All language subtitles for Episodio 9 Laxpress

Hello friends, how are you?

I hope you have a great week.

In this chapter we want to talk about

one of our favorite images and especially about

its creative process, from the place it was

made to how we executed it.

This is a perfect chapter to show you

how we make use of places or locations

that apparently have no appeal or that previously

we would have thought that it was not

the best place to go with a partner.

I always say that it is important that

we think, not as a wedding photographer, but

as photographers.

The job of every photographer is to get

the most personal side of all things or

the environment that surrounds them.

I also always advise that we go back

to being or that we go back to

imagining things or to see things as when

we were children.

I mean, if we ask a 5 or

10-year-old boy what this is, in

addition to a camera, surely he can imagine

that it can become a car, later it

can become a truck or a bus, but

it will also take off and become a

plane and even a spaceship.

I mean, what I advise you is to

see everything again with other eyes, with another

look, and that you force yourself to do

it, to see that the places are something

more than what we are seeing with our

eyes and that we take off the bandage

of the wedding photographer and that we think

more as photographers.

So, having said this, I would like to

put you in advance and I would like

to start talking about what the image was.

First of all, I would like to tell

you that this image was made in a

workshop, in a workshop in southern Italy, specifically

in Reggio di Calabria.

The workshop was carried out just two years

ago and the image was the result of

the following.

The organizer, in the middle of the session,

asked me what I thought about doing a

challenge in which I was going to take,

along with the rest of the students, to

a place in the city that apparently had

no charm or anything interesting, so I agreed

and I said yes.

We went there and, well, when I saw

the place, the first thing I thought, I

said, man, let's see how I get something

interesting out of here.

So, I'll play this short video and then

I'll continue, okay?

Well, you've seen that the place is very

complicated, right?

But, well, let's start with the first thing.

Always, in every place we visit, we're going

to try to do a scouting and, as

you can see here, the first vision was

this.

It's not a postcard photo in which we're

seeing the statue, but we're going to do,

as I say, a scouting and, look, when

I turned around to the statue, the first

thing I saw or the first thing I

was looking for were elements that would make

it easier or inspire me to find the

final image, right?

And the first thing I found were these

two lines of light that we have here,

this first one with the second one.

Of course, the fisherman you're seeing in the

background was going to invite him to give

us five minutes and to leave us all

this clean arsenal.

In short, what I had found were these

two lines of light that were going to

make it easier or help me imagine what

I was going to find and, secondly, look

at what a background was going to find,

I mean, a background in which to place

the couple.

The background we have here is a background

like the sky with which it was going

to work quite well, okay?

Once I have this, I warn the couple,

as you can see, I place the bride

in front, I place the groom in the

background and the first thing I have is

the bride, as you can see, in front

of me and the groom, as you can

see there.

The first thing I'm going to tell you

or the first thing I'm going to look

at, sorry, is how the light works.

First of all, we're seeing that we have

a hard light and a light that goes

from left to right, so if the bride

is placed in front of me, we're seeing

that we don't see anything attractive, so I'm

going to tell her to turn to the

left.

Why?

So that the light bathes her perfectly and

the groom too, okay?

First problems arise.

The first problem is that I had imagined

that the groom would be perfectly fitted between

the two legs of the bride, but when

I say fitted, I mean that it has

to be perfectly in the...

I mean, in what is the frame of

the two legs, I mean, the groom can't

touch, as you can see, nor shoes or

anything like that, much less the skirt, okay?

And also, look, I have another little problem

in which the groom is...

Well, the line, the horizon, sorry, of the

sea is splitting the groom in half and

it doesn't get to be a completely clean

shot.

Also, look, I had played with the reflection

of the left side of the statue, in

which we're seeing that the bride looks more

or less, not completely, and the groom doesn't

look perfectly, for example, reflected in it.

So, what I'm going to ask is that

the bride, well, open her legs a little

bit, okay?

So that the groom fits perfectly inside, okay?

And that, well, that the frame fits better,

okay?

And that it's much cleaner, I mean, the

composition.

So then, once the bride opened her legs

a little bit, look, the groom fits perfectly,

but I completely lost the reflection of her.

Also, to clean that horizon line that I

was talking about in the previous photo, I

glued the camera completely to the floor and,

look, I already cleaned the whole background, I

already have a perfect sky, it stands out

perfectly.

Also, look how well the red color of

the dress works with the blue sky, they

are two complementary colors that, after all, as

I told you in the previous chapter, is

where I usually tend, right?

It's always playing with primary colors, playing with

neutral backgrounds, playing with lights that influence or

that go from one side to the other

and it was already starting to go as

if everything was going well, but notice that

the photo still doesn't work.

Also, here, the dress has stuck too much

to the girl's body and what I intended

was for the dress to float a little

bit.

Why?

To show the viewer that the place where

we were was a little...

or a little breeze, a little wind.

By sticking so much to the floor, notice

that I no longer show the place where

it was done, okay?

But now I had the doubt, yes, to

continue keeping this frame in which, notice that

50% of the image is all cement

or it's all just a statue that has

no life, right?

So I turned the camera a little bit

and I already found the sky and a

much more abstract concept of what everything was

going to be and the truth is that

it fitted me much more than the previous

frame, right?

So I started playing, but notice that I

still have, as always, the same mistake or

the same problem, that the groom's body is

touching some part of the bride, so then

I asked again for the bride to move

her foot a little until the groom fitted

perfectly, but notice that I have another problem

with the groom.

He had been a large part of the

session, seriously, without smiling, right?

Notice that when we are separated couples, when

they are no longer face to face, they

are kissing, but they are like now, we

have to try to get a connection, otherwise,

as was the case, it would seem that

it was a fashion photo and not a

couple report, right?

So I asked the groom, please, to smile

a little bit and I also had an

added problem.

When there was such a strong light, the

groom was getting shadows here that I didn't

like and shadows here that I didn't like,

so I asked him to lift a centimeter,

just a little, to lift his chin a

little so that the shadows didn't appear so

much and were a little more interesting, okay?

So in the end, well, as you can

see, I got to this image after a

process, right?

So, in short, first of all, I would

like to tell you that it is important

to look at things with our eyes, that

we don't just think that we are the

wedding photographer, but that we think more like

photographers, that we think about what kind of

photographer we are and how we are going

to get the most out of it and

we are going to look at what light

is there and how we play with it

and, above all, what elements have to help

us to get the final scene.

And, above all, this is a game and

I always say that photographers are like architects,

right?

We start with an initial idea and we

work on it, little by little, until we

get to the final scene.

And, above all, we think more about the

word play, about the word experiment, and not

think, hey, I'm making a mistake, no, no,

no, not this, hey, no.

I mean, the thing is to enjoy, enjoy,

enjoy, enjoy, and that the couple feels that

you are enjoying it, right?

And never think that, oh, shit, I'm screwing

up, oh, shit, oh, no, no, no, no,

no.

That's going to sink us and, ultimately, it's

not going to get us out.

I mean, we have to force ourselves to

do that, to be positive and to move

forward and to look with different eyes.

So, that's it, I'm not going to talk

anymore, I'm going to leave you now and

I'll see you very soon, friends.

Take care, be good, bye-bye.