Original subtitles

Oops, what did he say?

I'm recording.

That's it.

I'm recording and as a guest, finally, Nathan,

if you like how all this came out

and if you feel comfortable and if you

don't ask very complicated questions among all of

us, we'll put it on Patreon, but it

will always depend a little on what Nathan

says and what each speaker says, which is

the one who is going to share with

us a little bit, about 60 minutes of

debate.

Remember that it was last month when we

started with this little adventure of always creating

a monthly debate.

Last month, as you have already seen, both

Iñaki and Víctor de Marco Rojo, this month

we are going to talk about white and

black, although Nathan told me, fuck, I would

have also liked to talk a little about

vertical, because surely you too should follow.

If you look at it, surely you have

seen his work and many of the images

are usually vertical, very angular strips, so he

told me that.

And I thought, fuck, I could have invited

him too, but hey, you can always end

up talking about this a little bit, because

these talks are, after all, even if we

have a debate about black and white and

many of you say, fuck, Nathan should come,

because he is going to speak very well

and surely something cool will be created.

At the end of the day, we can

talk a little bit about everything in general

and enjoy all this a little bit.

And well, in short, to start smiling a

little bit, as a wedding photographer, it seems

that things are starting to cheer up a

lot.

Just before I was talking to Nathan about

that, that it has been generalized.

I mean, we have spent a hell of

a year and we still have to wait

for what is to come, because there will

still be that tide that still fucks us

a little bit, but as everything starts to

be a little positive, I think, and the

truth is that it touched wood, we are

going to wait for it to be fixed.

I am going to start by introducing Nathan

a little bit and I will stop talking

a little bit, but hey, tell you that

like all of you, when each of us

has started as a wedding photographer, in the

end, I don't know, for human necessity, you

end up connecting to social networks and that

leads you to understand or to see a

photographic community.

In my time when I started as a

wedding photographer, back in 2012, I started to

worry a little about what was beyond Zaragoza

City, and at that time, one of the

photographers that stood out at that time, and

I am talking about the guest, Nathan Sanz,

and I have talked about it many times,

when I started, of the photographers that were

there at that time, that have been able

to stay until today, one could be Víctor

de Marco Rojo, because when I started I

was also there, and another could be, well,

without a doubt, Nathan, and many others, it

is not that they have stayed on the

road, but it seems that they have disappeared,

and in fact, Nathan, something that is admirable,

that without raising much dust, without vociferating much,

I mean, only based on photographing, and showing

photography, he has managed to maintain, as I

have told you so many times, how easy

it can be to get there, but to

stay all these years, and still today, not

long ago, well, the last great photo I

saw, that I remember, of the last weddings,

was last year, which does not mean that

you have not taken good photos before, but

it was a photo of the bride with

her mobile phone, and all the faces could

be seen by the zoom of the guests

who were behind, and your comment was something

like that the hopes are not lost, or

that you are always looking for a solution,

or something like that, and it is that,

after so many years, you are still there,

which is a luxury, and the more luxury

it is to have you, and our mission

was to hit us a little, which is

not the case, because also with Víctor and

Iñaki, I had to have hit myself for

defending the horizontal photo, and finally, as Víctor

in particular, spoke with so much property, I

just had to say yes to almost everything.

In your case, we have decided black and

white, it is true that if any of

you see my last photos, obviously I publish

in black and white, but I also publish

in color, and more in color than in

black and white, but the first question, Nathan,

and from there you can speak whatever you

want, one, what is the reason why you

think that the current photograph, for example in

your case, you have to tell it in

color and not in black and white, because

I know that your followers or the photographers

that you follow or admire and that you

share on Facebook are usually in black and

white, but nevertheless your photograph you understand it

in color, and the second question, what are

the values for you at the moment you

turn it in black and white and do

not be mean to me, when you let

yourself be carried by a black and white,

without saying that it is out of focus,

or that it is not a good image,

and that thanks to the black and white

you make it look beautiful.

Well, all this I let you speak, so

welcome, that you know that the microphone is

yours and if you need me to host

you so that you share the screen to

talk about any of your images, I will

do it, if you do not want to

do it, I will show you your social

networks, your web and such, so I shut

up.

if you want, you go moving, I don't

know what I will see around here, but

hey, you go, no problem.

Man, a lot of fight, I don't think

we have, because I suppose we will coincide

a lot and those who know me, or

because they have gone to a workshop of

mine or not, they know that I am

very little totalitarian, if each one shoots, and

I specifically, many of the approaches I make

are simply challenges, why a compliment in color

or another compliment in black and white, let's

see, I would say that I generally think

about color and that I suppose is noticeable,

first because as I would say, well, of

course, there you are looking at the portfolio,

yes, but hey, this is a slideshow, yes,

well, the music will play, no, no, but

I take it off, but there are also

photos of you here too, I don't imagine,

yes, yes, yes, yes, everything, vertical, color, black

and white, whatever you want, well, let's give

it, and if you want, you continue talking,

I will remove the audio and that's it,

okay, well, what I was saying, many photos

would work in black and white, but of

course, my first challenge is, I will try

to make it work in color, just like

when I do a vertical, it's because I

wonder why not, simply when I'm shooting, I

do a lot of vertical, obviously, then in

the slideshow, the vertical does not look much,

but I am aware that later people share

it, show it in their individual photos, so

I don't break my head much, and if

it goes on an album, well, the same,

it will be a problem of editing, and

the color, black and white, many times in

the blog or in a slideshow, decides if

they put a black and white color, sometimes

it goes for the one that comes before,

the one that comes later, not necessarily because

it has to necessarily go in, for example,

this one should go in color, because there

is obviously one that we have seen before,

which was in the middle of the mountains,

I understand, if there are photos, for example,

I don't know if you can pull back

a little, wait, you go to the post,

directly, yes, I'm going to go to the

post, down there is the link to the

post, here, right?

