All language subtitles for Patreon Challenge #5

Hello Victor.

Hello Francesca.

Hello Francesca, how are you?

I'm fine, thanks, and you?

How are you?

I'm fine.

How are you?

Hello.

Hello.

Can you hear me?

Yeah.

Yeah.

I asked you about the experience with the

virus.

How was it?

For me, it was really mild, luckily.

So I only realized because I lost my

sense of smell.

Uh-huh.

But then the rest was like a cold,

pretty much.

It's just like the heartbeat was just isolating

with the children for two weeks.

That was the hardest thing.

With two kids, no?

Two weeks.

They have one, and I don't remember this

morning, I had to take a walk at

11 a.m. I may understand you perfectly.

How is trying to be with two children

during two weeks in your house?

Honestly, this time and earlier in March, because

obviously we had to do homeschooling, like probably

you had to do in Spain, right?

Parents had to do homeschooling.

I used to hide myself in the bathroom.

Yeah, honestly, for those 15 minutes, sometimes you're

just looking for a place.

Cool.

Funny, really funny.

My hair is a disaster.

Sorry.

Okay.

George Talpao, Dream Big Studio.

How are you guys?

Hello.

Hello.

Can you hear me?

Yes, perfectly.

David, how are you?

Hi.

Fine.

How are you guys?

Perfect.

Melanie Castelbuono.

Good afternoon.

Good afternoon.

I think this is the first time you've

connected, right?

Yes, yes, yes.

My husband can't be here, and he told

me that if I could connect.

Of course.

Very good, very good, Melanie.

Alfonso Wassmer.

Hi.

Hi.

How are you from Madrid?

We're getting there, we're getting there.

It's complicated, but okay.

Yeah, fucking situation, no?

We are a little bit tired about the

corona.

Hope the 2021 will be better than this

year, okay?

Because, yeah, I need weddings.

I need to feel the pressure of the

movement, of taking photos, about everything, no?

But 2020 is a year to forget.

How is everything, David?

Me?

Yeah, you.

Yeah, it's fine, but I can't wait to

the end of this year.

Yeah, it's boring being at home for, I

don't know, for weeks.

When do you have your next wedding?

In April.

In April.

Okay, I have two weddings in March.

Hopefully.

Yeah, hopefully.

I have two weddings in March, on the

14th and the last one in the last

weekend.

And I was talking with the two couples,

okay?

And I was asking about what will happen.

The truth is that the couples are very

interested in getting married in the next March.

But hopefully March will be, you know, a

good month.

But if I have two weddings for me,

it will be something like a gift, no?

It will be incredible.

So I don't want to think more about

the future because with this virus it's impossible

to organize the future.

So we are living in the present, okay?

So it's time to live, no?

To enjoy life and Dream Big Studio is

trying to, yeah, perfect.

Okay, I don't know if I say hello

to everybody, but thank you.

Thank you for sending photos.

Thank you for being on board one more

time.

I have to say sorry because when I

announced this challenge, it was for tomorrow because

I announced for the 27th, okay?

But I noticed it was a mistake, okay,

because Friday for me is really busy.

But sorry so much because you are, I

think, you are 10 or something more, okay?

Hi, Victor.

Okay, perfect.

So thank you so much.

So go, oh, yeah, here is my friend.

I am accepting all the people now.

And I am going to share my screen.

And, okay, today it's time to talk about

party photos.

You sent to me around 15 or 16

photos, and I will try to spend a

good time talking about all these amazing photos.

The truth is that when I see all

these wedding photos, I think, okay, I need

to photograph again weddings.

I need.

Especially when I have incredible brides like this

one, okay?

She's enjoying at maximum with the Chupitos, no?

Shorts.

Chupitos, no, shorts, sorry.

This one, another one from Victor Linares.

Davo, these incredible hands.

Nuno, this amazing capture.

Marnix with this really powerful photo.

Carolina sent to me.

Sorry.

Okay.

Alex, always in color, always confetti, super parties.

I need to go to your country, man.

Amazing parties.

Yeah.

Alfonso Wasmer and Gabriel Bezio.

Before starting with Alfonso Wasmer, I would like

to spend a few minutes talking about a

gallery that he sent to me a few

days ago.

Because it's not about parties, it's not about

this topic, but I would like to start

talking about a few series or a series

who sent me Wasmer.

Wasmer, Wasmer, Wasmer, come on.

My Wi-Fi connection every day is a

disaster, because we are living in a house,

and I normally, no, here, no.

I normally give or I normally take all

my videos here, and the Wi-Fi connection

here in the rooftop is really, really bad.

Come on, Alfonso.

Okay.

I think it's, yeah.

So, Alfonso sent me these photos, and I

would like to spend a few minutes talking

about why this photo or this series is

not working at all, okay?

And I would like to show you quickly.

This one is similar.

This one is very similar.

And this is the place, okay?

I would like to download, for example, this

one.

Yes, I know.

This is not party photos, but the truth

is that Alfonso sent to me three days

ago, four days ago, this email, and his

question was, what is your opinion about this

gallery?

Can you help me?

Sorry.

And my answer was, okay, these photos are

okay, but for, in my opinion, are not

working for the next things.

