All language subtitles for 60 minutos con Victor Martí Iñaki Lungarán Horizontal vs Vertical Patreon

Let's wait a bit for the second man

in discord to connect.

I'm talking about Iñaki.

Once he connects, we'll start to discuss about

vertical photography, horizontal photography and why.

Why horizontal and why not vertical, or why

not both.

That's why I have two photographers that I

admire a lot.

One is here, and the other, I guess...

He hasn't told me anything, but I guess

he knew...

Well, we'll connect shortly.

And all this started with the idea of

a photographer who is connected up there, whose

name is José, José Gregorio León, and he's

from Panama.

José told me a month ago...

If I'm wrong, José, I want you to

correct me.

But José told me something like, in a

comment, that he wasn't in favor of vertical

photography.

And, to be honest, I didn't answer him,

because I didn't know what to answer.

And then he wrote to me again saying,

why don't we discuss about vertical photography and

then horizontal photography?

And then I said, let's create a video

in conditions in which each one...

Well, in which, mainly, two photographers that I

admire, give us a little of their version.

And, of course, José can also give his.

And we can all contribute something.

Although, as I told you, first I would

like to know a little about the opinion

of the guests that we have here today.

I'm going to write for a moment...

I want to take this opportunity to complement

what you said.

Nice to meet you all.

Greetings from Panama.

I'm Venezuelan, I've been in Panama for 10

years, and I've been trying to be a

photographer for about 5 years.

And it caught my attention.

I asked Victor a question, because a couple

of years ago I did a small photography

workshop with Antonio Trigo del Marco Rojo, who

came to Panama and I took the workshop.

I tried to be Lázaro in the last

workshop that Marco Rojo gave, and because of

issues that did not go to the case,

I could not go.

And I stayed with that giant thorn.

And when Antonio came, well, I took advantage

of it.

So Antonio also said that no portrait in

vertical, everything horizontal, because the screens are horizontal,

and blah, blah, blah, everything.

And I was very curious about that point

of view.

So I want to clarify that I'm not

here to defend either one or the other.

And you looked for the complete nobility.

Again, I want to understand from the point

of view of all of you, why vertical,

no.

Antonio also said, I think, that in any

case, from a horizontal frame, you can get

a vertical frame.

So it's like limiting you to the vertical.

Maybe I already said the whole answer.

But I'm not here again to defend vertical.

I did my homework, I took some photos

of me, that I feel intimidated to show

them, obviously.

I also took photos of other greats, wedding

photos, like José Villa, Roberto Valenzuela, and they

have on their website vertical photographs, super beautiful.

And well, that said, please do not attack

the messenger.

I just wanted, it seemed positive to generate

that discussion, why yes and why not vertical.

Very well.

I'm going to write Brainiac here.

In the meantime, well, no.

Before I write Brainiac, I mean, to give

me a moment to share.

Well, first of all, okay?

Simply thank you all for being here.

And especially to Víctor, with Víctor de Marco

Rojo, which is what I call him, although

in reality it is Víctor Martí, but I've

always known him that way.

I've known Víctor for many years.

He is one of the photographers, and it

is not because he is here, because if

any of you, and I am the majority,

have attended a workshop of mine, I have

always mentioned Marco Rojo's team for the great

trajectory they have always had.

When I started, they were already on the

market.

And what anyone could think, that they are

dinosaurs, in the bad sense of the word,

but the truth is that they could be

called dinosaurs, but because of how big they

are.

Because, as another colleague said, how difficult it

is for us to get up there, but

to stay, right?

And they have not only been able to

be up there, but also to stay, I

mean, to open an incredible market, and to

get what is the most complicated for me,

which is to have your own style, and

that ultimately, when we see, for example, a

photo of Marco Rojo, and I speak in

plural, although I always have in mind, not

only Víctor, but also, for example, Antonio.

With Víctor, because of Marco Rojo's team, I

talk to him more, or I am in

contact with him more.

And before I talk about Víctor, and without

making use of the fact that I am

here sucking his ass in a bad way,

but I think it is fair, I simply

invited Iñaki to come, who I will write

to now, when Víctor speaks, as Víctor, of

course, and to tell us a little bit.

Because the truth is that it could be

said that a large part of the photos

that are published on social networks, or that,

for example, Marco Rojo publishes on social networks,

Víctor will tell us if they are his,

or if they are from Antonio, or if

they are part of another component of his

team.

