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Hello friends, how are you?
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How are things going?
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Here we are, as always, like all of
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you, with a thousand open fronts.
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And today I want to talk to you
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about a few photos that I took at
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the last wedding.
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They are photos that were taken with flash,
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here I have the flash, here I have
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the lens with which they were taken, which
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is a 20mm.
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But before we talk about all that, before
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we talk, I would like to simply show
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them to you, because I am happy, because
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I already have the album with me, in
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which we prepare every year, of our son
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Leo.
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And it is a gift that always goes
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for the grandparents, I mean, for my parents
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and for my in-laws, and that we
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always end up giving away on Christmas Eve.
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And here we have it, right?
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It is a good memory, well, it is
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a great memory, of our son, right?
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And it is not just a gift for
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the grandparents, but because when I was a
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child, I remember that my father, well, who
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is not a photographer, but he is a
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lover of photography, I remember how both my
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brother and I were constantly photographed, and that,
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to this day, I still think it has
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an incalculable value, and that is where we
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are, right?
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Whenever I can, I have the camera ready,
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and if Leo is doing the Mongolo, if
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he is eating, if he is doing the
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Zenutrio, well, I always try to photograph him
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and take him out in the most Iberosimile
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situations, because I trust that in the future
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he will see them as I saw them,
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or as I see them, and he will
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take a good memory, right?
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But, well, I do not want to talk
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about that today, but, as I was saying,
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and we bring this here, at the last
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wedding, at the last wedding we had in
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Zaragoza, a couple of weeks ago, a couple
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of weekends ago, I simply took a few
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photos that I find interesting when it comes
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to sharing them with you, because they are
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not the kind of photos that I usually
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take, and in the end, or finally, I
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found it a bit difficult to do them,
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because, I say difficult, because I had to
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feel, not forced, but, in a way, I
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felt that I had to do it, right?
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Why?
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Because the wedding was in a place that
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I have visited so many times, or the
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hotel where the bride was changing, or was
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getting ready, I visited it so many times
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that I considered that to get out of
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reality, that is, to hide what I had
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in front of me and that I had
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seen so many times, and that I have
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photographed so many times in the same corners,
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I am talking about both the hotel and
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the farm, okay?
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I mean, I thought that when it came
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to preparing, like when it came to taking
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some portraits, I had to get out of
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the bed that I always find, because, don't
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forget, I usually work with a 35mm, the
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flash, I don't usually use it much, it's
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not because I don't know it, it's just
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because I go through other editors, and that's
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why, I mean, to get something different, I
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had to use the 20, which is not
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the lens that I use, when I use
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it, it's not to document it, I have
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many friends, and very good friends, I hope
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you don't hear it, that when, well, they
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document weddings with 20mm, for me it doesn't
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make any sense, I respect it, they are
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my friends, or you are my friends, but
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to document with a 20mm and everything comes
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out, I mean, all the lines, all the
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deformed bodies, that escapes my aesthetic standard, it's
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just a personal habit, right?
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And the flash, as I said, it's not
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my, it's not that it's not to my
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liking, but there was a time, a stage
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in my professional career that I used it
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constantly, and now I go through other paths,
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right?
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But well, you see that I have a
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lot of fun, so I'm going to start
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by simply showing you the 3 or 4
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photos that I find a little attractive, because
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the first one I took was this one,
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it was during the preparations, I'm sure it
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doesn't surprise anyone, I'm sure most of you
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already know, or you've seen, sorry, photos like
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the one you're seeing now, but just to
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emphasize, for those of you who don't know,
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I was outside the mere room, on the
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terrace, and what, to put it in, that
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is, to make the bride be inside the
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context, I had to illuminate it with flash,
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I mean, the way I worked with it
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was simply to put the 35mm as close
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as possible to the glass, without me getting
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reflected in it, and if I hadn't, for
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example, used flash, the only thing I would
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have photographed or captured would have been the
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building behind me that would have been reflected
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in the glass in front of me.
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Of course, to win that, I mean, for
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the bride to come out, to stand out
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above the reflection that I had in front
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of me, I had to compensate for the
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light, I mean, I had to give enough
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light, of power, of flash light, to get
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the bride to be above, speaking of luminosity,
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the reflection that I had, that I had
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in front of me, right in the glass.
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And something fundamental is this tool, it's a
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beehive, or as it would be commonly called,
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in which that helps me redirect the light
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and that ultimately only goes directly to what
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was the bride, what was the bride's face,
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which for me was the important point.
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If I hadn't used this, even if I
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had corrected the zoom, I mean, even if
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I had put a super closed zoom, we
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have to take into account the limitations of
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a hand flash and that wouldn't have made
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sense, so I did use this.
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And once I photographed this, I'm sure, and
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I hope, that I don't have any mystery
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for any of you, since I had this,
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I started using that same formula, I even
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moved away a lot, I used the 20mm
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now, to photograph the entire terrace where I
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was and photograph, on the one hand, the
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city where I was, Zaragoza, and, on the
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other, the window where the bride was.
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How did I do it?
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The same as the other one.
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In this case, or in most of the
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cases, or in this particular case, sorry, what
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I did was to correctly expose the highest
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point of light, that highest point of light
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was the sky, and then I sub-exposed
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a couple of diaphragms, one or two even,
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and then I compensated the flash.
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I mean, the flash, as I told you
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at the beginning, I gave it more power
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than it had the light from the outside.
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Why?
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To compensate it, to highlight the bride in
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front of the environment that was surrounding her.