Yes, here, because if not, everything moves forward,

and it seems that we have to go

to the rhythm of the slideshow, and there

is no plan, right?

Exactly, for example, this photo could be vertical

too, we were talking about black and white,

if you pull down, you will reach that

one that I have commented on, for example,

I pull down, a little lower, of course,

but for example, there are images like the

one that came out, for example, thrown by

the grooms, which is one of the first,

that photo in color is simply beautiful, but

it is that in black and white the

layers of grays that could give you, for

example, an image like that is simply beautiful

too, that photo has been made in black

and white, and look at this one, for

example, that I was commenting on, that photo

is only a location photo, but of course,

it suits me very well, that there it

is essential, because we are talking about China,

there is a madness of color that there

was, and it was in the middle of

a small town, in the middle of the

mountains, so you put it in black and

white and you kill the grace, there are

photos that obviously the color is an important

part of the narrative, others simply, well, because

obviously if you are talking about a forest

that is in China, then there, for example,

there will be a lot of color, or

for example, many of my balls, for me

it is important to do it in color

because I am from the Mediterranean, and then

for me the Mediterranean is color, so I

understand that, for example, someone who works more

in the north, in Galicia, where it rains

a lot, or in the Basque Country, where

it is raining a lot, or someone who

works in England, most English photographers work a

lot in black and white, that is, there

is something that already the complication of the

climate, of the place where they are, or

what it evokes, already leads a little to

enhance more the black and white, the color,

in this case I want to sell a

lot of Mediterranean, we work a lot in

Mallorca and such, so obviously for me to

enhance a lot of black and white in

a very Mediterranean place like Mallorca or Formentera,

it does not make much sense, so there

I take into account the narrative, I take

into account what I am telling, just as

I take into account the composition to explain

the story, because I take into account the

color.

There was a trend that I remember that

Juaristi made it happen a lot, to put

the pre-visualization in the camera, in black

and white, because he said to compose better

and such, I always opposed that, even when

I only worked with Reflex and now with

Mirrorless as well, I always see the whole

viewer in color.

Now yes, I do not put the falsified

colors, I try to make the viewer as

natural as possible, as if it were Reflex,

all my life.

And I pose the photography in color almost

always, except for some very specific that I

have already separated slightly in black and white,

and also when you work, we mostly talk

about spontaneous photography, which is not directed, it

is not prepared.

There you do go more on the fly

and quite full of thinking that everything is

in place, that everything happens as it has

to happen, as if to be thinking at

that moment I will do this in black

and white, on very few occasions I do

that mental process, I already think about it

in color.

And then it is true that when it

comes to editing, sometimes, and this is the

hard reality, and whoever says it is not

like that, sometimes black and white is the

consolation prize of a color photo that does

not arrive.

That's very good, that's very good.

I mean, it didn't get to where I

wanted to get, well, the consolation prize.

Damn, let's put it in black and white

and it works, and sometimes it works very

well.

Then you say, wow, there is a photo

left, but I know that I have a

photo left.

Guys, guys, guys, who has the audio on

there?

Silence, this is fucking great, don't do this

now, don't fuck around.

Come on, Nathan.

Nothing happens.

And nothing, I think that in my experience,

that I have a lot of things, I

think, I don't remember what I was saying.

No, you were talking about black and white,

because at the end of the day, sometimes,

which is the consolation prize, that in color,

it didn't get to the expectations, but to

all the quality, to what you thought it

was going to get, and then the black

and white, in quotes, thanks to it, you

can get to make up it and you

can get to look like what you have

achieved is a good photo when you know

that in theory, you know that it didn't

get there, that simple.

I know that it didn't get there, but

thanks to eliminating information, in this case, in

this case, I help a lot more to

visualize that photo, and therefore I save it,

in quotes, but I think that whoever tells

me not to resort to that, is lying.

It is a resource, we have known it

all our lives.

But, Nathan, just as you think, sorry, just

as you make your own reflection in which

you recognize yourself as yourself, as I do,

and as many also, to say, ah, this

photo doesn't get there, ah, how angry, come

on, and you yourself know, you know what

it means, that you spend that photo in

black and white, you make up that...

And it starts to work.

But you yourself say, I know it's not

right, but you recognize yourself that it's not

right.

Do you think there are people who still

don't get to that of self-recognition and

self-believe that what they have done is

a piece of photo?

There is everything.

Or at least, or at least they count

it like that, I don't know.

But hey, I think that and if they

say it like that, maybe it's because it's

starting.

When it's been many years, in the end,

the reality is evident, and it's the one

that teaches you, and you have, in the

end, what to say.

