All language subtitles for Episode 119º Talking about these 2 photos

Hello friends, how are you?

How are things going?

Welcome to a new video.

As always, I want to wish you all

the best.

If you have weddings, have a great time.

And if you're editing like assholes, well, have

a great time too.

In today's video, I want to talk about

photography, which is weird.

And I would like to share with you

two images that were awarded in the last

contest of Fitness Photographers.

I'm talking about this image and this image.

And I would like to describe them, I

would like to analyze them.

And of course, I would like to share

with you how they were taken, how they

were photographed.

So first, let's start with this image.

And first of all, as I had told

you, I would like to stop a little

bit in why it seems to me, for

me, attractive.

What visual elements seem attractive to me so

that it is finally an image, regardless of

whether it has been awarded, it is one

of my favorite images, no longer from last

year, but from my entire history as a

photographer.

And first of all, although it may seem

that it is an image in which the

composition does not work, if I say that

it does not work, it is because of

the simple fact that, look how the bride

is directed or has her body directed to

the upper part of the image.

Therefore, if we rely on the norms of

classical composition, we could say that the image

is not correct.

Why?

Because, as I say, having the bride, the

body directed to the upper part of the

image, we would have to have given air

in the upper part of it, which I

did not do.

If you look, there is a visual drowning

because there is no air in the upper

part.

Therefore, we could define that or we could

say that it is a mistake.

But I assure you that under my criteria

it is not a mistake because I tried

to intentionally break that rule of having left

air on the right, having left air on

the top and I did it the other

way around, I gave the air below, you

understand me?

Because if you look, as I have already

said, it does not work for that.

But for me it does work.

It is something that I wanted to start

talking about, because it is something that visually

shocks and I think it was important that

I share it.

Second, there is a set of lines, in

my opinion, that help me make the composition

or make the image rounder.

One of the lines is this perpendicular one,

which is formed by these little stairs, which

helps me perfectly to redirect the viewer's gaze

to where I want.

There is another one, which is this one

here, which also helps me to redirect to

where I want, to the viewer, I mean,

to the bride.

There is a vertical line, which is this

one, which gives me stability, stability and depth

to the mere image, and there are also

other small lines that give stability to the

image, which are these ones, which is the

place where the bride rests.

That's why I wanted to describe it first.

Ah, the light, it could be said that

it does not last, nor is it completely

soft, it is an ambient light, the photo

was taken in an interior patio, as I

will explain in the next few minutes, but

why does it seem attractive?

Simply because of the visual contrast between the

bride, which has a warm color temperature, and

the environment, the building, which has a cold

color temperature.

That is post-production, as you will see

later.

Therefore, that contrast between the warm and the

cold makes the image visually work much, much

better.

Once I have shared all this with you,

I would have to tell you, or I

would also like to share, how I did

it, because the image was taken in the

red wall of Calpe, the image was taken

in a kind of, or in an interior

patio, sorry, in which it is formed by

stairs, as you are seeing, and the apartments

are distributed on each staircase.

This could be said to be an interior

patio.

So, as you can imagine, on one of

those little walls, on one of those stairs,

I proposed to the bride, to the grooms,

that it could be interesting for them to

be placed there.

I also want to show you this photo,

because it is important, since it may seem

that the grooms were in a very comfortable

place, but as you are seeing, the seat

they were leaning on was as thin as

this, so the stability for them was not

easy at all.

So, first, as always, I started working with

the couple, first separately, the groom on one

side, the bride on the other side.

I thought it might be interesting if they

didn't work separately, so I asked them to

get together.

When I asked them to be together, the

space was so small that the grooms told

me it was impossible, and they were laughing

at the absurd things I was asking them

to do.

So, I asked the groom to go down,

to be right at the bottom of her,

and she would take a position, mimicking the

structure, the architecture, the space, that her hips

would be on one side, her buttocks on

the other, her arm on the other, and,

ultimately, that she would start to accommodate herself

as sensually as possible.

At that moment, I understood that the photo

didn't have to be taken with the couple,

I had to go deeper into her, just

her, and that's how I asked my friend

Manu to leave the image and let me

work.

I was working with the 45mm, you know

that the 45mm is my fetish lens, most

portraits are usually done with the 45mm, and

here, to correct lines, it helped me perfectly.

Also, the 45mm focal length helped me to

be closer, because I was quite far from

the bride, I would be like 4 or

5 meters from the window in front of

her, in the same interior patio, so a

35mm would have been a bit unfeasible, that's

why it was the 45mm.

Well, I was already working with her, I

asked her, as I told you, to mimic

the space, that in each step, she would

lean her elbow on the lower part of

the hip, and above all, that hip and

those feet falling, those crossed feet, give her

that naturalness so that the bride, or that

female body, adopts that sensual and calm position

that makes the image, in quotes, attractive and

very sweet, well, sweet or soft to understand.

That's why that was how I took the

image.

Ah, important things.

