Original subtitles

Hello friends, how are you?

How are things going?

Welcome to a new video.

As always, I want to thank everyone for

being there, for your support, and how not

to tell you that without you this would

be impossible.

I can't forget those who have signed up

in the last days either, so I just

want you to have a nice time here,

to learn a lot, and if you have

any doubts, here you have me for what

you need, okay?

In today's chapter I want to tell you

about something that apparently may seem basic or

obvious, but believe me, it is really important,

and it is something that we always follow

at all weddings, and it is something that

I instilled in Erika since she started working

with me, and the photographers who have accompanied

me, or the second brand that we created

years ago, but hey, I don't anticipate you

anymore, and for this I would like to

show you a few images so that we

can start talking about them, and soon you

will understand what I want to convey to

you, okay?

Come on, the first image I want to

show you is this one, also this one

for example, and this one, and this one,

and this one.

What do all these images have in common

that I have shown you?

First, they were taken at the moment of

the getting ready on the day of a

wedding.

Second, they all have an incredible light.

And third, and here comes the key of

the matter, all those people, boys and girls,

boyfriends and girlfriends, received an express workshop on

how light works.

Yes, I assure you that this is not

fake, and I do it at all weddings,

and it greatly facilitates life and the end

result.

I mean, before everything starts, I'm going to

talk to the boyfriends, I'm going to tell

them where they are going to dress, where

they are going to put on makeup, and

we are going to take a look at

it first.

We are going to ask the girlfriend or

boyfriend to give us more than one option,

or to show us their house or hotel,

to see where it can be the right

one to change, and we are always going

to choose it, depending, as is logical, on

the lighting.

But we love to always work with natural

light, whenever we can.

Therefore, we are always going to be looking

for a source of natural light, which is

going to be a window.

Once we have found that place, we tell

them, or we begin, sorry, to explain to

the girlfriend or boyfriend how they should dress,

how they should always dress when they go

to get dressed or when they are putting

on makeup.

I mean, we explain to them how that

light works.

And I'm always going to explain it this

way.

Even if you don't see it, here I

have a big window.

What I'm going to tell my boyfriends is

that we are going to try to get

dressed, or we are going to try to

put on the dress or put on makeup

near the light source, and we are always

going to direct our body, whenever we can,

to the light source, okay?

And I tell them, when you are nervous

at the moment you put on the dress

and such, when you hear the photographer say,

light, light, light, it means that you are,

or that your body is, sorry, against the

light.

And consequently, your face will come out in

the shade.

Something as basic as that.

I know it's very basic, but believe me,

it's very important, okay?

Even if it seems basic, which it is

not, it is super important that we have

a light source.

I mean, for example, and let's analyze this

image.

And besides being a super intimate moment, we

see the bride, we see the mother, and

just notice that the bride is covering her

chest with her hand, which is the previous

moment that the dress is put on, right?

It is such an intimate moment that it

has to be accompanied by perfect light.

If I had shown in this shot that

you don't see the light source, which is

something that I recommend that you never show,

if I had shown that light source, that

is, the window, the blow of attention would

have gone to the window and would not

have gone to the bride and later to

the mother.

Do you understand what I'm talking about?

It may seem basic, but believe me that

throughout the entire trajectory of, well, after giving

workshops and above all, at the time that

years ago we had the idea of ​​creating

a second brand for local weddings, when we

recruited or when we hired two photographers who,

despite being good and knowing how to perfectly

expose the light and capture moments, at this

time or in these preparations or in these

moments of the day of the wedding, they

did not work well and their photos did

not have a defined light, but they had

a slightly poorly worked light, right?

So that you understand this perfectly, I would

like to show you some images of our

second team that were taken three or four

years ago, but that have that common error

and also throughout, as I tell you, all

these years, during workshops that I have taught

or even some patreons, you make this mistake

and notice that it is only a nonsense

that if you correct it, your photograph will

change completely.

I would like to show you, for example,

this first image so that you can take

a look at it.

Despite the fact that the bride is perfectly

exposed, that her dress is perfectly exposed, that

window that we have on the right causes,

as I tell you, our blow of attention

to go there.

What I invite you to do is to

do that quick workshop for the grooms, that

you explain to them the importance that their

bodies are always directed towards the light, but

then you, as photographers, think about the window

that you have on the right, re-frame

better and shoot so that that light source

is not shown.

In short, the light will be totally different.

I would like to show you this image

so that you can understand it even better.

Look, the photographer is super misplaced, he is

in front of the light.

What light is there here?

It's a disaster, it doesn't work, besides that

neither the bride nor her friend work, clearly

neither, but where should the photographer have been

placed?

In front of the bride, hiding that light

source.

In addition, a little trick.

When you have hotel rooms with these opaque

curtains, depending on the opening you get, even

closing them to the maximum, if you place

yourself, as I tell you, in front of

the bride, not in front of the light,

in front of the bride, depending on what

you open, you will be playing with a

light curtain, with a super interesting light source,

that you can get super dramatic and interesting

things or a very wide light source and,

as is obvious, with a completely different result.

I would like to show you again another

image, take a look to the left, in

which you can see that window that is

on the left and that makes the left

side of the image completely burned.

As you can see, to the right, to

the right of the bride, there is a

super clean, neutral background, that only if we

had placed ourselves like this, you understand me,

and not in a shy angle, the result

would have been completely different.

This, as I tell you, may seem obvious,

but it is a mistake that, I repeat,

is made by a multitude of colleagues and

it would be good that you pay attention

to that.

You will also get such an interesting and

so personal light that the photograph will surely

change you and you will begin to notice

how really your photograph changes and it does

not seem so basic.

And also, something important, and I already shut

up for today, the sensors of the cameras,

regardless of whether you have Canon, Nikon, Fuji,

Sony, Olympus, regardless of what you work with,

the moment you are taking images like this,

in which the light is in front of

us and is so poorly controlled, regardless of

the camera you have and the format you

use, the result will never be good, because

the CCD or the digital format is going

to go crazy, that is not going to

work, but if you place yourself properly, it

does not matter what camera you have, the

light will be incredibly good.

Do you understand where I'm going?

Ok.

And also, in post-production, controlling those intrusive

lights that slide there is practically crazy, something

that if we do them well, for example,

like this image in which the girls are,

for example, sitting here and we have a

window on the right, is that the image

is already almost fully processed, it is perfect,

okay?

So nothing else, friends, I shut up for

today, I hope you liked it, be good

and see you next time, bastards.