First of all, I will try to be,

I will try to be, sorry, very constructive

during all the time, but the reason because

this location is not working is because, for

me, this is not the best location, because

it looks like a parking lot or similar.

And there is a few things like this

one.

I don't like too much, no.

Also, the face.

There are several things that I would like

to comment, no?

I know these kind of things, no?

The place where you take the door or

the pose of the people.

The point is, the work that I was

trying to do is just to have a

base from which to start to work.

And my opinion, the point is that I

didn't get that base because I thought that

the place was, let's say, good enough as

to take it, to have a series of

photos.

But I tried to play with the shapes,

with the balance, with the size of the

guy and the lady.

At that point, I was not trying to

put a really good pose or expression for

the lady.

I was just trying to play with the

size of the lady, the size of the

boy, trying to play with the shadows, with

the lines, and that was my point.

And what I feel is that I wasn't

able to find the base to fix the

pose and things like that, no?

That was what I was trying to say,

no?

Maybe sit, maybe stand, maybe far, maybe near,

and I didn't get it.

I'm not happy because I wasn't able to

find the point from which to start to

work.

Yeah.

The thing is that I think this is

not, for me, for my photography, this is

not a good location because there are, for

me, it's very complicated or there are not

too many options to create here, no?

For me, it's very difficult to find something

interesting here because there's no space.

The location is very small.

Yes, there is a red light, but the

materials of the stairs, of the door, of

everything is not the best.

And also, when you want to visit a

location like this, I recommend you that maybe

you need to propose them to wear another

clothes because the colors of the locations are

very dark, like red, gray, blacks.

They are wearing really, really dark clothes, and

maybe this is one of the reasons because

these photos are not working at all, in

my opinion.

So, look at this.

Dark, dark, dark.

So, this is a good idea, but the

main problem is that the shoes are totally

dark.

But, as I told you, I think Madrid

is full of incredible locations and you need

to work harder for finding something different, okay?

In my opinion, this is not the best

place for finding something interesting or maybe super

difficult, okay?

And I would like to invite you, Alfonso,

to spend the next month to find something

different, to send to me and try to

find another photo more powerful, okay?

And one more thing.

In Spain now, the light is horrible.

It's always gray, no hard light.

The light is not interesting.

From the middle of November until March, the

light here in Madrid, in my city, is

not working at all.

So, it's really difficult to find a good

location with a good light, okay?

But, congratulations, because you tried to make something

interesting, but maybe you need to work harder,

okay?

Just one more thing, Victor.

Were you able to see the other two

locations that I sent you?

You are talking about this?

No, no, no.

I sent you two links of Instagram, another

account that I have for street photography.

And just to have your opinion, if you

think that those locations were good enough to

have a session or not.

You will not find it.

You think you sent me?

I sent to you, but I think that

I sent you in the mail.

I answered you.

Yeah, here.

Okay.

I don't remember.

Yeah.

It's a good location.

The unique thing is that you need to

be super, super, super clever, or you need

to work hard, really hard, to play with

these lines.

But, for me, the location is better than

the last one.

And the other one is boom, boom, boom,

boom, boom, boom, boom.

No, I prefer the other one.

Yeah.

All these kind of locations are okay, but

the material is gray, and it's really difficult

to find or to capture something attractive in

this kind of location.

And also, remember, if the colors of the

locations are dark or something like this, you

need to propose to the couple that it

would be okay to wear something with color.

Something like red, yellows, blues, not reds.

Something primary colors, okay?

For having any contrast, okay?

Because, if not, if, for example, if they

are wearing black jeans and a black shirt

or similar, there is no contrast.

Yeah, there is no contrast.

Yeah.

You know, you like all these things, no?

But I prefer this, okay?

Okay.

Thank you.

No, all my thanks to you.

Okay.

I don't know if I am, yes, I'm

sharing the screen, okay?

Yeah?

Okay.

First of all, I would like to, yes,

I would like to talk about all these

party photos.

Mainly, all these photos are really, really, really

powerful, especially, for example, this one or this

one.

This one of David is really, really powerful.

Did you use flash?

Yeah.

How do you control the flash?

I think it's a quite old picture, and

I used an on-camera flash with a

white plate, so it's just, yeah.

No, it's something like this, no?

In this case?

Yeah, yeah.

Cool.

Actually, it's a big crop of like a

bigger picture, and there were other flashes around,

but I cropped them.

It was a color picture because the girl

was wearing a pink dress, and I really

liked it.

One of my friends advised me to crop

the picture because it was too average, and

I tried to focus on this moment, so

they're singing, and tried another way, and I

liked it better.

I like how you control the flash, how

you capture the moment, okay?

It's really, really interesting.

Yes, there is a really interesting black and

white.

I love it.

Yeah, super, super.

So, I noticed there are photos like this

one, for example, this one, that the photographer

used flash, and I think sometimes it's very

important how you are using the flash, okay?

Because in our case, we use the 99

% of the cases, we use flash during

the wedding party, and I think it's very

important because I don't know in your countries,

I don't know in your locations, but in

Spain, all the wedding venues, not all, but

the big part of the wedding venues are

really, really dark, okay?

And we don't have something like incredible lights,

like a super club, no?

And that's the way why we are using

flashes, okay?

