Original subtitles

Let's record, let's go there, it's recording, yes,

one, two, three.

Hello everyone, welcome to the third chapter.

I want to thank everyone for being there,

and again, thank you for your trust.

This chapter, this third episode, sorry, I would

like to dedicate it to what is understood

as an off-camera video, in which you

are going to see how I made one

of my last photos, sorry, two, in which

you are going to see how I direct

the couple, how I am working with them,

how I work the light, how I try

to encompass them with the place, with the

environment, and well, I hope you like it.

And before I start with it, I would

like to tell you that in the previous

chapter I raffled an entry for the Bodaefe

Congress, which will be on November 11, 12

and 13, and there is a winner, and

that winner is called Manuel Vallés, he is

the one who got it right with all

the times, with all the seconds, so congratulations

Manuel, in November I think you are going

to go to Barcelona to a nice wedding

conference, okay?

I would like that in each chapter that

we do, a small raffle is made, or

a big raffle, in which, at least, since

you are learning, you take something more than

that, and do this in a way a

little more interesting.

For the next contest I would like to

tell you that I would like to ask

you a question, and the one who gets

it right, or the one who gets closer,

because the previous one was very easy, and

I would like the next one to be

a little more complicated, okay?

The one who gets it right with the

values, or the one who gets closer to

the values of this image, will take a

free hour with me, I mean, a one

-to-one, or a lax on air, in

which it means that we will be, well,

an hour talking about whatever you want, if

you want us to talk about composition, about

light, about how we did some work, that

we do, or that we dedicate all the

time to a portfolio review, then go ahead,

okay?

The winner must get as close as possible

to the values of this image, remember, when

I say values, I would like to know,

or I would like you to tell me,

with which lens was it shot, what are

the values of both diaphragm, speed, and above

all of ISO too, okay?

It's a trap photo, be careful, don't run,

take the time you need, and well, just

in the comments of the post, write the

values you think this image has, okay?

Having said that, I would like to start

with the episode as such, and what I

would like to talk to you about today,

how we made these two photos, okay?

I mean, I want you to see both

the first and the second, okay?

And first of all, I would like to

explain to you that both for one and

the other, they were shot in the same

place, and my mission was simply to play

with what was both the couple, as the

space, as the light.

Those three pillars are fundamental to me, and

what I'm going to dedicate myself to is,

whenever I can, to play.

When I say play, or when I talk

about the word play, it's about experimenting, taking

risks, going crazy, and doing things that I

probably couldn't do on the day of the

wedding, so, having said that, the first thing

I'm going to do is talk to the

couple.

I want to tell them what we're going

to do.

I mean, keep in mind that of the

pillars that I'm talking about, couple, light, and

location, the most important to me is always

the couple, it's the one that's going to

give us the energy of everything.

Of course, light is important, and location too,

but we depend on it, we depend on

them, sorry, on the couple, okay?

So, I'm going to explain to them clearly

what I want to do with them, and

I'm going to explain that, first, that they

trust me, second, that this is not a

proper pre-wedding session, but our mission is

that we spend two or three incredible hours,

I mean, I already warned them that they're

going to have an incredible experience, and the

mission, above all, is not that a couple

is constantly kissing, but I already warned them

that, in addition to a photo like that,

that they're going to have, we're going to

try to play with them, and we're going

to try to create little pieces of art,

okay?

When I say that, I already warn them

that, I mean, it's possible that he'll make

them kneel, that he'll make them throw on

the floor, that he'll make them go crazy,

I mean, it's not going to be a

proper, normal, and ordinary session, as you might

think.

Okay, so what I want to show you,

first of all, is a video so that

you can see the place, the environment in

which they were photographed.

As you're going to see, it's a simple

parking lot, it's a simple parking lot of

cars, and what comes in handy to show

you is that we don't need to have

an incredible space to get, in a way,

interesting images.

I want you to look, first of all,

at the environment we're in, it's a very

small space, but what I'm clearly interested in

is that light that comes in with a

knife and goes directly to her face.

Notice that I'm clearly concerned that that line

of light only marks her lips and hides

her eyes.

Notice that the lips will later serve me

so that they work perfectly with the red

sweater.

And I'm already telling her to turn her

face to her right and to raise her

chin a little bit.

As we're working with hard lights, I'm going

to need her to raise her chin a

little bit so that the shadows are as

light as possible, in quotes, okay?

I want you to look again for a

second.

You see that I've raised my chin.

The boyfriend is a little taller than me,

so what I'm going to do is try

to raise my chin a little bit so

that all the lines are completely straight.

