Original subtitles

Hello friends, how are you?

How are things going?

Welcome to a new video.

In this chapter, or in this video, I

want to talk to you about how to

humanize the bride's dress, or in short, how

to get more photos, or how to escape

from those cliché photos that we wedding photographers

have, and sometimes it costs so much to

escape from all that, right?

I'm talking about how to try to photograph,

or how to get more photos, or a

richer reportage of something as basic as sometimes

photographing the bride's own dress, right?

But before we start with that, I would

like to tell you a little story that

occurred to me when I started as a

lecturer at the Aragón newspaper back in 2002.

I mean, that was the time I started,

or that was the year I started as

a lecturer, and I remember that as a

lecturer, as it is logical, they gave me

the topics or the simplest jobs, and sometimes

the jobs that the photographers who had a

template, well, they didn't want them, or similar

things, right?

The thing is that I was assigned a

section called photo report, right?

In that section, what I had to show,

well, situations of the city, or elements, or

infrastructures of the city that were not quite

in their best state.

What I mean, for example, pedestrian crossings that

were not quite well painted, streetlights that were

wobbling, or that were about to fall, trash

cans, for example, well, full of garbage.

As you can see, that was what was

understood as a photo report.

Of course, the first week or the first

times that I started taking that set of

images or those images, I remember that my

graphic editor called me and told me, look,

Víctor, the photographs don't quite work because of

the simple fact that they are postcard photographs.

I mean, they are photographs that you have

not included any bug.

I asked him what a bug is, right?

And he told me, a human being, a

dog, a cat, people passing by, shadows, silhouettes,

something.

I mean, you have to add elements so

that your photographs come to life, so that

your photographs have more weight and, well, they

work better, ultimately.

I also give you, for example, an example,

right?

Since I have dedicated myself to photography, my

brother, who is not a wedding photographer, not

even a photographer, right?

But I don't know if because I am

a photographer, the thing is that my brother

is constantly taking images of all kinds, okay?

But with his mobile phone, I mean, he

doesn't go with a reflex or a camera,

but he goes with a mobile phone and

is constantly taking images of everything.

What I always say in my workshops is,

when you are showing a wedding dress or

when you are showing a couple's car, that

is, it is like a postcard photo, what

is the difference between your image taken by

a professional photographer, with a professional camera and

my brother with a mobile phone?

None.

Hasn't it happened to you when you started,

or sometimes it still happens, that when you

meet, I mean, with a couple, who suddenly

tells you, no, it's just that I haven't

dedicated myself to you because we have a

friend, or we have an uncle, or whatever,

who is a photographer and then, well, we

dedicate ourselves to him.

Why does that happen?

Well, it's not just because that amateur has

a lower price, but it's for something else

too, right?

Maybe because the couple doesn't see a difference

between your work and that of the amateur,

right?

So, one of the things or elements to

break with, or to differentiate, sorry, with that

amateur, among other things, is to get images

that the amateur is unable to.

Of course, the amateur, and we've already talked

about this topic, right?

When the time comes for the wedding, well,

the amateur will only photograph the bride's dress

as such.

I mean, the typical picture of the bride's

dress, in which it is in backlight, simply

hung in a window, hung in the center

of the living room.

Of course, as I say, they are cliché

photos, that we have all done and that

we all continue to do, right?

But I invite you to take a look

at all this, and if when we arrive

at the hotel, at the bride's house, we

already find the bride's dress, I invite you

to tell her, hey, why don't you hang

it?

As soon as we ask her to hang

it, I'm ready to get something else, right?

And I even usually tell them, hey, why

don't you...

I mean, if she's with Bride Maze, hey,

why don't you call them and ask them

to help you?

Or why don't you hang the dress there

again?

Or why don't you repeat it again?

Or why don't you talk to your mother

to get help?

I mean, when we're asking for that, what

we're doing is, in short, to humanize that

piece of fabric.

Because, let's not forget, the bride's dress is

still simply clothes, right?

I mean, clothes that...

A piece of fabric that...

Because it's hanging somewhere.

That bride's dress is designed to be worn

by someone.

There's a protagonist, who is her, who is

the bride.

