Original subtitles

Hello friends, how are you?

How are things going?

I hope everyone is doing as well as

possible, welcome to another video.

Last week I was lucky enough to be

able to do a workshop, the truth is

that it had been a long time since

I had done one and you can imagine

that it made me really, well, really excited.

So I wanted to dedicate this video to

tell you a little bit about the practical

session that I did during the workshop.

It was a practical session of a couple

of hours and what, well, I mean, I

recorded several shots and what I would like

to dedicate it to is to explain to

you how I did a large part of

the practical session, what problems I had with

the light, that I had them and a

whole set of things that are happening during

a workshop.

Speaking of the workshop, of course, I am

used to teaching workshops constantly, but of course,

because of the virus, there had been a

huge stop and the truth is that I

had the opportunity, because of the workshop that

I had in the south of France at

the end of April, to put it for

last week, we are talking about mid-June

and well, the truth is that it was

a whole adventure because it had always been

very, very easy to be able to carry

out a workshop, I mean, you take a

plane, you move, they wait for you, you

teach the workshop, you have a great time,

you share all your experiences with the students

and so far, no, but of course, we

are talking about the fact that there were

no flights, in a state of alarm, sorry,

with which it was a total adventure because

I had to travel by car for seven

and a half hours, almost eight, and it

was a whole adventure, so imagine.

Well, going back to this, going back to

what the video is, what I am going

to do is first show you what photo

I took, that is, the final result, and

then show you a video in which you

are going to see a little bit how

the photography was made, from the environment to

how I was interacting a bit with the

couple and then you will see a strip

of contacts so that you can see what

was the starting point and what was the

end, ok?

So let's get started.

As you are seeing in this image, my

idea was to play both with the child

and his father and of course with the

mother, so for her it occurred to me,

that is, that perhaps I could place both

the father and his son in the foreground

and what to play with a background in

which the mother was found.

My mission was in a place that apparently

did not have or that lacks photographic interest,

to find something interesting, so I wanted to

play with what were all the triangles that

were there, plus later with the family in

general.

I tried to play, as you know, that

is, with hard lights, with neutral backgrounds and

above all with geometric lines.

At the same time that you see the

video, I want to tell you a little

bit about what I was doing.

I already asked her to stand there, to

look up, and my mission was with that

hat to try to make her face completely

in the shade, ok?

Of course, at all times I tried to

play so that the three, so that the

father, son and mother were not together, that

is, they did not touch each other, ok?

That is, that is why the thing.

Finally, to create an image in motion, with

some more action, I asked her to move

the hat a little, as you are seeing

now.

Ok, now I would like to show you

what the contact sheet was, so that we

can take a look at it.

You see that the starting point was already

that, that is, clearly delimiting what the frame

was.

You see that the whole image, that is,

everything that was on the left, I already

loaded it directly and I already centered everything

quite well.

You see that the initial idea was as

I had told you, that is, placing father

and son in the foreground and in the

background, that is, placing the mother.

The starting point is always as something basic,

in which I try to make the figures

fit and then I will start asking them

things, ok?

As you are seeing, you see how, of

course, that is, the child was touching with

his arm what the mother was, and also

the father, you see that with him it

does not finish working completely perfectly.

So I'm going to show you a little

bit, I'm going to go, for example, forwarding

and that's when I already asked him.

Well, here, as you are seeing, I already

placed them in the place where they should

be placed, but you see that there are

still mistakes.

For example, the child touches up with the

shadow, the father touches with his left arm

in what is that line, with which the

photo does not finish resting well.

So it was a play plan.

I already asked her to put on the

hat.

Whenever I ask for a gesture, as if

someone puts on a hat in this case,

I always start taking pictures because they may

give me something interesting, right?

But you see how her arms are touching,

or her right arm is touching what her

son is, so it does not finish working.

This one might start working, but not quite,

okay?

I also want you to understand that until

you get to a final photo, I mean,

I make many mistakes, which I don't think

are mistakes, they are simply trial and error,

do, do, that is, take pictures, take pictures,

until in the end you find it, right?

You see that I was moving the father,

trying to make it fit perfectly in what

was his gap and you see that it

was costing me a lot.

Okay, okay, okay.

I keep moving forward until finally, as you

can see, I already have it, okay?

You see that in the previous photo, you

see that all the lines are touching, the

father is touching on the right, the child

is already starting to work from above, but

here it is already starting to work better,

okay?

I was clearly interested that the figure of

George's father was as you are seeing now,

right?

In other words, that it was completely profiled

and not as you are seeing.

Do you see this difference?