I would like to tell, before describing or

before critique or critiquing all the photos, I

would like to show you, or I would

like to explain in a really bad way

how we use flashes, okay?

But the thing is that there are two

options.

Imagine that this is, for example, imagine that

we are in a location like this, okay?

I can see the ceiling, it's around three

meters ceiling or maximum four.

So, when we have this kind of locations,

we always use flash in the camera, okay?

And we normally, we don't use this.

We prefer to turn around, I don't know,

the head, no?

I think.

So, we prefer to work in a way,

in this way, okay?

So, and always, we bounce the flash always

in the ceiling.

But remember, this option is only when the

location has a ceiling around three meters, okay?

Because it's really easy to bounce the light,

okay?

So, we never use the flash in this

way because for us, it's very difficult to

control it, okay?

Or to control the light, shadows and all

these things.

And we prefer, as I said, in this

way, okay?

And sometimes, I love to work in this

way.

So, I bounce the light just on my

back in 45 degrees.

And I normally use the flash.

Here is a Nikon flash.

This is manual.

Always, we are working in manual, okay?

Always.

So, in this way, we are working with

really low powerful, something like 116, 132 or

similar, okay?

And another way, imagine that we are working

on a big location, on a patio, on

a beach, something like it's an outdoor, okay?

We use these kind of things, okay?

Yeah, I hope to show you.

I don't know the name in English because

this is not a tripod.

I don't know how to say.

Can you help me, Francesca?

Stand.

Ah, stand.

Wow.

Really easy.

Okay.

So, we are using four, okay, or sometimes

three, like this, with this.

No, it's alive, it's alive, it's alive.

It's not mine, okay?

So, imagine this is the dance floor.

This wide space.

And the way of working, imagine that all

these are people dancing, for example.

Yes, I know.

Maybe I am a good photographer sometimes, but

if I want to paint, I am the

worst in the world, okay?

So, imagine this is the dance floor.

Imagine all these lines, all these black lines

are guests or people dancing, okay?

The way of using the flash, always remember,

this is only when the location is super

big, when we don't have any ceiling to

bounce the light, okay?

So, we put here a stand, like this.

Here is the flash, okay?

For example.

And another one here, okay?

Do you put him as high as possible?

Highest?

No, maybe he's around, for example, 10 meters,

okay?

He's around 10 meters.

And the way of using is that...

No, but I mean how tall you put

the stand.

How tall?

Yeah, I try to stay close to two

meters, okay?

So, not very high.

Yeah, it's really high.

Yeah, yeah, yeah.

It's around two meters, okay?

And the distance between one flash and the

second flash is around 10 meters, okay?

And sometimes, yeah, it's really high.

It's around two meters sometimes, and sometimes a

little bit more, but no more, because this

stand, I think the maximum is around two

meters or similar, okay?

So, in this way, one of these flashes

is always like we were working at a

studio.

It's similar.

In case, for example, if we are using

this flash 116, for example, this one, we

will use something like 132 or 164, okay?

One of the flashes is always more powerful

than the other one, okay?

It's something like we are always working in

this way.

And Erika is always using two flashes, like

this one and another one that they have

here.

Okay?

And I am using two different flashes, like

this one and this one, okay?

And in this way, this is, yeah, this

is the Profoto, and they are super easy

because it's manual, but it's really easy to

control the light.

It's from one to ten, okay?

And so, really easy.

But the truth is that the power of

the Nikon, for me, is higher, okay, with

this flash.

This is the SB5000, okay?

And we are super happy.

This light, I think, is better.

This one of the Profoto is better light.

But the power, maybe, is harder here, okay?

And we have another thing that we use

sometimes, not always, is this one.

Oops.

This is a continuous LED, okay?

This is Estela Pro.

This is really, really powerful, and sometimes we

use for having a little bit of light

on the location.

Because remember, in Spain, locations are really, really

dark, and we use to put light, okay?

It's really, really powerful and very interesting.

What's that called again?

Sorry, Victor.

Yeah.

Oh, my God.

Estela.

Estela Pro.

Estela Pro.

Estela Pro, okay?

For example, no, it's super, super hard.

Yeah.

Okay.

After all of these things, because I thought

that I need to explain in a few

seconds, sorry, how we work or how we

work during the wedding party, okay?

And we always use flash, because I think

it's very important, using flash, because, for example,

this image, no?

It's a really powerful photo, really funny.

It was captured, I think, during the day,

and maybe it's not necessary flash.

But the thing is that this man is

really well captured, the light is perfect, but

maybe here the bride and all her friends

are not the best.

I'm talking only about light, okay?

I think sometimes it's really important to use

flash.

Same example, Dave's Montenegro, okay?

He captured an amazing moment.

He didn't use flash.

I think here there is a continuous led,

but he's not using it.

So one of the things when you capture

something like people drinking champagne, people drinking shots,

beer, I'm talking, for example, photos like this

one.

When you are using flash, you capture better

all these kind of moments, all this water,

and this is one of the reasons using

flash is very interesting, okay?

For example, here, for example, Carolina, I think,

I'm not totally sure if she used a

flash here.

But using flash in the wedding party, I

think everything changed, okay?

And maybe if you are so young, so

young from London, you don't need a flash

because this is one of my favorite photos

of the gallery, okay?