In those cases, consider it a small defeat

to take the photo in black and white,

in those cases.

But then, it's true that there are photos

that you already shoot, knowing that they will

only work in black and white.

So if you already compose, you already look

for those hard lights, you already look for

that contrast, you already expose, knowing that you

will do it in black and white.

But I recognize that they are the least.

In the madness of the battle, I prefer

not to be thinking about adding that additional

load.

But yes, for example, there is the famous

photo of the waterfall in Costa Rica, which

is a vertical photo in the waterfall.

Is it around here?

Well, in the blog or somewhere, it has

to be there.

It's a bit complicated.

Yes, yes.

I'll keep showing it.

Yes, if you go to the portfolio, although

there are only slideshows, but there is the

portfolio, you can go down and it's like

a cover photo.

Without getting to the right click, it's hard

for it to load.

I'm going to see if...

I think I'm talking about Moria.

I don't know if it's on the cover

photo.

The truth is that you mentioned something and

I wanted to talk about that too, because

you mentioned something like...

No, no, it's not.

It's that...

The wedding is the one where the grooms

get wet.

That's the wedding.

If you go there, it will be in

the slideshow.

There is a wedding, a waterfall in Costa

Rica.

I put the groom in the dark area

and the bride searching a bit.

There, clearly, I composed thinking about black and

white.

For example, this one we see there of

the tunnel in Cap Rocat, I also thought

about black and white.

Generally, the few I put in black and

white, there is a high percentage that are

already born like that.

But I recognize that many others to break

a lot of chromatism that I carry loading

in the blog or in the story, sometimes

I use that.

A photo that would work for me in

color, but since there are several similar similar

ones before, there I put a black and

white, for example, it would be this one,

which could work in color perfectly, but the

same to break, to introduce the groom.

And the groom could put several sequences in

black and white, for example.

When the previous ones have been to situate

that we are in Cap Rocat, in Mallorca

and such.

In the end, I use a lot my

way of telling.

This, for example, was essential for me to

see that we are here in the suite,

this one that you already know.

There is Horadada in La Roca directly, so

obviously this one asked me for this.

So in the end, I think that the

photo, the situation, the story asks you for

it.

And over time you learn to let yourself

be carried by that.

Obviously, I come from when we did in

film where I had to make that decision

on the fly.

That was true, because I was going in

film, we had a camera, I was going

with a camera with Fuji 1600 and sometimes

I forced it to 3200, but I was

going with a Fuji Neopan 1600 loaded in

a camera.

So there I had to make the decision

yes or yes when I decided to take

the film.

Obviously that is a huge school, which is

very good for me when it comes to

deciding now that I take it all in

color, obviously I take it in RAW, but

nobody takes that school away from me.

It is clear.

It is that, for example, in my case,

I practically started in color, in digital color,

I mean, and you have lost that.

I shot in film, but it was not

the same in the same way that photographers

like you did, because I did press and

so that you understand me, the same roll

of 36, because it was in color, if

there was black and white, the color was

removed.

Do you understand me?

In the press, it has always been worked

in color, unless it was a specific Eugene

Smith, a long time ago, did it in

black and white as he wanted, but we

are not talking about the general press, obviously

they wanted it, because if by chance he

gave you the cover photo, it had to

be in color.

Yes, of course, in this photo, for example,

I could go in color, possibly, but in

black and white it works perfectly as well,

the three people there, the boy in the

center, how the triangulation goes.

And then there is the next one that

gives him a touch on the shoulder, I

think.

Ah, no, before.

Ah, no.

But if you look at it, we go

back to the same story that the boy

in black and white and instead the color

is given by the girl.

There is a parallelism, there we have her

changing in the suit out there, with the

sun, because we are in Mallorca.

If we are in Mallorca, even if I

put black and white, because here they are

all in black and white, I like to

make it clear, be careful, we are in

Mallorca, this is the Mediterranean, here if there

was a sun, you would die.

In Cap Roca, everything burns, because the stone

reflects everything and that is horrible.

And this one, for example, I saw it

perfectly in black and white because we have

that contrast and here what matters are the

profiles and the shadow, but I don't usually

load the ink in black and white.

What I'm not going to bring is a

controversy, saying that black and white is worse.

It's not worse, obviously, there are people who

work in black and white great and who

are already giving birth at the beginning of

a photo in black and white.

The other day you had Iñaki and Iñaki,

many of her photos are already her identity

sign, but many of her photos are already

a setting, and she is already thinking directly

in black and white, and that's why they

work so well in black and white.

And many of your photos also work very

well in black and white, but I don't

know how your process is always, but I'll

be honest with you, although I've already worked

in film and I had to take those

decisions on the fly, now I prefer not

to load the inks in black and white,

but I really admire that classic black and

white that you find out there in history,

but why?

Because they didn't have access to color, to

the vast majority.

On the other hand, for example, there is

sometimes inspiration in those who could do things

in color, who were the illustrators, and there

are very good people from the 50s, 40s,

in the United States above all, who made

brutal illustrations, and a use of light and

color, and then, well, there it is.

On the other hand, this photo works a

lot in black and white, when the original

was in color.

I saw it and I loved it.