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We continue, or I want to continue, and
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I would also like to show you this
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image, it's a family photo, you can imagine
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that it's also very simple.
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The flash was on a foot, and the
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flash was above, just above, the bride's head,
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I mean, more or less at a height
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like this, using this again.
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If I didn't use this, as I told
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you at the beginning, the flash would have
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hit an incredible bomb and would have given
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all the light, and I wasn't looking for
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that, but I was looking for the parents
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and the brothers of the bride, who are
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in the background, were completely in silhouette.
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What did I do?
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I exposed the window that was outside.
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Once I exposed it correctly, I under-exposed
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a diaphragm, or even, many times, two.
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Why?
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To enhance that silhouette of the people.
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Now I just had to control the power
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of the flash, which would go to a
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medium, to 1.1, more or less.
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In the Profoto flash, I'm sure I was
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working at 9 of power, and the flash
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was above, just above the bride.
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Remembering, as I've said so many times, placing
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this makes us lose, I think, a power
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diaphragm, at least.
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But it helps to redirect the light perfectly,
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and that only that light illuminates where I
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wanted, which was the face, or the bride's
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chest, or the entire upper part of the
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bride.
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The last picture I want to show you
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is this image, and it's a portrait.
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It's a portrait that was taken in a
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very basic place, in an uninteresting place.
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Remembering, as I've said, or as I've explained
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at the beginning of this video, in which
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the wedding was photographed in a farm, in
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a restaurant, that I've visited this year, I
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think, three or four times.
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For me, it's very difficult to get oil
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in places I've visited so many times, because
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it goes against my principles to repeat pictures,
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I mean, I already know that in that
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farm, in a predetermined corner, I have a
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nice picture, I have a reflection, I can
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play with this, I can play with the
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other, but for me, making all the couples
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who pass by that farm wear absolutely the
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same, that's why I leave the wedding picture,
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because I think it would be so boring,
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and that's why it's one of the reasons
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why I don't usually hire more than two
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or three weddings in the same farm every
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year, because, in the end, my head explodes,
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I mean, I don't know about yours, but
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mine doesn't give for more, that's why I
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wanted to use first, for this picture, a
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20mm, to get out of reality, to deform,
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to interpret that reality in a different way,
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because, as I've already said, with 35mm, everything
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is sometimes too evident, too clear, and in
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that place, full of trees, full of stories,
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I didn't...
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I had to get out, I had to
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confuse reality completely, to extract myself from everything
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I had in front of me, so a
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20mm helps.
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Also, the concept of the picture was to
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simply ask the grooms to put their hands
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together, the bride's hand was here, the groom's
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hand was here, the groom's hand was below,
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and the groom only had to do this,
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a strong tap, so that the rings would
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rise just a few centimetres.
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By doing it with 20, the mission was
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to get the arm I mean, the groom's
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hands, to have them so close, so that
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the focal distance would seem enormous, so that
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the distance between the hand and the groom's
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face would seem enormous, I mean, he was
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abusing the 20mm, the deformity, the error he
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has for the 20mm.
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With a 35mm, it could be done, yes,
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but it wouldn't have the same effect, and
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with a 45mm, even less.
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Of course, also, what I did was simply
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work with a 16mm diaphragm, 16mm to have
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almost everything focused, and above all, the foreground.
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The foreground, both his hands and the rings
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floating, it was essential that everything was focused,
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and for that, nothing better than a 16mm
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diaphragm.
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Of course, why a 16mm diaphragm?
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Because I wanted to have an American night.
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What is that, an American night?
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Well, to work with daylight and make it
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look like it's practically night, why?
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Because I wanted to highlight the rings.
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If I had exposed everything correctly, the rings
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would have been barely seen, if I hadn't
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illuminated with flash, the hands wouldn't have had
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the definition they have, and the rings much
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less, and what did I do?
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Not only with one, but I worked with
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two.
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A flash almost at maximum power, illuminating the
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hands, and another flash almost at maximum power,
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illuminating the faces of the grooms, about 45
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degrees.
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And that's it.
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Well, and that's it.
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I repeated it 5 or 6 times, I
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had to remove the American night, put it
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on the ground, when I say American, I
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mean blazer, put it on the ground so
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that when the rings fell, they fell on
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this, because there was grass, imagine that it
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can happen that the rings end up falling
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on the grass and not being found.
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So, to avoid problems, to avoid madness, I
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simply put the blazer on the ground, they
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fell, they repeated, the shadows on the faces
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were not at maximum power, but I couldn't
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improve it, even though the grooms tried to
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direct their faces up, for the flash, but
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they didn't understand me well, I couldn't do
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it better either, so that was the result.
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So that was all for today, I wanted
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to show you these images that I captured
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in the last wedding and that I found
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interesting to share with you, mainly the last
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one, the last portrait, because things came together
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that I got out of my comfort zone,
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first, working with 20mm, which, as you know,
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and just to emphasize, I use it just
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to take advantage of this deformation error, and
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the flash, which is not a tool that
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I usually use, but in this case, in
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the case of the portrait, well, of the
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previous photos, it helped me a lot to
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have a very interesting result, that's why it's
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always good that we know how to use
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this, remember that the biggest enemy of photographers,
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in front of the flash, we are ourselves,
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we don't know how to handle it, after
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all, as I always say, it's a flash,
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greater power and less power, trial and error,
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that's all, and the 20mm to get out
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of the comfort zone.
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So, that's all, friends, don't laugh, be good,
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see you next time, and keep hiring weddings,
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assholes!
23133
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