But there are, for example, images that I

say to Víctor, these photos seem so beautiful

to me.

And notice that it is a vertical image.

You already know that I am more a

supporter of horizontal portrait, for many reasons that

I will comment on later.

But in the case, that the case is,

sorry, that the work or the last publications

that I am seeing of Marco Rojo, I

am seeing more publications, for example, in vertical,

and for example, in this series of ten,

I would like us to take a look

in which the first is already vertical, in

which we can see the bride.

Horizontal.

The vast majority are horizontal, but notice that

I already include one more, two, three in

vertical at the moment, and it seems that

they are all, well, three vertical with seven

horizontal, but notice that there are still many

more, and having said all this, I would

like, well, that Víctor tell us a little

bit, mainly, if you want to present yourself,

it is free.

Thank you, Víctor.

Well, first of all, thank you for the

invitation and for being here with all of

you, and it is a pleasure.

First of all, I have written to Iñaki,

he has just arrived, and now he is

connecting, okay, Víctor?

Don't worry.

Well, when Víctor Blas told me this, the

truth is that we, well, or I particularly,

sorry, José Gregorio, but I disagree, I mean,

we are a team, but fortunately we disagree

on many things, so I disagree a little

bit with Antonio.

To me, as I told Víctor earlier, speaking

a little bit about this topic, to me

there have been moments that have, let's say,

historically, of the technology in which we are

moving, that make us use one format or

another, right?

I mean, I think we have all used

the horizontal format, I think because we come

from what the blog was, right?

The blog, let's say, was what Instagram used

to be, or it was our, let's say,

our way of advertising our work, right?

Or our most recent work, right?

So, the fact that blogs worked very badly

in vertical, I think it made us all

work a lot in horizontal.

Come on, at least that's my experience, right?

So, what happens to me particularly, and I'm

going to talk about Víctor Martín, I'm not

talking about all the components of the red

frame, but what happens to Víctor Martín where

two years ago, suddenly, well, he starts to

work a lot with the issue of stories

on Instagram, right?

So, to me, suddenly, like I say, hey,

and it works very well, apart also, they

get into Instagram, you can put more than

10 photos with the carousels, and to me,

the truth is that the vertical format starts

to make me fall in love, I mean,

I start to love it.

And right now, if a few years ago

95% of the photos were horizontal, now

I can say that practically 70% are

horizontal and 30% are vertical, right?

I mean, I think I'm much freer now,

when it comes to composing and when it

comes to being creative with the vertical, and

my head, if before it only worked in

horizontal, now it works in horizontal and in

vertical, independently.

So, right now, if I see a photo

in vertical, I do it in vertical, and

if I see it in horizontal, I do

it in horizontal.

I mean, before, no, before it was all

horizontal, and now, no, now, let's say that

my creativity or my way of composing is

much more creative, right?

So, I think vertical is a format that,

to me, the truth is that I love

it, I think it's a very old format,

maybe it's the oldest format, because we come

from the newspaper, right?

The newspaper or the magazines are made in

vertical format, that's what was used the most,

right?

So, well, the truth is that I think

that, I don't know, it's great, to be

able to think in both ways, and to

be creative in both ways.

If I were to ask you, Victor, sorry,

what led you to, right at the moment

in which, for example, you see the location,

you see the shadow projected...

Yes, for example, in this photo, this photo

was, suddenly I saw the shadow that was

projected, and the couples were in the background,

I mean, this is much further away, and

what, and my intention was, in this little

square, in the little square at the end

of the staircase, in black, to put the

two of them, maybe I didn't I wasn't

very keen, but that was my intention, that

black would follow those two characters, right?

And I really saw it, I mean, I

saw it right away, right?

I said, wow, I mean, suddenly, boom, my

head said, fuck, here's the photo, right?

And I never thought that it was horizontal,

I always saw it vertical, because I thought

it was his thing, right?

I mean, my head, after two years working

vertically, already works vertically, I mean, maybe this

two years ago would have been much more

difficult, right?

Because I would have had to have made

a mental effort to have thought vertically, but

it's like I always say, I mean, once

you incorporate it into your way of working,

you get it alone, right?

It's going to last, well, four, five, six

weddings, or four, five, six months, but once

you have it, you already incorporate it into

your workflow, right?

From the head, right?

I mean, you already have the vertical in

there, right?

It's like many other things we do unconsciously,

which maybe seem super simple to us, but

suddenly you don't incorporate it into your way

of working and people say, wow, how do

you do it?