But in my case, when I am using

flash, I capture strong photos.

I capture something else because thanks to the

flash, I can freeze the moment, and thanks

to the flash, imagine that we are working

here.

Today in my city, it's a foggy day,

it's a cloudy day, it's not really beautiful,

and the light is not too much powerful.

So thanks to the flash, I don't need

to use ISO or to increase the ISO

because thanks to the flash, I can freeze

the moment with only 150 seconds or similar,

okay?

And I don't have to use 4,000

ISO, 5,000 ISO because with only a

little bit, okay, I can freeze the moment,

and it's very important, okay?

So for example, I would like to show

you super, super fast a few of my

photos, a few of my party photos.

Boom, boom, boom, boom, boom, go, go, go.

Any questions?

Everything is clear?

Hello?

Everything is clear.

And my English is okay or not?

Yeah.

Okay.

Look at this, for example, boom, boom, boom.

Okay, go to this flash, and this is

about flash.

Thanks to the flash, I can capture all

the smoke, okay?

Without flash, it will be really difficult.

This is not a party photo, obviously, but

thanks to the flash, I could, or I

captured, sorry, all the atmosphere.

Go to a party photo, something like this.

Here, nothing happen, nothing special.

Here, I bounce the light, okay?

And I want to show you what was

the speed.

Yeah, this is an example.

F-stop, 2.8, speed 160.

So I don't need to use a super

big ISO because I use 1,600, it's

okay, no?

And I don't have to use a speed,

something like 200, 300, 400, no?

And I think it's better, in my opinion,

okay?

But obviously, you are totally free to do

whatever you want, okay?

Here, this is curtains, another party photo.

And here, yeah, here, the speed is a

little bit higher.

I use F-stop for 3,200 ISO.

And sometimes, I don't use flash, okay?

In case, when I am not using flash,

I try to use a speed, something like

200 or more.

And I don't know why, in this photo,

I use F-stop 1.4 because I

never use 1.4, okay?

But it was crazy.

And here is another example, okay?

And here, the ISO is really, really high,

yeah, 4,000.

More photos, yeah.

Here, there was an outdoor wedding, okay?

And I think here is the, yeah, more

photos, yeah.

Here, I had to use a really big

ISO here as well.

But 125 speed, no?

It's very interesting, uh-huh.

More parties, more parties, yeah.

So, go back to the gallery, challenge five,

uh-huh.

So, in my opinion, I think it would

be better to put a flash in this

way, okay, Dave?

Yeah.

The truth that you really well captured, you

were super close, you captured all the feelings,

all the emotions of the people, everything is

focused.

But I think with a flash, it will

be better, in my opinion, okay?

Go to Francesca, Francesca is here.

I think she used flash.

Did you use flash here?

I did, yes.

Yeah, okay.

So, it's only one tip, really, really fast,

okay?

I'm trying to open in Photoshop.

In my opinion, Francesca, the light in this

photo is a bit flat, okay?

But control L, and

everything is flat.

And change, no, it's more powerful than this

one.

I think, maybe, maybe, okay.

Yes, if I have, for example, a location

like this one, I always use flash, flash

in my camera, and I bounce the light,

no, in the ceiling, okay?

In this way, always, okay?

Because remember, light, the way of working of

light, or the artificial light, so you don't

have to put the flash here.

If you are a press photographer, if you

are using TTL, maybe it's an option, okay?

But for us, because we are using the

flash in a creative way, so in my

opinion, for having a more interesting light, is

maybe bouncing the light, is trying to make

something like going, is bounce the light to

the right, and come here to the left.

The light is similar to me, no?

Because, so imagine, this is the flash, no?

And I put the flash here, in this

way, bounce the light in this wall, and

come to me.

No, and you can see here, how my

face is, here is with light, and here

is in shadow.

So it's an option for me to bounce

the light, something like this, okay?

And always in manual, remember, my friends.

It's very important, okay?

No TTL.

Okay, Francesca, this is a good photo, okay?

But the unique thing, in my opinion, is

like the colors, or the light, is a

bit flat, and you need to contrast a

little bit more, okay?

Yeah.

Cool.

You are very serious, Francesca, why?

Well, I'm paying attention.

I'm kidding you, no, I'm kidding you.

Okay, go with Rodrigo, Rodrigo Borz Garay.

¿Está aquí Rodrigo?

¿Rodrigo?

No, here is no Rodrigo.

This is a photo without flash, but this

is a photo incredible, with a lot of

movement, action, people dancing, enjoying, fantastic, yeah.

And I would like to know what kind

of lenses Rodrigo use.

I don't know if it's possible to connect.

Sorry.

Moment.

20 millimeters?

Yeah, 20 millimeters.

Wow.

I usually use 35 millimeters, but when I

have a small place with a lot of

people, and in case I have in front

of me an incredible party with a lot

of people, I use 20 millimeters, because with

20 millimeters, you capture the party in a

crazy way, no?

It's more crazy than 35.

35 is something like, is similar to say

something correct, okay?

Because everything is in the correct way, okay?

But 20 millimeters is super, super crazy for

party.

Nice.

Do you understand me, guys?

Yeah.

Yes.

Yes.

