All language subtitles for Patreon Episode 84º Rambling

Hello friends, how are you?

How are things going?

As you can see, we are in the

same place as the previous one, we are

in the same hotel, here we have to

be, well, we are in Oporto, we have

to be here for a few days, first

for work and then because we have taken

two days off, because the truth is that

we believed that we deserved it, so nothing

else.

Well, as we are on vacation, as we

have time to go for walks, we also

have time to think and to wander, as

Erika says, and yesterday on one of the

walks I asked Erika, I say, why do

you think that there are photographers or photographers

who have come to attend a lot of

workshops like me and I remember some colleagues

who, when I started, were also with me

in many workshops, and I told Erika, how

can it be that, without me carrying medals,

without wanting to seem very, very egocentric, I

say, how can it be that some colleagues

who know photography twice as much as me

and all these things, in the end, do

not have or are not taking photos, relatively,

I do not say good, but I say

correct at least, since they have the theory

and they have attended, as I say, a

multitude of workshops and on many occasions they

are an open book of photography, with which

it was what I told Erika, I say,

what leads a photographer to, after attending so

many workshops, to have so much knowledge, not

to take photos, as I say, relatively, I

do not say powerful, I say correct, because

when sometimes there is a portfolio correction, whether

on Patreon or in other channels or in

other workshops or whatever, those colleagues to whom

I refer and who, with many of them,

are very friends of mine, you do not

have to go so far, with myself, I

know how to see the mistake of the

partner, but when I correct myself, Victor, it

is when I say, oh, you know, I

say, oh, that I am also making the

same mistake that a moment ago I was

criticizing that person, right?

That sometimes it is easy to look at

someone else's eye and say, oh, it is

that it is very easy to find the

mistakes and when you put yourself in your

photos, sometimes you are committing absolutely the same

and that is what we were talking about,

right?

Victor told me, but it is because you

do not realize or why you do it,

right?

And that is a bit like the beginning

of our debate, if you want to pray,

but we continue.

But Erika also said yesterday, right?

That there is, I mean, maybe there is

a factor, right?

For example.

My factor, I think.

No, or I would refer to another factor,

right?

It is the one that there may be

colleagues who attend a workshop of ours, for

example, or another colleague, and a lot of

information is shared about composition, about how to

control the light, about some type of new

moment, for example, in particular, but then I

believe that there are colleagues who do not

have the courage to adapt that or to

take that to their field, because they may

think, no, it is that I am from

a town or I am from a small

city, in my city they are all conservative,

they are couples who do not understand photography,

therefore, they will not understand what that photographer

has explained and that, as a result, it

has worked for him, for me, as I

live in that area, it will not work

for me.

Yes, I don't know, or also what I

sometimes told Victor, right?

That sometimes there are concepts that you have

to internalize, that is, that you have to

make them yours and that they come out

mechanically.

In this time, I have learned some of

them, such as finding transition photos, I don't

know, playing with light, understanding light, because at

first it was something that was difficult for

me, right?

Because I said, Victor, but how can you

put the couple against each other?

It was like, at that moment, when I

was in situ at the wedding, I did

not realize until I studied it, I practiced

it and I internalized it, and now it

comes out naturally to me, and that is

what Victor was saying, that many times we

have many concepts, but some of them we

do not work enough to internalize them and

it is already like one more tool of

our work that we do it naturally, right?

And at a wedding, sometimes I think it

is important that we have them very involved

in us, because things happen very fast, and

if you do not have it very clear

and very internalized and as one more tool

of your creative process, you forget, because sometimes

taking care of the backgrounds, I take care

of them very well if I am doing

some posts, but sometimes when I am in

full action in a house, things escape me,

and Victor sometimes tells me, when he is

correcting the photos, but have you not seen

that perch that is hanging there?

And I tell him, well, no, because now

I do see it and I could criticize

you and I could say, oh yes, look,

I don't know what, but at that moment

I did not realize, and Victor is something

that he does not understand, and I tell

him, is that I still do not have

the concept of leaving the white background, of

looking at absolutely all the parameters before getting

married, in a real moment, I do not

have it entirely internalized and sometimes it escapes

me, because of the nerves, because of many

things, and something that Victor also tells me

is that I have to put, I have

to stop making excuses and focus on them,

you know?

