All language subtitles for Episode 147º Patreon Sara Julian wedding.

What's up, friends?

How are you?

How are things going?

Welcome to a new video.

March is over.

A month full of things, a month full

of work.

Workshops, conferences, and of course, what we like

the most.

Weddings!

And in today's video I want to share

with you, or I would like to share

with you, as if it were a father

who tells his child how a wedding was,

well, that.

I would like to share with you a

little bit about the wedding we had in

Lleida a couple of weeks ago.

And well, in this video I'm just going

to show you a set of images that

we took at the wedding.

And so it serves me as a point

of support to tell you a little bit

about how we work, how we organize the

wedding, the problems we had, that we had

a few, how we solved it, that I

think we solved it, it's not right for

me to say, but we solved it well.

And in the end, we enjoyed a good

wedding with maximum intensity.

And not only ours, but the couple's, and

finally, I can assure you that we ended

up completely devastated.

We got home almost totally dead and the

next Sunday was like a hangover of madness,

right?

But well, I don't anticipate little things and

let's get started, right?

Just to tell you that it was a

wedding, as I say, in Lleida, in the

cathedral of the city, and in one of

the best farms in the city, which is

called La Boscana.

So far so good, but it seemed like

a storm was approaching, and never, rather, because

the wedding forecast was that it would rain

all day, non-stop, right?

I don't know why, I guess for a

thousand reasons, it didn't rain and it was

literally a perfect day, right?

I mean, we started with a lot, with

a little rain, but finally, as I say,

the sun came out.

I'm telling you this because before we got

there, before we got there, our approach at

the wedding was, or I told Erika, look,

what we're going to do today, one, is

to get the groomsmen handsome, yes or yes,

that's one premise, and the second, I want

us to get umbrellas.

I mean, umbrellas meant moments, as such.

If it was going to rain a lot,

as it seemed, it was going to rain

a lot, there would be umbrellas everywhere, the

bride would have to be dressed up constantly,

and that would give us a set of

off-moments that were very interesting.

Well, in the end, it didn't rain, I

mean, no umbrellas, but yes, to get the

groomsmen handsome, obviously yes or no.

What I'm going to do now is summarize

a little, or specify, or outline a little

how we were working, sorry, from the preparations

to the end, and at some point, I'll

stop to explain a little more, something in

more detail.

Well, as you already know, well, what is

preparation, what is getting ready, we always photograph

them separately, because in this case, for example,

Erika was going to be in charge of

photographing the groom, and I was going to

be in charge of the bride.

Of course, the bride told me several things

before she arrived, or before the wedding day.

One, that she told me on the phone,

Victor, my house, or my parents' house, is

not the houses that I see in some

of your weddings.

I mean, it's a small apartment in the

center of Lleida, it doesn't have very good

lighting, and well, don't be aware that you're

going to find yourself in a palace.

That's what she told me.

And the second thing she told me, when

I asked her in detail about the dress,

is what she told me, my dress is

super classic.

And I told her, there are no classic

dresses, but classic brides, and you are not.

Something more important than a dress is the

attitude of the bride, as you are going

to see in the rest of the photos.

So, I was calm about that.

Of course, when I arrived and saw the

place where she was being made up, which

is the photo you are seeing now, my

eggs fell to the ground.

I said, mother of God, the tragedy is

happening here, right?

I said, wow, man, what a drag.

Of course, in moments like these, I think,

calm down, Victor, don't get nervous.

The wedding is not going to go to

hell because the bride is putting on makeup

in a very ugly place.

You have time throughout the day to photograph

or take fucking great photos, because the cathedral

we were going to visit is brutal, I

love it.

And then the farm, as I told you,

or the restaurant, I love it too.

It has a lot of photographic possibilities, they

are very professional, so relax.

But of course, the moment I have a

place like this for the preparations or for

the makeup, even though I have a 20mm

in my backpack, I'm not going to take

it out to photograph that.

I mean, I don't use the 20mm when

I don't have space, but just the opposite,

to hide that mess, that mess of a

room, what I do is use the 105mm

in this case, and I focus on very

specific things.

For example, in the detail of the mirror

or the reflection of the bride, in the

detail, in the moment when the neighbor arrives,

who is the one who supposedly raised the

bride, family too, and they take each other

by the hand.

And I'm not going to spend an hour

doing, for example, the makeup, but at that

time I always try to tell parallel stories

that happen around the bride.

I didn't cut or lazy, I asked the

girls for a portrait, I didn't cut or

lazy, I asked the girl in red for

another portrait, to take this photo that you

are seeing, and I didn't cut or lazy,

I mean, I photographed the preparations of what

the father gives, of the bride, of what

the father gives, and I don't mean, if

the bride doesn't give me photos, I'm not

going to be sitting on a sofa, but

I'm going to take advantage of it.

But it's just that Erika didn't have, let's

say, very good luck in that regard, I

mean, because the groom's room, although it was

a hotel, and we always prefer to work

in hotels, although it was a hotel, well,

the hotel didn't have many photographic resources either,

so, although Erika started by photographing the groom's

preparations in the room, then she ended up

outside on the terrace and took both the

groom and his friends to another place to

be able to photograph something better, because they

didn't have anything interesting, I mean, attractive in

terms of light and space.

Simply, going back to my preparations, just as

I told you, it was very clear with

the bride, and I told her to put

the dress in that room, in the make

-up room, that was going to be counterproductive,

and I told her to go to the

living room.