Okay, I was talking about your photo.

Cool, Francesca, cool.

Dave's, in my opinion, flash, okay?

Okay, Dream Big Studio, I know.

Hi, Victor.

Hola, amigos.

¿Cómo va eso?

Bien, bien.

Perdón que no pudimos conectarnos antes.

Tranquilo.

¿Estáis tristes por Maradona?

Sí, la verdad que sí.

Muy triste, acá en Argentina, Maradona era un

ícono.

Va, en el mundo, creo.

Pero bueno, lamentablemente tuvo una vida muy difícil,

¿no?

¿Qué sé yo?

No, casi no.

Acá la gente está toda triste.

Yeah, the truth is that I'm not totally

agree with you.

He had a complicated life because he wanted

to have a complicated life.

Because I can imagine being a football player

is not easy, but when you are mixing

football, cocaine, alcohol, everything is a disaster, okay?

So, yeah, it's a good photo.

It was taken with 20 millimeters?

24, 24.

Very interesting.

Yes, we have 24 and 28 millimeters, yes.

Yes, only...

Yeah, any question, guys?

No.

Only one.

Yes.

When, yes, the hand, yes.

We know, we know, we know.

But it's a fast moment.

Well, yes, we cut the hand.

Yeah, no, so it's very difficult sometimes to

control what is on the top of the

frame, what is, you know, really difficult to...

We have all the sequence.

All the sequence with the tequila and the

boyfriend, the boyfriend appears...

Perdón, Víctor, en español mejor.

El novio aparece de la nada ahí atrás.

Estaban las chicas tomando tequila, tomando un tequilazo,

que acá en Argentina se usa mucho.

Y de la nada aparece el novio atrás

levantando la mano y bueno, fue un segundo.

Incredible.

Super funny.

Muy bien.

Okay, thank you for sending.

Please, a pleasure.

Okay.

Rafa Vichero from Spain.

What is the problem here?

The main problem for me is that maybe,

first of all, this is not a great

party, something like this one, okay?

And you can see now that it's very

difficult sometimes to capture an incredible photo in

this location or not in this location.

When you don't have too many people dancing.

Sometimes, I don't know in your countries, but

sometimes in my country, there's no party.

So people in Spain think something like, we

Spanish, we are super crazy.

We Spanish love parties.

And the truth is that in the big

cases of our Spanish weddings, people don't dance,

only drink.

Only drink and drink and drink and drink

and drink.

And yes, and some, maybe it's not always

okay, obviously, but when we have weddings here

in Spain from UK, from Germany, from Netherlands,

these weddings are totally crazy.

And I don't know if these weddings are

crazy because I'm here in Spain or because

the people or because the guests and the

bride and groom are totally crazy, but it's

really confusing, okay?

And we have a lot of weddings like

this photo where nothing happens, only dancing the

bride and groom.

And obviously, it's very difficult to capture something

crazy, you know?

I'm not talking about capturing something interesting, but

yes, something crazy, okay?

And in my opinion, maybe, first of all,

you need a flash because if you don't

want to use a flash, maybe you need

to play with silhouettes or something similar.

If you don't want to play with silhouettes,

maybe you need to play with a LED

or with a flash, okay?

If I am talking about LED, it means

continuous light, okay?

So if you are using flash, maybe it

will be better.

And another problem, when you have a wedding

venue like this one, because look at the

ceiling.

It's like this, no?

It's like, no, it's going down, no, it's

going up.

So control the flash.

If you are using the flash in this

way in your camera, control the flash here.

For me, at least it's really difficult because

it depends where you are.

You need to change your power every time

because maybe the ceiling is only two meters

and sometimes the ceiling is just four meters.

So controlling the flash in a tent is

really difficult.

And also, if the tent is white color,

for me, it's really, really complicated because it

depends how you balance the light, how you

balance the flash.

Everything is white, so it's really difficult.

So Rafa, congratulations.

Thank you for sending, okay?

But maybe in this case, you need to

use flash and get closer.

Take two steps forward, okay?

Close to the couple.

Okay, one photo from Spain.

This is a crazy photo.

We can see.

Ridiculous, no?

A lot of people doing incredible, stupid things,

okay?

But excuse me.

Excuse me, Leo.

Excuse me, guys.

No, I am working.

No, I am working.

I am working.

Say hello.

Say hello to everybody.

Hola.

Hello.

Hola.

Hola.

Okay, done?

Okay, see my friend?

Okay, go.

Come on.

No, flash for today, no.

No, Leo, no, no, no, no, no.

Mwah.

Mwah.

Si, si, si, si.

Quiero la puerta ahí.

Mwah.

A little photographer.

Yeah, no, no, no.

I don't want to be...

No, he will be totally, totally free, but

I will try to recommend him that it

will be super cool being something like bank

or something like a bank officer or similar,

but no photographer because we photographers, we don't

have a really hard life now, okay?

And seriously, I don't know what will happen

with our job because if the next year,

it's more or less a good year, I'm

not sure, maybe our life, it will be

similar like two years ago or one year

ago, but I don't want to think what

will happen in 2021.

There are no weddings for us or maybe

we don't have the same weddings like this

year, but this is another story.

Please forget all about my son, okay?

And wish to him something nice for his

future, but no photography, okay?