That sometimes it is like, when he showed

me the photo, I always have a reason,

right?

Why did I forget the perch there?

No, it is that the girlfriend is doing

this, and Victor is like, no, Erika, you

have to focus on the moment, look at

everything and work, right?

It is like, it is a process that

you have to do more, like the one

you do of working with the light, or

working with other things, right?

And it is at this moment, I think

that I am improving more and more, but

there are moments that still happen to me

and Victor corrects them for me.

But it is what I always say, and

it is what I have shared with many

of you, for example, in Patreon, right?

In which you have to have a little

bit of calm, a little bit of calm,

and a little bit of analysis.

And I also said it recently here, right?

That the big difference between a great photographer

and another that may not be so much

is because it is the little control of

the nerves and the little confidence in oneself,

in that, well, it comes out.

We have to learn to look with both

eyes and understand what is happening ahead and

what, as I say, I think ...

It is to anticipate, it is also what

you tell me many times, to anticipate what

may happen.

And have a non-mechanical process, but almost,

right?

Of what things should be done, that is,

that you arrive, for example, at a house,

at the moment you are working, with some

photos, or with whatever, right?

Do you understand me?

Well, I think I'm getting quite involved.

No, I think you say it well.

In the end, that is what we are

doing, creating your creative process.

When we get home, the first thing we

do is look at the light.

Where is the best light?

That's where we go.

Okay, once there, in what space are you

going to change?

And that's where ...

And second, that hanger that you have said,

all the closets that are in the background

of the groom's or bride's room are closed

so that no hangers come out and no

one looks at the closet that is in

the background.

Exactly.

Yes, and this is something that I am

working on and I also think that sometimes

it is because I have little confidence in

myself, you know?

Of saying, no, well, I'm going to do

this, and now I do it more and

more, right?

Of saying, no, I am the one who

controls this space, they trust me, I have

to give them the best, right?

And if I say that that door has

to be closed, it has to be closed.

It is not something that sometimes, right?

That sometimes happened to me before, right?

That it was like fear of, oh no,

if I touch this better, the mother gets

angry and now it's like, no, no, no.

I get there and express a little what

you think is going to look better.

But I think we are digressing a little

on the subject, right?

Because why a photographer, a photographer with all

the knowledge he gets to have, who knows

perfectly, because then when he corrects himself in

public, that photographer who has made the mistake

says, if I already know, if you are

going to tell me that the head is

cutting up or the hand is mutilated, if

I already know the mistake, okay.

So, if you know, if you are aware

that you are making a mistake, why don't

you correct yourself?

Because you don't apply it during the process,

and that has happened to me.

And why don't you apply it?

Basically because of what you said before.

The good photographer has a temper, breathes and

shoots.

And sometimes, to me, and I speak personally

of myself, sometimes my nerves take over and

Victor, sometimes you tell me, at the beginning,

not so much now, but at the beginning

when I started doing weddings with him, he

told me, but why do you do that?

But why do you shoot so much if

what you are doing, you know it doesn't

work?

You know it doesn't work?

Why do you continue?

And it was because in my head I'm

just nervous, I have to work, I have

to shoot, some will come out well.

And now it's like, no, no, Erika, what

you're doing doesn't work.

And you know that if you take that

work home, Victor is going to yell at

you.

If it's not a yell, it's better.

No, it's understanding and making me understand that

shooting a thousand photos without a clear goal

is absolutely useless.

It's used to waste energy, to make me

even more nervous, because I know what I'm

doing.

I'm doing it wrong.

And trying to find an escape that doesn't

exist.

And what Victor says, you have to be

relaxed, see your goal and execute it.

Don't go shooting ten thousand without this, because

that way you won't get anything.

Let's see, I mean, it seems like I'm

here like the teacher of the teachers, and

she's like the nothing of the nothings.

It's not about that.

And I was not born, well, learned, but

quite the opposite.

No, but your career is much longer than

mine, and you've gone through a lot of

mistakes, so you're helping me to be a

teacher much faster.

