All language subtitles for Episode 40º Off Camera Laura Víctor

Hello friends, how are you?

Welcome to a new video.

As always, before starting, I want to thank

everyone for being there, for your support, and

of course, those who have signed up this

last month.

I want to send you my huge gratitude

and, well, to wish you a pleasant time

and if you can learn something, then perfect,

right?

In today's video I want to break a

little with the dynamics that we had had

in the previous videos and I would like

to show you a session that we photographed

last October.

Of course, it could be said that it

was a pre-wedding session, but the truth

is that it was a birthday session, specifically

a fourth anniversary, since we photographed this couple,

we photographed their wedding, I mean, just four

years ago and well, they asked us for

a session, right?

So I asked Erika if she could record

some shots for me and I also put

the GoPro on top to record a little

bit, to pick up what we were doing.

And, in short, show you some of the

shots we made.

Some were brilliant or, well, some were good

and others were not so good.

But I think that's where the magic resides,

right?

That not only does it show you my

better side or my brighter side, but also

my less bright side, right?

So that you can see a little bit

of all the mistakes, since you learn from

the mistakes and, in short, I think it

will be twice as good as didactic, right?

The place is super important and Barcelona is

full of incredible places, but the truth is

that little by little we have already worked

on many of them and we wanted to

have something new, right?

The place where we photographed is known as

the Fira de Gran Vía and it could

be said that it is an architectural complex,

it is an industrial complex, I don't know

how to define it completely because it is

not a polygon as such, right?

But it is a complex in which, in

addition, many internationally renowned architects have built several

buildings and, as you already know, we love

to work between the lines, between such modernist

buildings, because they give us enormous possibilities and

make our lives a little easier, right?

The session could be divided into two places

in which we photograph practically the whole session,

right?

Because, as I say, it is a large

complex, but there is a building that is

completely black, which is called the Olympus building,

okay?

In which it is full of black pillars

and there is, a few meters away, barely

a hundred meters away, a building in which

it is used to hold large congresses, such

as the Mobile Congress, even Bodaefe was going

to be held there, okay?

So, we take advantage of these two places

and this video, I would like to do

it or I would like to divide it

into two videos, a video in which we

are only going to talk about what we

did in the Olympus building and, of course,

in another video I will talk about what

we did in the other place, right?

Because I think this video is going to

be a little long and so that it

does not get too dense, we are going

to divide it into two parts, okay?

Let's start with what was the black building,

the Olympus building and we are going to

start now, that is, directly with the first

part, right?

Of course, the first thing I would like

to show you is this image, in which

the first thing we think about is observing

lines, how they are distributed and not thinking

that we have to photograph something like a

postcard photo, right?

In which everything comes out, but we always

look at small parts, right?

And we also look at how the light

is directed.

In this case, I knew perfectly well that

the light was coming from the right, so

I simply placed both the boyfriend and the

girlfriend on one side and I started working

with them.

Notice that my mission was not to start

with something so basic in which they were

already kissing or that they were face to

face, but that I already bet or thought

that it could be interesting that Laura was

placed on one side and that Víctor was

placed in the background.

Of course, by sticking the camera so much,

I could realize that there was a quite

interesting reflection in what would be seen, well,

Laura duplicated and in the case of Víctor

too.

In the case of Víctor, I asked him

to lean so alone, for example, there, and

in the case of Laura, I also asked

him to lean on the other side, right?

In other words, for you to understand me,

Víctor had it like this and Laura had

it like that.

Something I have to explain to you, or

I should say so quickly, in which we

have a multitude of different possibilities when we

photograph a couple, but the simple option is

this, the boy and the girl, or the

couple in short, that is face to face

and kissing or looking at each other.

That's like the simplest thing, but let's think

that if we can put, for example, the

girlfriend like this, or the boyfriend like this,

or this, or this, or this, I mean,

let's turn our heads to see how we

can find different possibilities at the same time,

right?

Or of the same pose, to see how

we give all that some magic, okay?

Once I had more or less that, in

which I had, for example, Víctor here, Laura

like this, who looked at me, and Víctor

here, you can see that they are completely

reflected, I started asking Laura to play something

with her hand, playing with her hair, trying

to look to one side or the other,

because he was trying to play with his

body language, with his body, to give me

something more.

Of course, I was playing and I saw

that things were not starting or ending, maybe

from the beginning, until I asked Laura to

get closer to me, to the maximum, and

you see how I only captured half of

Laura's face, which is a foreground, and then

I have Víctor in the background, in which

he comes out duplicated by two.

I thought this was the most interesting or

most attractive option, right?

Now, I want to show you something completely

different, in which, obviously, I did not do

it very well, but I want to show

you this series of images, because, to begin

with, the choice of the lens was already

wrong.