Okay, so I don't know.

I think Victor captured this photo during a

photo booth or similar, okay?

He used flash, but maybe I don't find

the meaning of this photo at all.

No, it's a bit difficult to find something

or the meaning, sorry.

I don't know.

Victor, I know you have better photos, so

please send me more powerful photos, cabrón.

Okay, go to another Spanish guy, I love

it.

We are talking about hands, it's a really

good idea.

Everything is working, light is working.

The color is amazing.

The lights are super, super cool.

I'm talking about this, okay, sorry.

Talking about this, this side call are working.

These hands in this way are working, but

this fucking head is destroying the composition.

In my opinion, okay?

So you have an incredible photo.

Everything is working.

Everything is working.

And also you check the light in a

really nice way because we can see the

skin, everything is perfect.

But talking about composition, this head is not

working, man.

But okay, congratulations one more time, okay?

Very happy for you.

You are working really hard.

Okay, go to the next one.

Any questions?

No questions.

Nuno Lopez from Portugal, a really powerful photo.

We were talking with Erica about this photo

and she told me that maybe black and

white will be better.

What is your opinion, guys?

Yeah, I think so as well.

Agree.

Yeah, a little bit more editing could make

this like the best picture ever.

So cool.

Yeah, it's my opinion, yeah.

So it's very powerful.

It's like Superman, no?

It's with the punch, okay?

And people are super, super happy, enjoying.

And also when, so the focus is not

the best, okay?

It's not totally, totally focused, but it's not

a problem at all because it's a great

moment, okay?

And I prefer to capture a great moment

and I don't care if it's not focused

in a perfect way, okay?

I don't care.

It's not a problem, a big problem for

me.

I prefer to see an incredible moment than

another photo with less energy and totally focused.

Hope you understand me.

And all of you were totally agree.

In black and white will be super, super

powerful or more powerful than the color one,

okay?

Yes.

Yeah, yeah, yeah, yeah.

Incredible moment.

Congratulations, Nuno.

I think he's not here.

Mark Nix, one more time, please.

Can you tell us how you capture this

moment?

Oh, wow.

You use 20, oh, it's crazy.

800 ISO, 16 millimeters.

Yeah, yeah, I use the 16-35 always

for this.

Yeah, and yeah, yeah, yeah, yeah.

Please, did you use flash, no?

Yeah, yeah, yeah.

So I always have four flashes on each

corner.

Four, yeah, in total, four.

And then I use the two flashes behind

my subject to get the rim light.

And then I have a flash in my

hand or a small stick from the left.

Yeah, we can see here, for example, we

can see one flash, sorry.

Here it's, oops, sorry.

Yes.

Yeah, and you see the arm on the

right side, you see the other flash.

Yeah, here is another one.

Yeah, yeah, yeah, yeah, yeah, wow.

20 millimeter, 20 seconds.

You were taking risk every time, no?

Yeah, so later on the evening, I start

using dragging the shutter a bit, so.

So Mark Nix, send me five photos.

I want to show you because I finally

chose this one because this is similar for

me.

It's true, it's another, no, it's a good

perspective.

It's not like all the perspectives.

I'm talking about that Mark Nix capture in

a different way, okay?

And it's really cool.

But the true, and it's very probable that

Mark Nix use same speed or similar, okay?

But the truth is that I prefer this

one because thanks to the liquid, thanks to

the alcohol or the champagne or whiskey, whatever,

okay, everything is working in a really crazy

way, okay?

And yeah, it's very interesting.

And that was the reason I finally chose

that one.

And the truth is that I have to

say you congratulations one more time because you

are super close during the wedding party.

And sometimes it's not easy.

This one is not working because there is

not a perfect silhouette.

And this is the way because there is

a lot of black space without the information,

okay?

The another one was better.

Yeah, this one is the, for me, I

think is the best, yeah.

Thank you.

Nice.

Carolina, Carolina Boutique from Miami.

Are you here, Carolina?

I think, I'm not sure.

It's very probable that Carolina, sorry.

I said no, but it's very probable that

Carolina use flash because look at this.

What is your opinion guys?

Because here is a shadow and maybe it's

the shadow of her arm.

Maybe, yes, flash.

Here is another shadow.

That is very probable, no?

That, yeah, yeah, yeah.

She used flash.

The unique thing that when I have all

these things or all these actions, or when

I have a circle with these, I don't

know, these guys who are dancing, no?

I am trying to be really close to

the couple and I'm trying, don't have any,

anybody like this one in front of me.

So I always try to have a really

clean shot, a really clean photo.

And I don't want to have, I don't

like, sorry, to have anyone in front of

me.

So I prefer to have the couple only

in front of me and no heads, no

bodies, no anything, okay?

Do you understand me guys?

Yeah.

Yeah, yeah.

So I am talking about this.

Imagine, for example, imagine that this is a

clean shot, super clean, because in front of

the people or in front of the photographer,

there is only people.

Imagine, imagine, okay?

So only imagine there is, for example, a

back or similar here.

So it's not working.

Imagine here another guy and we can see

only his back or her back.

So all these things are working or are

not working so well, okay?

So I recommend you being really close, okay?

And don't have any people like this girl

or similar, okay?