And you say, well, I think like that,

right?

Really, I mean, it's not that I don't,

I mean, I don't get it, but I

think it like that, right?

And when, for example, let's say we have,

of course, if you have a type of

album, for example, horizontal, and if one of

your clients comes to hire you, how do

you design or how do you design then,

for example, with a fold of 70 by

25, how would you get, for example, to

embed, or would you have all vertical photos

in that same fold, or would you alternate

a vertical one with a horizontal one, for

example, on its side?

How would you interpret that?

Personally, it doesn't really influence me, the fact

that I work in vertical or horizontal, the

issue of the album, I mean, I don't

think about the album when I work, I

mean, if the photo demands it to be

vertical, I can't think about the album, it

has to be vertical, obviously, right?

I mean, if, for example, the first photo,

which is of Alicia, my colleague Alicia, is

vertical, this one we're looking at, well, it's

vertical, I mean, there's no other, I mean,

there's no other, it's a photo, for me,

which I think is wonderful, and, in fact,

she's also incorporating a lot of vertical photos,

because I made the selection of these photos,

and there's really a lot of vertical, because

I think they work, I think they work

very well, I think the next one, for

example, I mean, for example, this photo, sorry,

the one before, I mean, what sense does

it make to do it horizontally, right?

I mean, I think the brightness of the

floor, even the composition of the windows in

the background, and this, well, the truth is

that I think they look very good in

vertical, so, let's say we're not so, we're

more free, right?

So to speak, in some way, right?

We have a lot more creativity, right?

In doing it horizontally and vertically, and the

album, well, the truth is that we are

very involved in making the albums of photos

per page, or this one, for example, right?

Which is also wonderful, right?

So, well, then, why not a vertical photo

in a tree, maybe in a tree that

is 30x30?

Well, I mean, my idea right now is

to think almost like on Instagram, right?

I mean, it looks good horizontally on Instagram,

but it also looks good horizontally, vertically, on

Instagram.

I mean, it doesn't bother me.

But be careful, yes, and not entirely because,

well, of course, it doesn't bother me, right?

I mean, I see that putting together, for

example, well, just like, sorry, I'm moving things,

just like tennis, for example, the feed, it

doesn't bother me at all, right?

It would bother me more, perhaps, as in

the way of Tikis Mikis, in which the

horizontals were all the same, right?

This one, well, it's a little higher, but

what happens is that, as you have the

style so defined, even if you put together

this one, which, look, is, for example, a

party photo with an intensity completely different from

this one, I know they're not the same,

but the soul, what is breathed is the

same, so the style you have is already

so, I mean, so red frame, so proper,

I mean, that even color and white and

black, as we are seeing, you are getting

things to work, right?

And...

Well, there it also depends a little, it

also depends a little on your colorimetry, right?

Of how you have managed to get your

colorimetry within the album, well, it looks the

same, right?

I mean, that there are no color fluctuations

between one photo and another, right?

Of course.

I mean, but I also can't believe that

just thanks to Instagram Victor Martí suddenly turned

on the light bulb and started taking pictures,

for example, vertically.

I mean, there has to be something more

than all that, or not?

No, I swear.

I mean, it motivated me, I mean, the

motivation to do them vertically was the subject

of making stories vertically and that I had

all the photos vertically in the story's zip,

right?

So, that seemed super interesting to me, right?

And it motivated me, I mean, it was

a little motivation, but, damn, suddenly I saw

the sky open, right?

I said, but why not, right?

I mean, we are missing a wonderful thing,

right?

When it comes to composing.

I don't know if you think the same,

Victor.

But I make a parenthesis, Victor.

Precisely, Andrés Alazar, who is a friend of

mine, a friend here in Panama, who could

go to Lázaro, and when he arrived, obviously

I interrogated him, tell me, tell me how

it was all, right?

And one of the first things he told

me was, you don't take vertical photos, but

he said it as a command of Moisés,

and I was like, wow, ok?

I even felt bad every time I turned

the camera.

And of course, when I listened to Lax

again, and I think I listened to a

couple more photographers, that's why the question, and

now when you say that, I was thinking,

what to say too, why limit ourselves, right?

Sure, but because, let's see, I also understand,

let's put ourselves a little in the, I

think we are a little driven by technology,

right?

We are a little dependent on technology.

If technology right now, with the Big Story,

there was a new way of showing the

photos, why not?