I used a 20mm and, look, I messed

up a lot, I mean, I thought that

with the 20mm I could capture something much

more open, in which it seemed that the

place was huge, but the truth is that

the background was not quite correct and the

lines were not resting.

Look, if I went crazy and I was

wrong or I did not think quite correctly,

because, despite the fact that I told the

partner to come to me walking, the first

mistake I made was to put the iPhone

close to my 20mm to try to play

with the duplicity, with the top and the

bottom.

That is no longer my war, that was

the war I had in 2014 and 2015,

right?

That is not Víctor Glax.

Of course it can be done, of course

we must do it if we want, right?

But there are already other photographers who have

done it very well and that is already

a past war for me, right?

So, I asked them, I mean, I already

removed the iPhone and I already asked the

couple to come.

Look, when I was working with 20mm, when

the couple got so close, Víctor comes out

completely deformed, so it does not end up

working.

I kept playing, I tried to fix lines,

but I quickly told them, guys, let's go

right from here.

I already asked the couple to play with

something different and well, as you are seeing,

first of all, I took advantage of what

was an inner corridor that there was, in

which, well, I decided to play with Víctor,

in which he made me a little crazy,

in which he showed me his body a

little and I asked Laura to take a

step forward, right?

Notice that both on the right and on

the left, I was worried that the lines

would work quite well and at the same

time, I bent down a lot to play

with a completely different perspective than the previous

one, right?

And above all, I was worried, and here

comes the spark of the photo, right?

That I was interested in capturing the moment

when Laura did not touch, okay?

That is, just the moment when she jumped

and was about to.

Notice that, since I was there, I saw

that there was a set of lines, well,

it's a set of lines, a set of

columns, in which I thought it could work,

in which the couple was placed there, right?

I took this first photo to show you

the big mistake, the big mistake that many

photographers make sometimes, right?

It was so simple, well, sorry, the mistake,

the mistake is, as you are seeing, this

area with so much light, makes our sight

go directly to the highest point of light

and does not go directly to the couple.

I have already told you that we are

always looking for lines, we are always looking

for neutral backgrounds, and at the same time

that we are looking for neutral backgrounds, we

look at how the light is directed.

As you are seeing again, the light was

coming in from the right, so what I

did was first take a step to my

right, to hide that high point of light

and expose it correctly and tell them to

fit in, that they found a comfortable position

in which everything worked.

This photo I think was the one that

worked best and in which Victor's face is

assembled or is perfectly resting in Laura's body

or close to Laura's face.

I thought that was a good option.

But well, since I was there, why not

go out of the building and play with

the same perspective?

And I did the same, right?

If in the previous photo I had played

with a plane a little closer, now what

I was going to play is with a

much more open plane, with a much larger

perspective and making the couple smaller.

With the lines I had, I tried to

play or I tried to get several completely

different possibilities because, as I say, it's always

thinking, okay, is there any other possibility?

Is there any other option?

Can I get a different photo than the

previous one?

It's always about that, right?

Trying a little to break the rhythm and

all these things.

You see that I am explaining myself quite,

quite, quite badly today.

Damn!

Well, having said that, I tried to take

some more images.

In addition, next to it there was a

kind of coverage, like a surface that was

a kind of balcony, a kind of underground

breathing room, a parking lot or something similar.

Like the previous ones, I wanted to play

with the perspective and what I realized was

that the lines I had in the balcony

or in the small building next to it

were like something like that.

So I tried to mimic or ask the

couple to rest their bodies on those lines.

That way we had, for example, Laura, who

was completely lying on the lines or on

the building, and Victor in the background, who

was just like that.

So I thought it could be interesting, I

thought it could be something juicy, and this

was the result, right?

Well, these have been the images we took

in the black building, or in the Olympus

building, okay?

And just as a summary, I would like

to emphasize the importance that we do not

think as postcard photographers, but that we always

observe small corners in which we can put

the couple there, for example.

At the same time that we think about

that, we are going to observe in those

small corners how the lines work, how those

clean backgrounds work, and at the same time

how that light works, regardless of whether it

is hard light or soft light.

The important thing is to understand.

And finally, it is to know how to

fit, to know how to work with the

couple to try to fit, in this case,

the boy with the girl, or the girl

with the boy, and that the thing works,

right?

That they are posed in quotation marks and

not very forced, okay?

And little else, and wait for the magic

to jump, right?

So, so far this first video, okay?

In which we have told you a little

bit about how we work in that first

part of the pre-wedding session, sorry, of

the anniversary of Víctor and Laura, and in

the next video we will explain a little

more how we work in the building that

was right next door, okay?