

because couples mainly think that they are going

to be face to face, and I already

told them that they would separate, I started

playing with Michelle's body language, but I saw

that the thing did not end up working

between Carlos and Michelle, or sorry, I did

not know how to make them work perfectly,

and that's when I put them together and

asked them to both be in that background,

in that clean background, and that both turn

to each other, that is, open, leaving in

the middle, in the center, a little plant

of aloe vera, I think, or a cactus,

and between the couple there had to be

that cactus, and both had to turn their

backs to the back, to leave that gap,

and that it would work, there were simply

many attempts, but finally I asked Michelle to

hold her hand, that is, to place her

hand just at the height of the mane,

and to turn again, that is, to turn,

that they came to the back, that each

one took a small step back, that they

ended up opening up, to finally capture the

image that I showed you at the beginning.

As always, I have to tell you that

you have to try it many times, you

have to lose the fear of thinking that

the couple is going to worry, or to

be a little there and think that it

is not going to work out, no, just

lose the fear, try it, and always think

that the couple are mere figures that you

have to move, you have to find attractive

options, until finally the photo arrives.

When I saw that area, which the truth

is that it did not convince me much,

well, I did not have the photo, perhaps,

that I was looking for, but I also

knew that that was the first one, the

first photo, whenever I do it, it does

not end up being the top one, it

is always something to see how I work

with the couple, and how the couple works

with each other.

Already at that moment, what they asked me,

or what they advised me, both Michelle and

Carlos, who had access to one of the

suites, to a penthouse that had a jacuzzi,

it was on the rooftop, I mean, there

were a lot of possibilities, so, said and

done, we went upstairs and there we met.

The first thing I asked them was something

that I don't usually do very often, but

I do it from time to time, and

it is to ask the couple to be

face to face.

I thought it could be attractive to close

the doors a little, until leaving the perfect

space for the couple.

I already had that, I didn't want to

be much more, just, well, as an anecdote,

I was worried that the sun would get

into the lens, to create something more attractive,

perhaps, but I quickly changed thirds, that is,

I already changed my story, and I went

near what you are seeing, near the jacuzzi,

but not to photograph or take a photo

of the mere jacuzzi, but notice that in

my head I always think about finding creative

resources that help me to keep pushing forward,

to have something a little better, right?

One is always controlling the light, as you

already know, another is always finding clean backgrounds,

and another, at the moment that I don't

start to find those things that I need,

is to find elements that help me to

create a more interesting photo.

What elements?

Almost always crystals.

Notice that whenever we stick our lens to

a crystal, to a mirror, to a metal,

whatever, there will always be reflections, and that

was my mission, since I was not in

the easiest place for me to find that

great photo, I had to push forward with

a creative resource, which is that, to take

advantage of the crystals that there are to

play with something more complex.

Once I had the couple right next to

the crystal, that's when I started to play

with them.

How to play?

Well, with body language, I already told Michelle,

look Michelle, it is important that you play

with one arm, it is important that with

the other arm you lean on it.

Why do you lean on it?

So that there is a connection with Carlos,

between the boy and the girl.

And the other hand, why?

To play with her body language.

Once I more or less believed that I

already had the photo, well, I started to

shoot, until I more or less had this

photo that I have shown you.

Why don't I like it either?

I mean, it's not bad, but why don't

I like this photo?

Why doesn't it seem at all attractive to

me?

Simply because, in this case, it's my fault,

I didn't direct the couple correctly.

Why didn't I direct it correctly?

Because notice that the shadows, both in Carlos

and Michelle, I'm talking about the shadows on

the faces, both of one and the other,

they don't end up working.

I had to have leaned, to have directed

both more, to find a better light, right?

That's the main problem of all wedding photographers.

You see that I also have that problem

sometimes, that we don't look at each other,

we are not, I don't know if the

word is concentrated, or we easily forget how

to direct the light or how to work

it, and that was the mistake that I

finally had there, right?

So I saw that staying longer in that

penthouse was not going to bring me bigger

photos, so I told both of them that

maybe it would be advisable to go down

to the terrace, that there I had controlled,

there I had checked a little bit of

that, and the truth is that there was

an interior patio in which everything worked, well,

I mean, it worked, there were more things

to play with, right?

Like clean backgrounds, very interesting lights, and those

lights projected incredible shadows and that's where this

photo came from.

This photo, why not say it, is one

of my favorites that I did during the

session, for the mere fact, and I would

like to describe it a little bit, right?