I mean, when we shoot, when we're about

to press the button, we have to understand

how all the lines work.

It's like a trapeze effect.

I mean, we have to think if it

goes like this, if it goes like this,

or if it goes like this, or if

it goes like this.

This is super important.

And it's the starting point for all images.

In my case, I like all the lines

to rest in their place, both vertical and

horizontal.

And I don't like the buildings to fall

like this or the lines to go wrong.

It's super important.

That's why I'm going to try to raise

my chin a little bit.

And now I want you to look at

his head.

You see that it's a little bit illuminated?

I wanted it in silhouette, complete silhouette.

And I'm going to ask him, you see,

to be completely in shadow and to look

to the other side.

Why does he look to the other side?

Because if the bride looks to the right,

the groom looks to the left, so that,

in quotes, since they are separated, so that

they have a connection.

I mean, one looks to the right and

the other looks to the left.

If they both looked to the same side,

it could work, but the image may not

be so round, okay?

You see that the place is a place,

in quotes, well, well, anodinous, right?

It doesn't tell us much, but it's perfect

for me because I can play with two

types of light, right?

A very, very hard light, which is my

favorite light, and a very, very hard shadow.

When I'm talking about hard lights, and it's

essential that I tell you this because the

light with which I work best for this

type of images is a light, as I

told you, hard, and it's essential to choose

consciously the time you want to work.

When I say time, it means that either

I'm going to stay in the morning, at

10, 11 in the morning, or I'm going

to stay at 5 and a half, 5,

5 and a half, to be able to

enjoy hard light, and, above all, also finish,

maybe, with some epic sunset photo, okay?

But, above all, I'm not going to work

when the sun is above me.

I mean, it means just at noon.

At noon, I'm not going to do it

because there won't be direct shadows, because I'm

always looking for that, right?

And when I'm working with hard light, what

I always try to get is high contrast,

hard shadows, a certain angle in the shadows,

abstraction, also dramatism, which is essential, okay?

I keep moving forward with the video, and

notice how the bride didn't know what to

do with her hand, and you see that

she puts it first in the pocket of

the jacket, she puts it in the back,

and I clearly tell her to put it

in the front.

It's essential that she puts it in the

front.

If she had hidden her hand in a

certain way, everything would have been a little

dark, and it wouldn't have ended up working

so well.

Well, it's time to show you a little

bit what were the images we took, and

we're going to talk a little bit about

technique, how they were shot, diaphragms, speeds.

First, I'm going to tell you, as this

image is here, in all the places we're

going to photograph, the first thing is to

do a first sketch, as you're seeing now,

right?

Without the couple, without anything, it's to understand,

to see how these lights would work, and

above all, shadows.

So first, we'll start with this one, and

I'll show you all the values of diaphragm

and speed.

I'll just tell you a little bit what

was the first idea, okay?

I want you to look here, you see

that you see a diaphragm 2.8 and

with a speed of 6.400 and the

ISO 160.

It's important, if you want to get high

contrast images, you should always play with a

super low ISO.

The ISO is the one that will give

us the image with higher contrast or lower

contrast.

Also, the next thing that will give us

a higher contrast is the diaphragm.

I mean, if in the diaphragm, in the

case that I have 2.8, it's going

to work fucking great.

And you see that later I compensate with

6.400 of speed.

You're already seeing that clearly, well, the image

would only need a little bit of contrast,

a little bit of playing around here with

the lighting that you are seeing of the

girl and everything would be over, okay?

I would like to show you a little

bit what was the visual route so you

can take a look and I'll stop or

I'll keep telling you what things could be

improved or not, okay?

You see that I started first putting both

the boy and the girl looking for the

same location.

I was clearly worried that the boy's head

wouldn't touch the line that breaks it, in

quotation marks, or that crosses her face, okay?

So, in principle, the starting point was that

and I keep moving forward.

You see that here I had already raised

a little bit, but what bothers me is

that clearly the place where I cut her

legs doesn't end up working and I should

ask her to raise her chin a little

bit more.

Since he is working in 2.8, he

is getting out of focus a lot and

I want a better profile of him so

it is likely that in the next one

or in the next ones, you see how

he is smiling, I should tell him to

raise his chin and it is likely that

the diaphragm is already in diaphragm 7.

I asked her to raise a little bit

and, above all, look at how good that

left hand of his is and how good

that right hand is in the pants, of

course.

By telling him to raise his chin and

to smile, it starts to work a little

bit better.