Okay?

And now it works better, okay?

Now we could practically say that, well, in

this image we would have the photo practically

solved, right?

But I think it is too static, too

calm, so it was when I asked her,

as you are seeing, to start throwing her

hat up.

But of course, I asked her, because she

started doing it with her right arm, she

started throwing the hat with her right arm,

with which her arm itself made me not

see her face, with which she repeated it

several times, okay?

I already understood that it could work, but

I finally asked her to do it with

her left arm, so that she could see

her face perfectly.

Also, notice that I already have both the

child in perfect ...

well, it is in silhouette, that is, perfectly

fit there, okay?

And the father too, until in the end

I got this image that I have shown

you, okay?

Let's go for the second image, which is

the one you are seeing now, and what

I would like to tell you a little

bit about how I tried to fit perfectly

what the mother was with the father and

son between the bands, okay?

Now I would like to show you a

little bit what the video was, that is,

so that you can locate, so that you

can perfectly put yourself in place, okay?

And what I also want to tell you,

like in the previous photo, I had worked

with the 45mm because I wanted all the

lines to be resting in the precise place,

now I am going to change to the

35mm, mainly because I needed the lines to

go completely to the mother, and also, that

is, to play with a slightly larger angle

so that both the mother could fit between

the two lines, as well as the father

with his son between the two lines, okay?

So let's go for the video, okay?

Okay, especially here, right?

As you are seeing, my mission was this,

right?

It was to see, first of all, to

see how to find a neutral background, to

see how the light worked, that the light,

as you are seeing, goes from right to

left, okay?

And in short, I had to place the

family there, okay?

The initial idea, as you are seeing, was

to place the three of them separately, but

the child, due to his size, of course,

if he wanted to find a neutral background,

he had to place it above the father,

I mean, to place it in the sky,

it had to be above the father's shoulders,

if not, if it was below, it was

no longer clean in the photo, with which

it did not work so well, right?

That is when I already ask them to

place themselves and that's it, until the thing

ends up working.

When you are working with such hard lights,

what happens is that sometimes I am going

to ask them to raise their chin a

little to avoid those shadows so marked, okay?

Now I would like to show you a

little bit what the contact strip was so

that we can take a look, okay?

Okay, I mean, let's go for this one,

and you see that it had already been

cut quite a bit, right?

What was the main idea, and simply, I

mean, you see how here George is already

telling me which side it should be placed

and I was already telling them, you see

that I turned the plane a little more,

as you are seeing, to create a little

more movement, okay?

And I already asked them, that is, to

try to do something funny, to move, to

play with the child, well, a little like

that, and that the mother also let herself

be carried by them, right?

To create a little, perhaps, movement and that

the image does not seem so static, and

ultimately also, right?

If they just stay like that, it seems

that everything is a bit static, and I

already asked them to laugh and I already

started saying stupid things and doing a little

silly to create a little connection with them,

right?

As you are seeing, you see, of course,

here my mission was that neither the mother

would touch between these two lines and that

the father with the child would not touch

with the two lines either, and it was

simply to play until I more or less

started playing.

You see that it does not finish working

and I continue, I mean, I keep telling

her to please move a millimeter forward, because

there, okay?

But she is fine, but look at his

face, that is, George's, the father's, right?

He is completely in the shade, it does

not finish working, so then I asked him

there, that is, I asked him to please

turn a little to his left so that

at least his face was perfectly illuminated, the

child's too, and the mother's, okay?

Well, I'm going to show you the next

image, okay?

And just tell you, right?

That I had been working until then with

hard light, everything was going very well, until

suddenly it gets cloudy and I find that

the light that I wanted, well, it disappears

completely, with which I have to start thinking

quickly how to get out of all that

and create the next image that would also

be, in a way, interesting.

I mean, first of all, remember that the

two previous photos had been, that is, in

which the couple was completely separated, there had

not been a close connection, okay?

And the space was much larger than the

couple itself, right?

So what I wanted first of all, I

wanted to change the register, I was going

to change not only the register in the

same shot, but also everything, right?

Light, composition, and what was going to focus

completely on the couple.

In addition, I had to find some kind

of resource that would help me, first, to

get an image that was different from the

previous ones, and also some kind of resource

that would continue to surprise the students that

I had.

Remember that I had run out of hard

light, right?

So quickly, the photo that occurred to me

is the one you are seeing and what

I would like to show you a little

bit, how I solved that.

You see that the place is this, it

is a place that is apparently very uninteresting,

but with what there is to the couple,

right?