In the living room, as an anecdote, I

removed, I mean, I moved the sofas that

were there, which were green sofas from the

Polka year, and I stayed with, at first,

with a couple of chairs, but as you

will see later, I removed everything completely, I

mean, both the paintings and the chairs, for

what?

To have a neutral background, to have an

interesting background, and with a perfect lighting, very

soft, that came through the window, I just

wanted to tell you that.

From the preparations, quickly, we left, I mean,

Erika first went with the groom to the

church, I mean, to the cathedral, as an

anecdote to tell you that we arrived 45

minutes late to the ceremony, because the bride

took everything very calmly.

Well, Erika dedicated herself to taking transition photos,

from photos of the groom waiting with his

mother, to the groom waiting at the altar

with his friends in the background, I mean,

that was her job, and she knew it

perfectly, and she executed it perfectly, but I

also had to take transition photos.

For me, this is a transition photo, and

I love this photo, it's a photo that

perfectly defines the moment when the bride gets

into the car with her father.

Until now, we had worked separately, Erika with

the groom, me with the bride, at the

moment that we are at the ceremony, we

move, as you know, one of us very

close, and the other very far away, one

of us in front of the couple, and

the other always behind, why?

To capture two points of view at the

same time.

After all, that's why we always go for

two photographers, among other things, to capture those

moments under two completely different points of view,

as I have already told you.

It can be in moments like the ones

I have shown you inside the ceremony, as

it can be, for example, at the exit.

At the exit, one of us is always

going to be in front, and the other

one, as in my case now, but in

this image, I was going behind.

It's about that.

As you can see, the quality of the

photos, both Erika's and mine, I think they

weren't so bad until now, and we solved

the different problems.

I just want to tell you that, until

now, we hadn't used flash at any time

in the church, we could easily work at

3,000 ISO, with a speed of more

than 200, everything was perfect, Erika didn't work

with flash either, and at that moment, when

the grooms ended up leaving the ceremony, I

took a little bit of freedom and I

proposed to the bride to give me at

least 30 or 40 minutes.

That's how it is.

I love capturing moments, but I also love

capturing portraits.

And if we have a bride, as you

can imagine, a beautiful smiling bride, eager to

look beautiful in her photos, eager to be

photographed, someone who wants to be photographed gets

together with two photographers who are dying to

shoot, so that's what you can imagine.

We went to the cocktail, and in the

cocktail, the way of working is always the

same, except that they ask us for family

photos, although we had already taken quite a

few photos in the church, four or five

photos of the direct family, but in the

cocktail we are also open to taking family

photos if they ask us for them.

At that moment, they didn't do it, and

what the grooms told us was to please

capture the moments as they were.

In the cocktail, we started to see that

there was a lot going on, that there

was a lot of party, they brought a

group of rumba, they started to celebrate it

with friends.

The mission of both Erika and mine is

always that, to capture moments.

Something we wanted to do, yes or yes,

or that we wanted to capture, one was

to breathe that festivity that there was among

the guests.

Two, the bride didn't stop telling me that

all her friends came with Pamela, with Pamela

or with a hat, so what we did

was that, capture photos of Pamela, of groups,

to the bride's liking.

In fact, we even asked in one of

them that all Pamela's be thrown into the

sky, and that's what it was all about,

really working.

We still had a little time to take

one more photo, because everything was going so

well, because we had been told that this

girl, the bride, is the presenter of the

weather forecast in a famous TV channel in

Madrid.

In that moment, I had an idea, since

the sky was full of clouds, and the

girl was smoking, so that it was placed

just against the light, I mean, to make

a contrast with the girl smoking, and to

make it look like she was part of

the clouds.

I mean, she created the clouds as an

allegory for dedicating herself to that work.

We continued with the cocktail, we continued photographing

everything that surrounded it, actions, real moments and

all this, until we entered the banquet, the

banquet as such, they came in dancing, inside

they enjoyed it like crazy, they spent a

couple of hours having dinner, well, eating, although

it was almost 7 in the afternoon, I

mean, that was already a dinner in conditions,

and that's it, we were there like crazy,

capturing all the moments we could, and we

got into the party.

The party, I have to tell you, it

was a real out of control, a real

mess, because the boyfriend, well, the boyfriend's business,

he's the one who distributes to all of

Spain a product called Megatron.

I mean, Megatron is that kind of cold

gas that is thrown in the most important

discotheques in Europe or in the world.

It got messed up in the discotheque area,

I mean, they created, they turned the party

area into a discotheque area.

The most normal thing is that we would

have put flashes, but seeing the crazy lighting

there was, like in a club, what we

decided to do, no, we're going to capture

all the photos with ambient light.

Normally, we would have put flashes, flashes with

several feet all over the dance floor, but

at this moment, I mean, it was so

bright, depending on the moment, that we decided

not to bet on flashes.

But well, simply, in this video I wanted

to share with you a little bit how

we planned the wedding, how we worked it,

how we tried to make it up, and

simply as a final point, and if you

want to see it, here, in this video,

I will have shown you about 30, 40

images, but these images that I have shown

you, some of them, or many of them,

are the ones we sent to the couple

the next day of the wedding, no, the

next two days, on Monday, we sent a

small selection, a preview, so that the boyfriends

could see it, but as an anecdote, I

would like you to compare the images that

you have seen with the images that I

posted of said wedding on Instagram, okay?

So that you can see a little bit

what the final selection is, and how we

project ourselves towards the future clients, right?

So nothing else, friends, that's all for today.

Be good, take care, be happy, and until

next time!