It's totally different when we find something like

a head, okay, totally different.

Mm-hmm, okay.

Alex, amazing moment, but there is a little

problem.

There is no, or it's really difficult to

find who is the most important element or

subject in the photo.

It means here is easy to find him,

no?

It's really easy.

Here is Superman.

Here is a lot of guys making crazy

things.

Here is the bride.

Here are the hands.

Here is the bride and groom.

Here is the group.

But here is something like, yeah, there are

a lot of people.

I know it's an incredible party, but the

light is working, but who is the main,

the most important?

No, it's something like, it's a photo, but

I need to have more information about a

man or a woman or a couple who

is dancing or who is kissing each other,

okay?

And also the composition sometimes in this photo

is not working at all because here, sorry,

here she's not working at all, okay?

And we can see only his back.

Maybe if we could see his face, maybe

we'll be different, okay?

Because if everybody is shouting and we can't

see him, and maybe this one.

Another example or another way is thinking about

or is thinking similar to him.

I am talking about Davo, Davo, sorry, because

look at this, all these hands, no?

Are making the same.

So with 85, with 50 millimeters, maybe we

can try to capture only hands, confetti, and

we will capture something crazy, something abstract, no

obvious and really good, okay?

But, okay, okay, Alex, it's a really nice

photo.

Congratulations.

One more time.

Go for another one.

Alfonso Wassmer, really easy.

What is happening here?

What is happening here?

He's stammering, I don't know how to say

it in English.

No, no, no, no.

What is the mistake here?

Corrupt, corrupt, corrupt, corrupt.

So I think the another guy, so the

left guy is not working because two reason,

because we can see his face.

Yes, we know he's laughing, he's smiling, but

you capture him in a really shy angle,

okay?

And he's not working in the group, okay?

And I think the group is only these

guys, or are these guys, sorry.

So, boom, boom, boom, boom, boom.

And remember, control L for something

like this, okay?

And you agree, guys?

Yeah.

Or not?

Si.

Yes, agree.

Yeah, yeah, clearly.

Why you are super shy with me?

Why?

Come on, guys.

Okay, yeah, I think for me, it's better,

okay?

It's more powerful than the other photo, okay?

With the guy.

Yeah.

And the last one is Gabriel Bezio.

What is happening here?

I think it's, yeah, it's a shy angle,

okay?

I think, my opinion is that Gabriel capture

this photo not in front of the main

action.

He was 45 degrees, and that is very

important, no?

Here is not a shy angle.

Here is not a shy angle, no shy

angle.

But this is a shy angle.

So, we need to see everything.

So, something like, this is close to a

shy angle, but everything is working here, okay?

But in this way, I think you need

to be just in front, and no 45

degrees on the right.

And when I have these photos, I think,

I don't know if he used flash, but

look at this, all these little details, like

this part, okay?

And maybe, I would like to try.

Yeah.

Cutting.

It's cleaner, okay?

And when I have all these hands, people

I select, it's only I am trying, because

this black and white is not working at

all.

And maybe will be great to batch and

burn a little bit, like this one, and

then, yeah, similar.

Something like this.

Be careful, be careful, Gabriel, with lights.

Here, all the whites are perfect, okay?

But be careful, yeah, it's on the limit.

But the main, or the big mistake is

the angle, is very shy, okay?

Okay, okay, guys, what do you think?

Who is the, what is the best photo

here?

This one, this one, this one.

Dream Big Studio is close, this time is

very close, but, mm, casi, amigos, casi.

Esa mano me afecta, no?

Esta, esta.

Victor?

Yes?

We've all been two hours mentoring with you.

Who is talking?

Robin.

What?

I can't see you, sorry.

We've all been two hours mentoring with you.

Each of us.

What, what?

Sorry, sorry, sorry.

I don't know, I don't know.

Everybody that has their photo here, we should

all have two hours mentoring with you.

Ah, no.

Who is, hey, who is talking?

Who is talking?

I can't see you.

Can you see me?

No, wait, ah, wait, wait, wait.

Wait, ah, yeah, Soben, Soben, Soben.

Hi.

Soben, how?

So, why you said, why you said these

things?

So because for me, for me, you are

the winner, okay?

Or you are one of the winners, because

my favorites are this one, this one, this

one, this one, and this one for me,

okay?

My favorites.

Yeah, but I would like to know the

opinion of, I know, sorry, sorry, sorry, sorry.

Alex, sorry, sorry, man.

I'm not sure about your, yeah.

I actually liked the picture of Nuno Lopez.

Yeah.

If it was edited better, it would have

won for me.

Yeah, me too, me too.

So, this is, sorry, my friend, Alex.

In the last minute, I remove your photo.

Now, these are my favorites, okay?

So, Marnik's photo is really, really, really powerful,

okay?

Nuno Lopez is amazing photo, but as Marnik

said, maybe it will be better in black

and white, okay?

In my opinion.

So, my question is, Rodrigo is a powerful

photo, a really, really powerful, okay?

But the truth is that these two photos,

my opinion, are the winners or are the

more powerful photos in this gallery, okay?

This time, we are talking about party photos.

So, Chauvin is not allowed to say anything

now, please, silence, man.

And Marnik, you are not allowed to say

anything, okay?