Of course, notice that, that is, the couple

is not perfectly straight, that is, I told

them to open their legs so that they

would go down, that is, I was not

interested in them touching from above, nor above

all, nor that the wall that was on

their left was seen, nor above all that

the garden was seen on the right, because

it was quite distracting, right?

You see that I shot with the 45

also to close even more, and this was

the image that I finally got.

I would like to show you a little

bit through the contact sheet.

This was the first of all, okay?

In which I already closed a lot, obviously,

as I was saying, on the right I

do not want that stone wall to be

seen, and I already told them.

Something very important too, right?

It was in which to place, for example,

the bride looking to one side, for example,

there, and the groom to the other side,

right?

This, that is, it sucks X shown at

a virtual level, right?

It's like the girl looks over there and

the boy looks over there.

It makes the photo work, perhaps better, right?

That not making the two parts look to

the same side, or that the two parts

look to the same side, right?

So, in a way, that game, right?

It makes it work well, okay?

And now, well, I'm going to show you,

right?

That the image that I liked was this.

Notice that the original is this, that is,

with black and white, without having edited anything,

and I simply redirected the gaze towards the

center, making that, that is, that the two

walls, that is, that the two walls, that

are in a certain way dark, right?

I would like to show you some of

the mistakes.

One of them is this, in which I

did not want it to appear on the

left side of the wall, okay?

And especially not when we are playing with

hands, it is important that the hands are

natural, that they are not forced, because as

you are seeing in this image, it seems

that the boy forces her to look at

her, and it is not about that, okay?

The boy, you see that he is totally

out of focus, so I asked him again.

But of course, now I did not know

how to fit them perfectly, and what I

did not like here, right?

It was how those two glasses came together,

both his and hers, they are there as

overlapping, they are too close together, and it

makes the image, well, it does not work,

right?

In fact, it was the, that is, the

mission for which he chose, right?

For which he chose, this one, that you

are seeing, this one is that I do

not like, and if we compare it, for

example, with, it could be this, right?

You see how, in the lower one, the

photo works perfectly, because the noses are not

touched, but the glasses neither, and there, like

that game of X.

You see that in the upper photo, neither,

that is, the hand works well, everything works

well, her face works fucking great, but the

glasses do not finish, they stop working, right?

Ok, let's go for the short image, which

is the one you are going to see

now, and I already decided to get inside,

because outside I was already seeing that the

sun was not going to come out, I

was not going to have a very hard

light, so then, my mission, since I had

a soft light, it was going to be,

that is, that soft light, turn it into

an interesting light, and already inside the house,

as it was an old farmhouse, I knew

that, well, the ceilings were very high, and

the windows were also very large, so I

knew that it was going to give me

something interesting, right?

So let's go there, and I'm going to

show you, ok?

Well, as you are seeing, this is the

image, and this is the place where it

was done.

Notice that, that is, I have seen, as

it has been seen like this, there is

nothing interesting, there is not a background that

I really like, or that allows me to

do something really interesting, but notice that it

is only to always find the beautiful side

of things, and I already understood that I

could place them like this.

Here I changed again, remember, to 45 millimeters,

why?

For the simple fact that I wanted, again,

that all the lines were completely straight, and

you are already seeing it, right?

In this case, I did ask the couple

to look at me, to get, as you

are seeing, this image, in which I would

play only with what was, that is, with

what was just half of the face, so

if I only played with this, well, I

think it could seem interesting.

In addition, I wanted to hide the light

source, that is, for that, what I was

going to do was to invite the couple

to try to play a little, that is,

with the look inward, I mean, for the

window, so that it would light up, right?

And also, something fundamental in, that is, in

George's part, that is, in the boy's part,

was that his head, his head, never went

through the master line, so that, in short,

those lines would rest perfectly, right?

I would like to show you the contact

list, okay?

You see how you are seeing, that is,

first I put, for example, the girlfriend there,

and you are already seeing, right?

I already saw that the main mistake was

going to be that the heads were going

to go just, very, very tight, there, you

see that it is touching there, okay?

And that's why it was the mission that

I told her to only, that is, to

show me, well, half of her face, to

start, to create something more of, of mysticism,

or something not so obvious, okay?

Something more interesting, something not so basic, and

also, I would also like, for example, what

is fair to show him.

You see that I was worried, right?

That his little head would never go through

this, or if it came just right, because

if not, it was like the lines were

no longer starting to work well, okay?

And above all, I don't know, with the,

that is, with the negative point, right?

With the negative point, for example, of the

wall, and always play both left and right

with the same tone of wall, right?