Of course, because, I've always said it, when

I started with weddings, I was so nervous,

so afraid, so scared to do something wrong,

that I, even as the leading photographer, I

didn't do the bride, but I gave it

to the one who, in theory, helped me

as an assistant, because he was unable to

enter the bride's house, because, to begin with,

my hands were sweating so much, that it

was almost impossible to hold the camera after

I had been working as a press photographer

for almost ten years, I mean, so you

can see the whole process.

But, ultimately, and as a consequence of all

this, maybe one of the things why a

photographer, with all the knowledge he has, doesn't

get to take photos, so to speak, good,

one of the factors may be his own

nerves, himself, or herself, makes himself stumble, his

own way of working, and that, ultimately, even

though he will realize it, because I don't

believe it, I don't believe it, gentlemen, that

a photo happens in front of you, you

see that it is not well composed, and

you keep shooting, and you stay so calm,

thinking that the photo is good.

No, on the computer it will continue to

be bad, bastards, don't fuck with me, but

it's what shocks me, it's what shocks me,

that I say, how can it be that

these colleagues don't notice these mistakes they end

up making, when, later, as I have told

you at the beginning, they realize later that

things haven't worked out, right?

That's why this was one of these comments,

or thousands of comments, well, not thousands, our

little debates, and yesterday was this debate, when

we were walking around, talking a little bit

about photography, about the business line, about all

these things, I started talking and I started

asking her about this whole set of things,

and the things that sometimes get in my

way, right?

I mean, I think about them, and I

wanted to share a little bit with her,

to see what her opinion was, right?

Yes, exactly, yes, and in the end we

came to the conclusion that they were insecurities.

Insecurities, but I'm still almost like at the

beginning, I'm not quite sure if that's a

result, I mean, not being able to take

good photos is a result of insecurity, or

nerves.

No, but I think it's a set, I

think it's sometimes insecurities, that you don't have

a well-established process in you, I mean,

maybe you look at other parameters, and you

haven't worked on that one yet, and for

you it doesn't come out naturally, like, oh,

sorry, how light can be, how you can

capture the moment well, I mean, if you

look at other parameters, and you don't take

that into account, and you realize when someone

corrects you, or when you compare your photo

with another partner's, you see that their background

is clean, that there's nothing that gets in

the way, there's no element that gets out

of your head, and then you say, wow,

okay, I have the light perfect, I have

the couple's acting well, but, wow, what comes

out of my head, well, it makes my

photo not 10 out of 10, but it

lowers the photographic quality quite a bit, right?

And those things usually make me quite, quite

angry, when I see your photos, and those

mistakes that are so much talked about and

re-talked about over all these days or

years, obviously, yes, there's no doubt about it.

I try to internalize that more, and make

it a pattern within my creative process, or

when I take a photo, to look not

only at the light, but at all the

elements that surround me, and try to do

it well, right?

But, well, I'm in the process of it.

Very good.

Well, I think this was a video to

talk about this tribulation and other things, you

see how, well, how we've talked.

Well, we hope that this has served as

a bit of help, or that you've laughed

a bit at us.

You see, we're a bit crazy.

For the tribulations.

Maybe you think that we're a bit crazy

for talking or debating about these things, but,

well, yesterday when we talked, I said, damn,

what we're saying now, I think it might

be interesting to share it with everyone on

Patreon, and also see them, or you, what

you think about all this, right?

When, why doesn't a photographer get to take

those incredible photos, or good photos, after so

many years of attending workshops, reading, learning, and

reading again, and reading again, and learning again,

right?

So, all this was...

We're still in this...

We're not recording here anymore, this is the

last video of all of us, because tomorrow

we're flying to Spain, but who knows, if

we get the chance in the next few

days, to keep recording in hotels, because we

have a bit of a busy schedule, but

let's keep everything like this, and let's keep

moving, almost like in the past, almost, almost,

let's hope, although things with the virus are

starting to go back to being busy, so,

let's cross our fingers, and hope everything goes

well.

Well, that's all, friends, well, as I said,

I hope you liked it, and see you

soon.

Take care!

Bye!