When I was taking the image, even though

I was with the 45mm, the plane wasn't

close enough, and on the upper part, as

you can see, I had a photo left

over, but I already knew that when I

cut it in post-production, that upper part

was going to be too much for me.

I also knew that the light, at the

time of the shot, wasn't as exquisite as

possible, and I knew that in post-production,

it would do that.

So, I wanted to share with you the

before and after, both in the original image,

with all the spaces that I had left

over, and how I cut them, and, of

course, how it ended up in post-production.

So, let's go to the next image, the

second one, this one.

And even though the first image is a

portrait, this image may seem like a real

moment, but I assure you that it's not

a real moment, it's a post-production, but

the truth is that it doesn't matter.

We don't go crazy with post-production and

real moments, those are all mental traps that

don't help us go straight to where we

want to go, or where we want to

take interesting photos.

After all, we're photographers, and we do all

kinds of images, real moments or post-production

moments.

But, well, with this absurd clarification, let's start

talking.

We were...

Sorry, after the ceremony, the grooms leave the

ceremony, they throw rice, confetti, congratulations, we get

in a little car, a very old car,

it was a kind of...

I don't know if it was a small

truck, or whatever we call it, it was

like an old Volkswagen from the hippies, so

that you can understand me.

So, well, just to say that I always

go with the grooms at all times, I

don't like to leave them alone in a

car when they go, for example, from the

ceremony to the banquet or to the venue,

I just stick to them, I'm always their

shadow, and that helps me take pictures, for

example, like this one.

So I sat next to the driver, in

the co-driver's seat, and I just turned

around and started asking the couple to start

being together, kissing, looking out the window, until

I was finally taking pictures like the ones

I'm showing you now.

I mean, they're beautiful, they're correct, but it

still took a while to get to the

wedding venue, so I thought it could be

interesting to play with something else.

I thought that maybe, making the...

I mean, getting another...

Sorry, sorry, I'm messing up.

I mean, making the driver be on the

left side of the image, I could think

that in the rearview mirror that was right

next to it, it could be interesting to

place the couple right there.

So I just moved the rearview mirror a

little bit, I asked the couple to be

together, kissing, and that was the mission.

Why did I do all this?

Because, as you know, I always try to

divide the frame into two parts.

On the left side, there has to be

information, on the right side, there has to

be information, and so we get images that

are a little more complex.

I mean, I wanted to hear from the

original landing that I had photographed in which

the couples were centered in the center of

the image and I wanted to get something

more complex.

That's where it came from.

I started by taking a first image, there

is a first photo, and as you can

see, the light doesn't work anywhere.

What I have to say, we were on

our way in a big avenue and everything

was crossing through little streets.

Those little streets that crossed, the sun entered

through them, so as we were moving forward

little by little with the car, I understood

that the light entered through the left when

we crossed the streets, so it could be

interesting to be prepared with the correct exposure

when we crossed that street with the car

and it was illuminated, so although the previous

photos were poorly exposed, in the end I

understood that I had to expose clearly to

the highest point of light when it was

illuminated, when the beam of light crossed that

street.

So I waited, I told the couple not

to move, not to kiss, not to look,

not to caress, all these things, and the

driver simply didn't look forward.

Besides, he was an Italian elderly man and

as you can imagine, he didn't understand what

I was saying, he just drove.

I waited until I had more or less

that image.

In one of those crossings there were a

lot of traffic jams and then I decided

that it was the moment, that moment when

all the cars were crossing everywhere, until I

had more or less the image that won

the prize.

At that moment, I didn't know if that

image was going to be awarded or much

less, I kept shooting and I got some

images, like this one too, or even this

one, but why didn't I choose this one?

Because as you can see, in the one

that was awarded, in the one that I

like, in the one that I chose, it

was all full of chaos, of cars crossing,

there was a very serious jam, so that

gave me more complexity, more fuss, more extra

atmosphere.

In the previous one, there is only one

person driving around and there is a dead,

empty angle of content, of information, so that's

why, finally, I didn't throw it away, directly.

I'm not showing you any video of this

image because I was in the middle of

a wedding, in the middle of a battle

and I wasn't thinking about recording myself yet

with the GoPro, that's why there is no

video showing how I took this image.

Oh, by the way, it was taken with

the 20mm, for the mere fact that we

were in an indoor place and if I

wanted to get the image to have information

both on the left and on the right

with 35mm, I couldn't.

There was no space, that's why it was

taken with the 20mm, which is a lens

that I don't usually use, almost never, that

goes in the backpack like the 45mm, but

when I go out for a walk, when

I take this lens out of the backpack,

it has to be for things like that,

to play, to create something interesting and I

think I did it.

So, that's it, my friends, this video is

up to here, I hope you liked it,

I hope my explanations have been useful to

you.

Sometimes, when I talk about photography, I'm a

disaster, so I hope I have explained as

best as possible.

Be good and see you soon, bastards!