This was the final image with which I

stayed and now I am going to show

you the final JPG.

Notice that by playing with so few colors,

because they go in the dark, because I

usually ask my partners when they tell me

how we dress, I always ask them to

go with a little dark tones because if

we are going to play with this type

of images, that is, with hard lights, with

very marked shadows, if they wear dark clothes,

it will make everything much easier.

Now I change to the second image and

what I clearly indicate is what I want.

First, you are going to see that I

ask him, it is the first mistake.

When I say mistake, they don't really know

it.

But something I want to make clear is

that for me, the couple, in addition to

being a couple, are two mere elements, little

figures that must move.

I am going to play with them as

if this were an element and as if

it were another and I am going to

see if I put them like this, if

I put them like that, if I change

their position, if I tell them again, and

it is not going to make me nervous

or a little shy to repeat, to do

things as many times as necessary or even,

as you will see now, to tell the

boy to go here first but then to

go there, then to kneel, I mean, we

have mouth to ask and I have already

warned them that this is a very crazy

experience and that they are open to everything

and as it is obvious, I may be

wrong and we may repeat everything as many

times as necessary until that good photo comes

out.

You see how my idea was that, but

you see that I was wrong and I

already tell her to change, I tell her

to put herself mainly because of the size,

you see that it is a few centimeters

smaller than him, so I'm going to go

crazy to put her right in the triangle

and I already tell her what she should

do.

You see that the boy was completely standing

all the time, when he saw that the

frame was not working, I asked him to

kneel.

I already tell her to keep doing the

same, to the boy who laughs like never

before and there we see a little how

the final shot will be.

As you are seeing, this is how I

tell her to repeat it again.

If I tell her to put her hand

in the pocket now, it is only to

look for a triangulation in the elbow, I

mean, in the outer arm, in the arm

that he is going to give me and

the other arm, I want him to extend

it for him, okay?

Let's start so you can see a little

bit what the route was.

Here I was worried that his left hand

would not be cut, would not mutilate.

Guys, if you are playing with hands, with

legs, be careful how you mutilate because the

finger of his hand is semi-mutilated and

her head begins to almost cut through the

line of light and shadow that is above

her.

Here you see that it works, but of

course, here I lost all the essence.

First, because I am mutilating her arm, I

know that when I contrast the image in

post-production it will be completely black and

it will not work and, after all, the

essence of this image are the leaves that

are pulling from her to him, so if

you don't see leaves, it seems that the

image lacks information, so I change her a

little bit, I move her forward, him too,

but what is the error now?

The line that is cutting his head, all

through her leaves and the composition.

You see how it no longer works?

It is a shy angle, okay?

It is not captured face to face, but

with a 45-degree angle, a little less,

and it makes the photo not work.

It still does not work, it is touching

the knees, no, no, no, no, no, no,

no, and you see how I already told

her clearly that he would pull back a

little bit?

His head is already starting to work and

now we are starting to have it.

You see when I told you before that

I had already told her that the left

hand that was placed in the pocket of

her jacket was to form that triangulation and

you see how that hand that is throwing

her leaves works perfectly, it is super well

lit and we also have light and shadow

areas in the same hand, so for my

taste it works very well and more or

less it would be the image here, but

look at her face, ah, that a leaf

has been stuck in her nose, so that

image does not end up working but this

one does.

And from this image we simply move on

to this one.

Here just tell you that I had finally

shot with a diaphragm 7, with the speed,

well, a milab, and then the most important

is the ISO.

The ISO has to be for if we

want to get the images, sorry, with the

greatest possible contrast, we will have to work

in a certain way.

That said, I think it is more or

less explained how we capture the image.

If you have any more questions, of course

you can ask me in the comments of

the post, that as you are seeing, I

am trying to comment to everyone who writes

to me, so good, for me it will

be a luxury to help you in everything

I can.

Well, that's all friends, so far the third

chapter.

I hope you have been a little clear,

I hope you liked it.

And nothing, we will continue working on this

for the fourth chapter, I think we are

working on something also interesting.

It will not be an off-camera, but

we are going to go crazy a little

bit with photographic technique, how we capture, how

we do it and all these things that

go through our heads.

And nothing else.

Or simply, if you want us to get

with the edition, with the reveal, then go

ahead, you can also comment on it.

I think the best thing would be to

launch a survey and you tell me what

you want more, because after all, I'm working

for you, sorry, we are working for you.

So, nothing else friends.

Well, thank you very much for being there.

Until next time.

Bye, bye.