And the bride, as such, I can assure

you, because when I got married, I realized

by Erika, that dress is not chosen by

chance, but the girl has chosen it because

it looks great on her, because she looks,

she feels perfectly with it, and she doesn't

feel so disguised, in quotes, right?

And women find that bride's dress supposedly as

they find their partner, right?

It's like an arrow, right?

I mean, wow, this is the dress.

I mean, they can be all morning, or

all day, or several days, with their dress,

and in search of their dress, I mean,

and suddenly they find it, because it's an

arrow, and surely they find it with their

mother, or with their best friend.

So I'm inviting you to ask for that,

right?

That we wait a little longer, or that

we give it a twist, and we already

think, okay, we're going to take out, or

we're going to make this dress be with

more people, right?

Of course, I'm not telling you, I'm not

telling you not to do it.

I mean, don't photograph, for example, I mean,

the dress as such.

If the bride has left it hanging in

a window, we're going to please her, and

we're going to make that dress, okay?

But we're going to give it one more

twist, okay?

You see, for example, and I would like

to put some of your example, well, of

images, of Patreons, that I have searched for

you.

For example, Sergi, right?

As we can see, Sergi photographed the dress

in a really interesting room.

I mean, possibly it's from, well, from a

palace, or from some incredible hacienda, or from

an incredible house.

Of course, all photographers want to be in

places like this because they are synonymous with

the fact that sometimes the couple has a

certain level of acquisition, and we want more

couples, or simply repeat in places like this.

But, okay, and besides this, why don't we

photograph this as well?

Well, Sergi did, right?

What I invite you to do is that,

right?

Not only to photograph that photograph of the

dress, so, so, I mean, so basic, but

to turn it around and include the bug,

right?

Include the human being in the image, because

I assure you that it will gain more.

One more example.

I show you Celica, okay?

And Celica, you see that in the image

that I am showing you now, I mean,

we could say that it is very basic.

It is very simple and without wanting to

be hard, right?

I mean, always constructive.

What difference is there between Celica and my

brother taking this photo with his iPhone?

Simply none.

But at the moment that Celica is proposing

to the bride to hold the dress, to

hold it, I mean, to touch it, to

be next to him, we are already creating

a connection and it is more than likely

that the bride, when she sees that photo,

feels identified because it is her dress.

It is what she wanted, right?

There are many ways to photograph a bride's

dress and there are subtle ways, like the

ones we are showing you.

There are photos like the one you are

seeing, for example, of Evelyn, or we have,

for example, Rafa Bichero.

Rafa asked, or captured, the bride with his

mother.

And that, we are killing two birds with

one stone, because it is more than likely

that when the bride sees this photo, she

will want it.

There are exceptions that confirm the rule.

For example, Nuno shows us this incredible image

in which we are not only seeing a

single dress.

It is a brutal composition exercise and, in

addition, the editing is simply spectacular.

As you are seeing, it is a black

and white in which it really works, well,

I mean, perfectly.

Also, to finish a little bit, I would

like to show you some of the favorite

images that I have seen on Patreon.

The first one is by Alberto Roldán and

it is this image that you are seeing.

I think it is really amazing.

I think it is very feminine in which

we can see the moment when the bride

puts on her shoes and her friend or

mother is right next to her and you

can see the dress perfectly.

If we talk about Masters of the Masters,

I have to show you Jesus Ochoa.

I have already talked about him several times.

For me, he is one of the best

photographers in South America.

His work is really good and I have

selected a couple of his images.

The first one is this one in which

I think it is incredible.

It is a super subtle way in which

we have the bride who is about to

put on her veil.

I mean, it perfectly contextualizes the place in

which she is being photographed and we clearly

understand that it is South America.

I think it is amazing.

Then, I don't know if it is funny,

but it really humanizes everything perfectly and it

makes us contextualize the moment in which we

see a father who is getting ready but

we see next to him the bride's dress

that works perfectly.

Well, that's all, my friends.

I hope you liked it.

I hope that this month of January, especially

February, will be solved a bit.

I hope that no more weddings because otherwise

this will be a fucking madness and a

fucking disaster.

We will see what happens.

We will wait for February or March to

fix everything a little bit and see if

that flute sounds.

See you next time, my friends.

Be good.