It looks like a Nazi photo.

Yes, it's so modern.

It's a photo from 1957, but it's a

very modern photo.

It looks like a bride with a Galician

dress.

Yes, yes, yes.

Hey, going a little bit from black and

white, how do you see the current business

of wedding photography, and how do you think

it has affected or will affect this pandemic

issue?

Do you think everything will be forgotten quickly?

Do you think everything will return as if

it had been a nightmare, a bad dream,

in which it is also the effect of

the human being, to forget quickly?

How do you think that will affect our

business?

Wait, let me think about a little thing

that has bothered me.

It may be a little controversial, but let's

talk about black and white and color.

Something that shows that black and white is

a more easy resource is the false color

that abounds so much in wedding photography now.

If we think now what is more fashionable

in wedding photography is not black and white,

but brown or orange.

But that is not more than black and

white.

Brown is the new black and white.

I don't know if I explain myself.

Or if you know where I'm going.

I'm going to show you images now of

those you are saying now.

No, no, no, don't show them.

Everyone can have it in their head.

In the end, obviously, what matters is that

whoever comes out in that photo is someone

handsome, who is laughing, who has a good

time.

You're not selling a Coca-Cola ad.

Very good.

But that works a lot.

It works on blogs.

It works a lot on Instagram.

But that's black and white.

It's taking a regular photo because it's not

well composed or well done.

It's simply a photo of someone handsome who

is going to do a film activity, a

model, and you put black and white on

it and it looks cool.

In that case, the old-fashioned black and

white, we put brown on it or we

put Kelvin at 8,000 or 10,000

Kelvin because we already remove all the colors

that get in the way.

And there's barely a little green left or

a little blue, but from the sky and

nothing.

With this abuse, it is demonstrated precisely how

easy it is to use black and white

or browning, which would be the new black

and white.

I've rested and now...

No, look.

Remembering this topic, I remember you gave a

lot of information.

And one of the answers you gave was

that depending on how young you are as

a photographer, you can understand or understand as

a photographer when to know when to do

it and when not, but it is also

linked with age.

With what you have said, of course, someone

can feel offended or someone not.

It will all depend perhaps on what you

have said, that depending on the age you

have as a photographer, it may affect you

more or it may affect you less.

I tell you this because one speaks now

that in one of your multiple comments, a

little sarcastic or in a bipedal language, you

get a little salt.

That's not mine.

It's true that it's a Japanese product.

I don't know where it comes from.

But I get into it and I remember,

when you start as a wedding photographer, first

awards, first photos in black and white that

you know are not completely focused or a

little moved, you send an award, you win

that award, Mr. Natasanz comes out on Facebook

and releases that pearl as the photos of

the contests in color are worth two or

even the pearl was something like what we

have already mentioned, that if your photo does

not arrive, you turn it to black and

white.

Of course, if that catches you, that I

include myself as a kid, as a wedding

photographer, I read you up here, read a

comment like that, that in the background you

know that it is true, but in the

background it touches your balls a lot and

makes you say, I shit in his dirty

shadow, uncle, where did this guy come from?

Well, because of what you mentioned, yes, well,

of course, I don't know, you have told

us very, very interesting things.

Look, some advantages must be given by age,

which can allow the luxury of playing, as

you say, what you don't like, but in

the background you have already seen that I

have included myself, many of the comments that

sometimes some hurt, I usually include myself, because

I think you have to start with honesty,

always, and there are no totalitarians, and what

the experience teaches you is that, hey, we

are all here doing a job that we

can do better, and that if we take

a photo that I am really proud of

once a year, well, I dance a castañuela,

another thing is sellable photos, instagramable photos, winners

of awards, but that I am really proud

of that, well, there are very few, very

few, of course, when you start, you are

very proud of several, but with the years,

I think, you said, how can you survive

so long?

I think the basic idea is to have

a good time, even if you have been

in the business for 30 years, have a

good time as the first day, and that

is the key, and second also, never lower

the demand, and to never lower the demand,

you have to make different shoes, as we

said, the quote is here, if you have

been doing the same shoe for 30 years,

what a bore, you have to learn to

do different things, then I'm going to try,

or I change the whole system of photography,

then that takes your head, turns it upside

down, and then you reinvent yourself again, and

sometimes it is the way of being there,

there is no other.

Very well, listen, if it seems to you,

so that this is not as if it

were, as if, well, like a Tomahawk, one

of the things is that if some of

those who are connected want to ask you

a question, whatever it is, they can do

it now, because if I don't take a

leading role, I don't want a leading role.

The post-pandemic issue that you mentioned, I

don't know, let's be optimistic, what are we

going to do?

Let's be optimistic, I think so, that more

or less everything is being encouraged a bit,

but since we don't have anyone a billiard

ball, I have incorporated it a bit, a

crystal ball, I mean.

I am with several WhatsApp groups and it

is generalized, it seems that there is a

lot of movement lately.

There is a little more joy, it is

true, that this will translate into hiring enough

that we would like, let's see.

Let's see it, of course, let's see it

like that, but very well.

Well guys, don't miss the opportunity, here you

have with all of you the piece of

Christmas, so if you have, well, it seems

that you have a question, let's go to

the first one, who is going to speak,

and we are going to see what he

asks, so behave well, bandit.