Alfonso, what is your favorite?

Chauvin.

What?

Chauvin.

Chauvin.

The first one that I did.

My friend, Alex, what is your favorite, man?

Chauvin.

Chauvin, okay.

Go to ask to another guy.

Francesca, from- I'm gonna talk about Marnik's.

Marnik's.

Marnik's, two, one.

Oh, yo, yo, yo.

David.

For me, it's Marnik's.

Marnik's.

Two, two.

Okay, oh, fuck.

Okay.

Rodrigo.

Rodrigo, amigo.

What is your favorite?

What is your favorite?

One.

What?

No.

What, one?

Sorry.

I think he doesn't have sound and says

that's the first one.

Maybe it's- Ah, Chauvin.

Okay, three, two.

And it's my time, okay?

It's my time.

I prefer the Chauvin photo, okay?

Because it's more powerful.

And maybe the composition is not, yeah, it's

very interesting, okay?

Or maybe the atmosphere of the second one,

of the Marnik's photo, for me, is better.

But the action and the movement and the

composition, how Chauvin captured the photo, the face

of this girl, okay, is really nice.

And you can see that this photo is

not totally focused, but I don't care, okay?

Because it's a great moment.

And if we are talking about lines, about

composition, about all these things, for me, all

these cycles are working really well, okay?

And this part, boom, boom, boom.

And also, this is for my friends, the

Dream Big Studio.

It's very important when we are capturing the

movement that hands are working really well, okay?

And everything is working.

So I think this photo was captured with

20 millimeters or similar.

And can Chauvin tell us how you capture

this photo?

Can you describe, please?

So this is a Jewish wedding.

Part of the Jewish wedding, they have the

hora, where they bride and groom, they play,

and they throw them up in the air.

So I've shot several weddings before where they've

thrown them in the air, and I just

never could get the photo because I was

always too late.

So on this one, I was like, right,

this one, I'm just very determined to make

sure I capture something.

It's always difficult to capture the bride going

up and down because at the time, I

had a Nikon, and it just wasn't fast

enough.

So I just focused on the people at

the back and shot through the, as they

were throwing them up and down.

Because you can see that underneath is the

blanket that they're holding to throw her up.

I have lots of frames where everything is

out of place and she's looking the wrong

way.

But it's just lucky that I managed to

find one, maybe two frames that looked good.

And because I was shooting 16, it was

slightly wider so I could crop it in

to make it better.

Yeah, 16 millimeters.

Oh, crazy, yeah.

And yes, and you are right, this is

a blanket, no?

Oh, sorry.

This is a blanket, no?

Yeah.

This part, yeah.

This is interesting, curious.

Nice.

Okay, okay, Soben, congratulations.

You are the winner this time, okay.

Thank you for sending photos.

I think this is the first time you

send photos, no?

Or the second time, I'm not sure.

Yeah, okay, congratulations.

I always try to catch up with your

Patreon.

You do it so well that I'm always

behind because I have other things to do.

So by the time I come, it's like,

oh, I should have sent photos in by

now.

But I've missed the deadline.

It's like, oh, but this one I'm gonna

send one in definitely.

Okay, congratulations.

But I forgot the guy to say who

are my favorites, my five favorites.

So one is the winner and then other

ones are Rodrigo, David, Nuno and Marnix.

Okay, so thank you for sending photos.

Thank you for winning or for being super

active.

I want to tell you something because I

would like to change these things or this

challenge because this is the fifth challenge.

And these five challenges was about or were

about, sorry, about the getting ready, the ceremony,

the portraits, all the different parts of the

wedding day.

So maybe now is not time, okay, but

I would like to invite you to think

about what kind of challenge do you want

to have, okay?

Because I'm totally open to find another challenge.

I don't know if it create a challenge

about editing.

If you like this format and we can

find another kind of challenges.

The truth is that there is no wedding

season now because tourism now maybe it's not

time for weddings here in Europe or South

America maybe, but because the COVID situation, there

is no wedding and many of you, you

are in lockdown.

So I would like to create a different

challenge, okay, for being more or for creating

something more powerful.

And we finish all about weddings, all about

challenge about weddings.

So if you have any new idea, if

you like to talk about any topic in

specific or if you prefer to do another

thing, so I am totally open, okay, as

you can imagine.

So please let me know.

Maybe you don't have any ideas now, but

if in the coming days you think about

something new, please let me know.

I will be happy to change and to

improve and create something new on Patreon, okay

guys?

So that's all.

Thank you.

Thank you for sending photos.

Thank you to all of you because every

month, in the 90% of the cases,

you are always here and it's fantastic, okay?

Thank you for your support.

One more time, thank you to Soen and

the other guys, David, Marnix, Nuno and Rodrigo,

because you rock, okay?

Thank you guys.

See you next month.

Hope the next month vaccines will be everywhere

and who knows what will happen in the

coming months.

So if you have any questions, please let

me know.

If not, it's time to say bye-bye.

You are totally free.

Bye-bye, thank you.

Thank you.

Okay, bye-bye.

Bye-bye, bye-bye.

Ciao.

Ciao.

Ciao.

Ciao.

Ciao.

Ciao, Victor.

Ciao.

Bye-bye.

Ciao.