You see that those projected shadows that are

on the left, there I thought that Carlos

could work perfectly, there I could place Carlos

directed to the light perfectly, although I could

create, that was the main idea, sorry, directing

Carlos to the light, although later, as you

will see, I altered everything a little bit

and changed it a little bit because I

thought it could be more interesting to play

with Carlos' silhouette and already ask my friend,

my friend Michelle, to go to the background

and try to jump.

Why try to jump?

Because I was going to play with that

non-obviousness of not showing his whole body,

I mean, I was going to show Carlos'

silhouette and only half of his body, I

mean, legs mainly, of what Michelle was, and

I did tell her, please, Michelle, I want

you to jump and that your jumps end

at that point of light.

At first, Michelle was wearing heel shoes, but

so that she would not kill herself, so

that there would not be a skid, so

that her ankle would not be crumpled and

that Michelle would be perfect for the next

day, I told her to take off those

heels and to start jumping over and over

again until I finally had the photograph that

I was looking for, right?

And just at that moment I thought that

I could still take a little more advantage

of that situation and I told Carlos to

continue leaning on that wall, this time for

the light, I mean, notice that I already

directed Carlos, sorry, or that I proposed to

Carlos, sorry, in which he would place himself

in one of those gaps in the light,

right?

For me, those projected shadows were masterful lines

that I could not carry, that I could

not destroy, that is why it was so

important that I placed Carlos in the right

place.

And I directly asked Michelle to come for

me walking on that little wall, right?

So, again, I was going to play with

the couple in two different spaces, in two

places, both Carlos on the left and Michelle

on the right.

Of course, when I asked Michelle to come

for me, I thought it was a good

idea and in fact I captured this photograph,

but I thought, it's the same, right?

It's the same as the previous one.

After all, well, if we compare this image

with this image, it's still the same, right?

We are not contributing much, much more.

So then I asked Michelle to come a

little more, thinking that perhaps capturing Michelle's feet

could create something more interesting.

No, I didn't capture it.

As you can see, I didn't capture it.

Why don't you finish convincing me first?

Because the shot I'm giving the protagonists is

Michelle's feet.

It's not that they're ugly, but I don't

think it's a more attractive photo than the

previous one.

Maybe that's why it doesn't seem attractive to

me.

And also, something that I always tell many

people, when I have, for example, the couple

both in a real moment and in a

pose, I always like to focus on the

point that is in the background.

Not on the foreground, but on the background.

Why?

So that the viewer redirects himself to the

background, right?

Let him go through the whole scene, read

the photograph and stop at the point I

want him to stop.

But for him to stop, he has already

gone through the whole scene.

Notice that when I focus on those feet,

the viewer suddenly stops.

And at the end, I read a little

what happens at the end.

That's why I didn't finish convincing myself.

But I thought I could get even more

out of all this, and that's when I

changed the shot completely.

You see, you always have to think, okay,

what do I do now?

This, what do I do next?

This, what do I do next?

I mean, you always have to have a

plan A, a plan B, a plan C,

a plan D.

I mean, it's not just about when you're

doing that photograph, thinking about what you're doing

now, but at the same time, you have

to think about what you're going to do

later.

Why?

So as not to let the couple be

resting.

No, no, no.

I mean, you have to have them like

this.

So that things go twice as fast, and

that there's no time for the couple to

rest.

I don't know if that's the right word.

The right word would be maybe to sleep

or to relax too much and to lose

the concentration of what we're doing, right?

That's how I asked Carlos not to move,

and I asked Michel to do the same,

okay?

And now I did, now I did focus

on Carlos, on the second term, on the

background, okay, to look for that, to redirect

the viewer between the two legs to Carlos,

right?

I mean, between the two legs of Michel,

he had to capture.

I was lucky, and I think that only

on the second or third attempt, the thing

finally came out, okay?

And well, I captured something that I thought

could be interesting, as it was, okay?

And that's how I captured these images that

you've seen now, okay?

As you've seen, it's worth the redundancy.

You see that there's a bit of everything.

There are photos that I quite like, and

there are other photos that I don't like.

It's not that they're bad, but they don't

reach me.

What did I do?

I didn't publish them.

No.

Will I give them to the couple?

Of course I will, how can I not

give them to them?

But you always have to be very radical

with what we publish, because remembering that it's

going to be what we finally receive from

future clients.

I mean, every time we publish something, we

press a button, and a button implies an

action, and an action implies a reaction.

Good or bad, who knows?

So that's it, friends.

I wanted to share these photos with you

so you can see a little bit of

what I had done in that first part

of the session.

So very soon, very soon, in a couple

of days, you're going to see what I

did in the second part of the session.

So that's it, friends.

Don't burn those pupils in front of the

monitor.

Go out to rest a bit, have a

couple of beers, and enjoy life.

Until next time, friends.

Ciao, ciao.