Yes, hello, I don't know if you can

hear me.

Alberto, how are you?

How are you, Natan?

Well, I agree very much with almost everything

you are commenting, but adding a little about

the issue of black and white and not

reaching that photo that you have with the

color and that, do you think that the

excess of editing in color is also like

a new black and white, a little not

having that color on the skin, I don't

know, if you know where I'm going.

Well, the excess of editing can be in

black and white and in color and it

happens, obviously it is a danger because, let's

see, Instagram is very hard, Instagram is a

bomb, and in the end it demands that

you have to take photos that work small

and take photos that work on the mobile,

sometimes it includes contrasting excessively, going out, hiding

things too shamelessly, and that, for those of

us who have been years, we see it,

but the simple mortal does not see it

much, then it works, but sometimes there is

a tendency to go a little round with

the colors or with the shadows, I don't

know, because that simplifies much more the viewing

of something that happens fast and that you

can stop, so in the end you need

a reading, the photos that need a reading

of five seconds, those don't work on Instagram

since that time, you need a reading of

half a second, and it's sad, but it's

like that, but there are very good photos

that work after ten seconds of looking at

them.

That's one of the things I wanted to

comment on, how social networks are conditioning us

when it comes to exposing, both vertically and

horizontally, the color and all that, so that

it works in that, in tens of seconds

and people stay in your profile.

I don't know I don't know Instagram has

forced them to move vertically, but four years

ago when they came to me, I don't

know, I remember five or ten, I remember

the first photo forum that I went to,

I met Sergio López, he came from the

foundation and there the issue of the horizontal

was sacred, it had to be horizontal, I

was already fighting then, now those fights no

longer occur, why?

Because in the end the medium rules, and

you want to sell, you want to hire,

then you end up verticalizing a little more,

that's why I think there are fewer verticals,

to force me, not to annoy, because here

in the end it doesn't annoy anyone, to

force me to say, let's change a little,

to think another way, and with black and

white and color I think the same thing

happens, obviously you want to sell, you want

to impact, and in the end that changes

your way of editing, it changes your way

of composing, it's hard to resist.

Thank you.

Thank you very much.

Thank you very much.

the JTGs, but I like to work with

that, it didn't happen with Canon, but with

Nikon it depends, it depends on the light

situation.

In interiors sometimes it can be a nightmare

because it turns into an orange-yellow that

sometimes I don't know how to avoid it,

I don't know how to avoid yellows or

oranges, it stays in the image with everything

perfect.

Sometimes, for example...

You pass it to black and white and

that's it.

Talking about that, it can be one of

the points.

For example, in the last wedding, the penultimate

one, and we were all videographers, it was

a hermit, a hermit with a horrible light,

like a halogen light, and the videographer told

me, wow, look at that, because the altar

says it's golden because of the orange light

or something like that, and he says, but

the walls are cold, and he says, what

am I going to do?

And I'm laughing like that, and I say,

well, I turn it into black and white

and I'm in trouble.

And he looks at me and says, son

of a bitch, I say, no, what a

bastard, I can't do that.

But well, I didn't end up doing it,

but yes, I mean, I admit it, sometimes

when there has been something that has not

worked and I can't find a way for

that to come out the color moderately normal.

Those of you who work with Nikon, or

I take off my hat, those of you

who work with Nikon and get to give

good photos in color, you have double credit.

No, but I think it's not like that,

Nathan, because if you go with Nikon, for

example, you miss lights, you want to play

with shadows, and if you're playing with primary

colors, I mean, blues, reds, yellows, things work

perfectly.

In church, I don't argue with you anymore,

but if the light, of course, and you

tell me, man, of course, if the light

accompanies you, how are you going to make

good colors, bastard?

No, I mean, that's how it is too,

but no, don't believe it.

I'm happy with the 850, for example, from

Nikon.

I'm really happy, just like with other models,

I say, fuck, because...

No, the 850 is a shrimp, but...

That's why, very good, very good.

The 750, for example, the color, which is

horrible, how it handles it.

Yes, and inside, even worse.

But well, let's not say that much, because

I once, here in the group, I said

that the 750 was not a camera that

I didn't like very much, or I said

worse, and people started to really worry, thinking

that you couldn't take photos with the 750.

I can take photos, even with an Olympus,

I can take photos.

Of course, and I went to the workshops

with the 750, and nothing happened, and I

took good photos, that's not it.

Only that inside, especially with the 750, for

me, even if I didn't know how to

handle it, it was complicated to make the

color.

But well, I shut up again...

And then, the noise it makes, the shutter

of the 750...

Unless you put it in silent mode, but

of course, it goes slower.

I don't know, well...

It seems that I have it a bit

crossed, the 750, because I had to work

actively with this camera and such, and I

had to pass it to Blanco y Negro.

Well, here's a couple, I see them sitting

there, and he's wearing a yellow shirt, and

I think he has the 750, she's hiding

on the sofa...

It's great, it's great.

I'm very happy.

Perfect.

I'm sorry, I'm sorry.

No, it's okay.

It's great.

Since we're on good terms, I'm going to

let myself go.

I'm going to control myself.

Well, if you want, I'll take it easy,

it's okay.