With the same type of light, with the

same type of background, to seem like it

was something more abstract, okay?

And now, as you are seeing, this was

there.

You see that in the previous one, if

George's face is facing the outside, it was

placed completely in shadow, that's why I told

him to place himself a little more towards

the light, okay?

And to her too, there, until finally, well,

we get what you are seeing now, around

here, let's see, here, okay?

You see that I think this works much

better, that is, cutting very, very flush and

not giving so much air below, okay?

Okay?

And that's how, well, how this photo can

finally be solved, right?

Well, let's go to the next image, and

what, as you are going to see, is

very simple, okay?

Simply tell you, first of all, that if

the previous image had, that is, placed, well,

the little couple in small, in which, well,

a huge space was seen, with the large

windows and all this, now I want to

achieve just the opposite, I don't want to

get a connection first, that is, that they

are together, and second, I want to fill

the whole plane with them.

That is, as you see, first of all,

well, it is super important, well, to find,

well, an interesting light.

I always say that I make a lot

of mistakes.

The first idea, sorry, was to place the

couple on the sofa, but of course, both

he and she were bigger than the sofa,

right?

That is, with which, well, the sofa was

not, well, as you are seeing, well, a

good idea, so really, well, well, that is,

with the same blanket, well, we put it

on the floor so that they could spit

better.

You see that I placed them near a

window so that the light, above all, was

as interesting as possible, and my mission was

to play with the connection, that is, to

place the couple, well, completely, well, each of

them, that is, well, inverted, if one was

like this, well, the other was like that,

and above all, no, to create a little

more connection, she, above all, wanted her arm

to extend, that is, to come here through

her head and create that, and him, and

him the same, right?

That was the main idea of ​​all this.

Well, let's go to the next image and

well, well, just tell you, right?

Well, this time we went out of the

house to see if we found something more

interesting, some line, some part of the facade

or the same house that would serve us,

right?

So, well, we took a little walk around

the back and we saw that there was,

well, there were some stairs and there was

an area that could be, well, something juicy

to get, perhaps, well, something interesting and, again,

play with the couple with some position that

was not common.

Of course, remember that my mission was also

to try to be the best teacher possible

and try to explain to my students how

to play with the couple and how to

try to get the largest number of positions

or different poses, right?

Beyond placing the couple face to face, which

is, well, as basic as possible, and I

already told them, right?

That the idea was that, right?

Not to place the couple face to face,

but to go playing with them, well, at

different heights, with different shapes and, well, all

this, right?

You see that, well, there, well, we tried

to take advantage of the stairs a little

bit and, as you are seeing, right?

It is the back part of the house.

First, well, I told the couple what I

wanted and you are seeing that I was

using the 45 mm and finally with the

45 mm, what I did was just focus

on the two hands of them.

Notice that both he and she are completely

out of focus, okay?

And I only focused with the tilt-shift

what was just the little hands so that

they had that strength, right?

I would like to show you a little

bit of the contact strip that I made,

okay?

And notice that it was, well, it started

a little bit like this.

The boy was already, well, like, quite tired,

already, that we would have this and I

already told him to start doing the Mongolo,

you see that he has not done it,

well, he started doing the Gagnan until finally,

well, we got this one.

Of course, in situations when we have such

a basic light, not so neutral, which is

complicated to make interesting, there I am going

to give it a little more kick in

post-production, a little more force so that

the photo, well, highlights a little more and

it would not be, as you are seeing,

very, very, very basic, it would not be

a little stopped.

Well, friends, I hope you liked it, I

hope you had a good time with all

this and I already have, well, well, thank

you from the heart to the eight students

who were part of the workshop, they are

the protagonists of this whole story, they were

the ones who really made all this adventure

possible and I owe them everything, well, all

my confidence and all my heart and all

the affection, right?

So, well, thank you again, of course, I

can not forget the organizer who did everything

perfectly, Magui from Amacool Sales, she is simply

perfect, it is the third time that she

has been with me, that is, first it

was in Paris, then in Lyon and this

year it has been in the heart of

France, in the field, with which, again, Magui,

thank you for your help, for your confidence

and, well, for your support, so again, I

could not forget my dear JB either, because

he was the one who helped me with

the translation to French, he did it perfect,

so nothing else, friends, and so far everything,

be attentive because the next chapter, well, we

are going to dedicate it to an aspect

of marketing, something that we have not touched

on yet, we have always talked about photography

and now I think it is time to

talk a little about marketing because you have

to prepare for what is coming and you

have to be ready with everything, so nothing

else, friends, I hope you liked it and

see you very soon, bye!