Any more questions, guys?

Yes, I have two comments and a question

for Nathan.

The comments are...

Well, here in the North Zone, the weddings

are starting to move as before, and in

fact, if you look at the weddings, from

the side to the front, they are exactly

the same, except for a mask that looks

the same hanging here as the one before,

okay?

Yes, for the ceremony, there is a control

forum in some church and such, but come

on.

I have one this Saturday, which is the

first day, and in theory, there is more

relaxation with the masks.

Maybe this helps me.

Well, here, older people are the first to

take off their masks, and that's it.

And here, well, it's also advanced, because those

of us who are over 40 already have

at least one dose.

The second, which is the issue of brown

photos, Juanín, I currently see a very big

change compared to eight years ago or so,

and it is that mobile phones have improved

a lot, right?

And then there are guests all the time

taking pictures, and, Juanín, mobile phones take really

good pictures, and sometimes the guest is in

a specific place, and luckily, because he is

in that place, he captures a good photo.

So I think that many photographers bring their

images to Madonna to differentiate themselves from the

images with normal colors that the guests have.

That's what I think.

That's why there is that fashion.

I am of more or less normal colors,

and I don't know, I think that these

brown photos will become fashionable, and that when

couples see them, in 10 or 12 years,

they will look very old, right?

And I want to think that black and

white or color will be in force all

their lives, right?

For example, who takes photos now?

A few years ago it was quite common,

and they asked you for it.

And now the two questions come up, Nathan.

It was one, but...

Ah, okay.

It was an introduction.

Yes, yes, yes.

The first one is, it is not directly

related to black and white, which is, I

have seen you several times, or at least

more than once, that there are couples who

dress outside.

I imagine that you comment on these possibilities,

that they dress outside.

And the second, and I shut up, I

don't bother you anymore, when you take a

photo in black and white, that same one,

you deliver it in black and white, period.

Or you edit it in color, and then

also in black and white.

Good question.

Since last year, I have fallen into something

that I reneged on, which is that in

the end, I think I want the best

for the client, and that's it.

And I give them everything in black and

white.

I give them two versions.

Directly.

I mean, apart from that, obviously I take

my photos, the ones I choose for the

blog, these are the ones I put in

a separate folder.

But everything that is the whole wedding, if

there are 400 photos, or 500, they are

500 in color and 500 in black and

white.

And delighted with life, and they can take

whatever they want.

I have no problem with that.

Well, maybe I'm a little bad.

For example, I edit the ones in color

in a certain way, but then when I

take them in black and white, if I

want to give them, I have to re

-edit them, right?

And give them a little bit of chicha.

So what they tell me, basically, is that

I have to have a preset.

Basically, for example, I edit them in color,

and then I put them in black and

white, and so on.

But that's the bulk that goes to the

client.

Obviously, I edit them, because they are my

favorite photo, I don't know what else.

I give them only in color, or only

in black and white.

That's how I see the story.

So that's how I see the story.

But I understand that the client can want

them in color or black and white, and

I don't care.

I don't go to the artist and say,

I don't know what happened.

The truth is that it's not the first

time that I do it in black and

white.

They ask me for it in color, or

I do it in color and they ask

me for it in black and white, and

it's like, maybe they ask you for it

every month, and it's going back there, going

back to edit, and it's a way to

avoid that they ask you.

But, my children are running around.

Let's see, what I was saying, then, I

got lost.

Don't worry.

You were saying that the ones that you

put in the log, do you treat them

in black and white, or in color?

Yes, those are the ones that I put

my love and personal touch on, and with

all the intention, because there I'm guiding a

little the ones that I want them to

choose for the album.

In the end, I let them choose the

boyfriends, the photos of the album.

From the beginning, I tell them, choose your

photos, it's your album.

But, obviously, I give them clues with which

I put more love.

And those, in particular, those in black and

white, and those colors, they're not exactly the

ones that I put in bold to the

clients, 400 in color and 400 in black

and white.

It's a correct color, and a correct black

and white.

Obviously, it's not the the block.

It's not the maximum when you're editing in

an artisanal way.

Exactly, they're photos that work, I do it

with the Alien Skin Exposure, there I put

the two touches that I like for the

client.

Then, if I have to edit something more

affectionate, I do it with Capture One, and

sometimes, I do it with Photoshop.

And then, the trick to convince the bride

to get dressed abroad.

Look, that was years ago, it started with

a bride in Cap Roca, that was suggested

by Esther.

Victor knows Cap Roca, it was the first

wedding we did there, in Cap Roca, in

Mallorca, it was incredible.

So, of course, Esther, with all due respect,

we were there in the room, the room,

the hotel rooms are actually very dark, quite

gloomy.

So, Esther, she said, let's see, this bride

comes from England, all the families have come

from America, from I don't know what, to

Mallorca, to get married in a castle in

front of the sea.

And we are all here, encapsulated there, in

a more gloomy thing than I don't know

what.

Well, look, I mean, there are no rules

here, no, I'm a 100% photojournalist, I

don't know what, well, hey, if we suggest

it, would you mind, here, we have seen,

because before we took a look, that there

was a beautiful terrace, above the apartment where

you are.

Do you want to change there?

Because no one is going to see you.

Ah, yes, okay, great.

She changed there, and on top of that

photo, a photo came out because of a

gust of wind, the tail of the dress

hit the naked body of the girl with

heels, and that ended up being my photo

that defines Nata Photography, curiously, but it has

been, it was just a step, going one

step further, sometimes breaking a little and saying,

no, hey, where are we?

What do we want to tell?

And then there, and that's why that photo

works in color, because it has to be

seen from the back, and so on, a

photo that, in a way, some brides later

have almost asked other photographers, to recreate that

story a bit, there is no problem, and

whether you want it or not, it also

opens the doors a bit, that some brides

hire you and tell you, hey, I loved

that, I don't know what, and I say,

well, if you want, if we see it

appropriate, we do something similar, similar, but never,

never repeat the same thing, for example, before

we have seen another one in Cap Roca,

where the pool is changed, which is next

door, instead of the roof, because I don't

like to repeat, but that doesn't, and then

there are brides who simply change the room,

99% of the brides, I don't say

any, they change the room and that's it,

unless I see that it needs to be

contextualized more, it's okay to give a little

push for that photo to improve, I think.

No, no, if you have to give a

little push, it works, it's okay, then it's

up to them, exactly, you don't have to

confuse little pushes with slaps, and then it's

up to them to evaluate, if they do

it, they don't do it, but some suggestions,

and to say that they don't do it,

lie, because simply with being there, they are

already modifying what is happening.

With the lens you are wearing, with the

face you are putting behind the camera, with

your body attitude, if you are standing or

crouching, all this is already influencing, you are

generating a feedback, whether you want it or

not, that's one of the reasons why I

switched to Fuji for the X-Pro 3,

because I like it a lot, it's great,

I have half of my face visible, I'm

not hidden behind the camera, so that feedback

works very well, and I like it.

I'm aware of that, but then, to what

extent do you go from only what I

have commented, to a specific moment, you open

your mouth and suggest something, very punctually, because

the moment you start to take pleasure in

that, you end up, like many people, removing

paintings, moving chairs, and no, I don't go

that far.

I'm one of those, I'm one of those

who, depending on the situation, depending on the

house, or depending on where I am, but

I have come to move paintings, sofas, and

all this, to try to understand the house,

and it's a clean move, There I resist

too, that is, there must be a photo,

there must be a photo, I resist that,

but in some case, look, instead of moving

all the furniture, the bride is taken out

of the place, and intervenes, and well.

No, but the thing that Natal says, I

mean, I suppose because I have done the

same in that same hotel and what I

do promise that it was not because I

wanted to copy Nathan, that it was not

the mission of that hotel.

No, no, no, but sometimes it is the

boyfriends who tell you, why not such, and

one does not know where to get an

inspiration, he follows the roll, nothing happens.

But what Oster said, or what Oster said,

it was like something like that, they are

clients who are British, for example, in this

case, or that there were many guests, I

mean, but why get married in Mallorca, okay,

for the party, yes, but for the food

too, but why, because of how it smells

at sea, because of the color, because of

the atmosphere, because of what is lived, so

what Oster said and what you carried out

is to give the client part of the

experience or the reason why they got married

there, that is, it is nothing more and

nothing less, and it is taken, okay, on

top, that is, it is taken, well, a

photo, but that is taken, that is, because

that girl will remember even the smell of

the wind of how it smelled bitter or

Mediterranean, and that is why I saw it

very successful.

And in the end, that photo worked because

it was spontaneous, that is, what we did

was change the context, the framework, but essentially

we said, now dress up, and the girl

undressed and the mother brought her and put

her there and hit her twice, so it

is a spontaneous photo, we just wanted to

change the context, because there I do not

like to direct in those moments, when you

have to change, then change, but I will

never tell the bride, now change like this,

and take the dress like this, and no,

because whatever you do, it does not end

so much, those images crunch, in the end,

in some way, when you start to direct

too much, it is my opinion.

Yes, that's how it is, you can't discuss

that.

Very good guys, it's ten o'clock, okay,

if we leave you now, if someone wants

to ask you the last question, it's perfect,

if not, we tell Nathan that he can

talk about what he would have liked to

talk about too, and that he has not

had time yet, if he wants to add

something, comment on something, because as I tell

you, the talks are 60 minutes, I don't

want it to be prolonged, from experience I

know that after an hour everything starts to

end up dilating, and you have to understand

that an hour is already good to bother

Nathan.

No, well, it's late.

If one of you wants to ask him

something, or if Nathan directly wants to say

something, then go ahead, if not, we will

say goodbye, okay?

I'm like the party water, right?

Right now, right in front of the lights

of the disco, when we were having the

best time, but hey, there it is, guys,

come on, if not ...

Excuse me if I make a comment, of

course, I put the whole screen and I

only saw Victor, then of course, it seemed

that he was talking here among colleagues and

he was jumping, but hey ...

No, no, but I have put myself as

the ...

well, I have realized that until recently, that

you can put your sight and what I

see to all people, and what you are

talking about, because I was looking at their

faces, and I saw how they were smiling,

and I saw some of them pointing things

out there, all this, so don't worry, because

even if I gave you the feeling that

you were talking to me, there was the

rest that were listening to you perfectly, so

don't be bad.

Very good.

Come on guys, no questions?

Encouraged.

Any questions?

Come on.

Go Mario.

Natan, I'm Alberto again.

Hi, how are you?

You are half Alberto compared to the last

Alberto I saw.

Damn, I lost.

Low, low.

Oh, 37 kilos.

But hey, you will notice that, but quantity.

The unfairness of the pandemic.

Well, look ...

Don't roll me up.

One thing that I do know that inspires

you a lot, because we have talked about

it on some occasions, is cinema, and how

does that affect you when it comes to

photographing?

How does that affect you?

Well, on the subject of black and white,

obviously we all have an image, a visual

memory, and we all have it, everyone has

it.

In the end, there are photos of me

that I have in mind, Manhattan, with Gordon

Willis as the director of photography, and that

has to go in black and white, because

Manhattan was black and white, and that concept,

even if it is a photo of Barcelona,

is what I have in mind, for example.

So it does influence me a lot when

it comes to shooting, the cinema I have

seen and the one I see.

But, for example, in the cinema it has

happened a bit the same, what I was

saying about browning, with greening, for example.

In the cinema, they started in the 2000s,

that they could do the digital intermediate, that

they could scan the negatives, and from there

they started to touch the colors, and some

of them got the hang of it, but

well.

And at the end, all the series, all

the movies, started to copy and take to

the extreme the look of David Fincher, of

saturating and leaving only some colors, like green

and orange.

In some films it was good, but of

course, when everyone starts doing the same thing,

in the end it is a way that

the director of photography works less, works less

everything.

So I resist a lot to learn, in

quotation marks, when I see something that crosses

me in that sense, I reveal myself, even

if it is the super movie, and that

is why I like more directors of photography

like Roger Dickens or others who look more

for the meaning of color, in the composition.

Alberto, who has come to one of my

workshops, well, to two, you know my devotion

to Roger, but yes, for me cinema influences

a lot, and classic cinema obviously leaves you

a series of imprints about black and white,

that when it comes to editing, well, you

have it in mind.

I don't know if it works for you.

There was a photographer, but it has nothing

to do with cinema, but with photojournalism, who

told me something like that, and he was

my lithographer, he told me that it was

super important, depending on what you are absorbing,

what inspires you or what you like, that

is, in short, when you get to the

moment of shooting, you no longer remember that

that image that you are going to take

was made by so-and-so, or by

so-and-so, but that you gather all

those photographers or filmmakers or whatever you follow,

and suddenly they are there in your cocktail

bar, and that cocktail bar shakes and comes

out there, for example, in your case, your

photographer, what you have inside.

I think it's part of that, of the

mixture of what we've been learning, of what

this little machine has been collecting, and how

it finally brings it out.

So yes, yes, yes.

I say that a lot in my workshops,

that is, more than trying to make a

lot of inspiration folders, it simply consumes a

lot of image, it nourishes your head, and

you yourself are discriminating what you like, what

you don't like, and why and such, but

you can't make a lot of folders.

The folders you have to have here, because

at the moment of shooting, you are not

going to say, wait, don't move, I'm going

to my inspiration folder.

It has to be something instinctive, that arises.

And that's only true if you're consuming audiovisually,

but you're not swallowing, but you're enjoying what

you're consuming visually.

So that stays in a folder here, which

instinctively arises when you shoot.

And that happens to all of us.

That's why when we're having fun or entertaining

ourselves, we're also educating ourselves.

That's why it's very important.

I say it many times.

If you don't mind, you can watch Save

Me, or just watch football and not watch

a movie.

But you also have to make an effort

to understand that as photographers, what we eat

visually will affect us, even if we don't

realize it, in the quality of our images.

Therefore, we have to force ourselves to see

better things every time.

Of course.

That's right, that's right.

Very well, Nathan.

I'm going to leave it here, guys.

As you can see, being the manager or

whatever you call it, the one who cuts

the cod, is not my field, but I

do the best I can.

I've been a bit of an interventor.

So, again, thank you very much, Nathan, for

your time, for your wisdom, for how well

you speak, and for your honesty.

That's what I like the most about people

and photographers.

It's clear that I'm included, and I guess

many are too, that the truth offends.

But I think that we're all old enough

to know when someone, even if they say

a harsh truth, that we accept it.

Because that's what it's about and it's part

of our lives.

That spark, right?

That spark.

And that we get involved in that.

That's the key.

We try not to.

We've all fallen, and we all fall, obviously,

to try to like more.

We fall in some of these things that

I'm saying.

That's why I have to be included.

I've had the temptation to vary the editing

a bit, even if it's not in the

light of the sunset, in the middle of

the day, and it seems like everything is

browned as if it were the time of

the sunset.

That's right.

You have to decide.

Hey, man, what are you doing?

Of course.

That's great, Nathan.

Well, guys, thank you, Nathan, for everything.

Thank you all, Alba, my dear Manu, Alberto,

Mario, Fototraventim, they're great, they're both taking notes.

My dear Boya, Nuno, who arrived late, Edinson,

and Luis, Helmut, Josué and Carlos, who I

don't see, but I guess they're listening.

There they are.

Thank you very much.

I'm going to stop the recording now, guys.