What is clear is that it did not

make sense to work vertically when everything, since

Lázaro, almost three years ago, there was no

possibility of Big Story.

So, suddenly something comes up and why not?

But in the same way, I tell you

that if tomorrow it comes up to do

it in square format, I will do it

in square format.

I mean, we can't put a barrier, the

barrier is not put by technology, many times.

So, I think there is a very clear

thing, José, that for me is very clear.

The wedding photographer has to be constantly adapting

to what there is, and that is something

that I have learned over time.

I can't say, no, this is not like

that, because suddenly tomorrow it stops being like

that, and we are stuck in the stories,

we are stuck in a thousand different and

you have to be there.

We can't say, no, I'm not going to

do this.

Of course, but from your perspective, it could

be said that you lead the sector or

the wedding segment.

From my perspective, I'm trying to make a

clientele and improve every day, sometimes a little

overwhelming, the overwhelming, looking for those rules and

looking for, well, I have this set of

tools and with this I think I can

do a job.

As there are so many things, it gives

you a lot of stress.

Well, I personally would say, José, that it

doesn't overwhelm you either.

Really, what you have to do is master

the four things that you can master, not

try to cover everything, but cover what you

can cover and be a master of those

four things that you can cover.

And once you master these, you go a

little extending and incorporating some more tools to

your workflow, but little by little, without overwhelming

you, but the ones you have, handle them

very well.

Because if you want to handle them all,

it's impossible, because it's impossible for anyone.

I don't handle, I handle my social networks,

I handle my photography, but I don't handle,

for example, within the red frame, I don't

handle the numbers, I don't handle the contact

with the client, there are many things that

I don't handle because I'm very bad at

handling them and I prefer someone else to

do them.

I haven't managed with that solution of yours,

which I also liked a lot when Antonio

explained it, that he had the division of

the work and I think Antonio's partner is

in charge of dealing with the client and

negotiating, and he said, he just tells me

what day and where and what time I

have to go, I saw it as a

dream for me, I also want that.

But José, honestly, and I say it honestly,

we do it because we are very bad

at doing the other.

You have to recognize it and you have

to surround yourself with people who can do

it well, but well, one also knows their

limitations and our limitations, I can assure you

that they go through that.

Sure, sure.

Super.

With respect to this topic, as Víctor knows,

I have also been, José, a student of

Lázaro, right?

How are you, Mario?

At the time, he talked about taking horizontal

photos, but he had a specific reason, okay?

When you don't know how to take photos,

you are unconscious and you take photos in

any way, right?

But when you start to control a little,

you have many doubts when it comes to

taking photos, okay?

And how do I do this?

With what focal?

A way to simplify and improve artistically is

to do things in a simple way.

This is, well, if instead of having a

zoom lens, you have fixed lenses, well, you

know you have a fixed lens, something is

happening and you have to manage, go forward,

go back, to take a great photo.

Then you forget about a problem.

Now, with what focal?

With 24, with 50, with 70, I do

it with 50, now 30, you understand me,

right?

Well, another simplification was to say, I'm going

to make a horizontal photo.

I'm going to forget that there is the

vertical.

Why?

Because it is another doubt that you can

have at that moment.

It's like horizontal, I do it vertical.

You understand me, right?

It was a way to simplify several things

to be able to focus on what is

happening and take a great photo.

But what happens?

That once you get used to taking horizontal

photos and that, well, there comes a time

when you start to realize because, of course,

your mind has advanced more, your eye advances

more, you start to realize that although you

mainly take horizontal photos, I myself do mainly

horizontal photos, now when I do them vertically,

I do them in my opinion, very accurate

and for very specific things, okay?

That is to say, I have trained like

the eye.

And, let's see, the rules are to break

them.

And I always listened to them, well, not

horizontal photos.

It is also what Víctor was talking about.

There was another technology, the albums were landscape,

videos were created, slideshow, that, of course, if

you suddenly put a vertical photo, you have

to leave black stripes on the sides and

it breaks.

I don't know if I have more or

less explained myself, okay?

Yes, but Mario, it is a bit what

you have said, thank you for the clarification,

but it is like that, what I was

saying to José, I think that when you

are starting, you have to simplify your life

a lot to go little by little adding

tools or adding things to your workflow.

I mean, if, for example, you work horizontally,

once you master the horizontal, maybe you can

dare to do verticals or other types of

photos, but little by little.

I mean, suddenly you say, I am overdoing

it.

Well, I am overdoing it because if we

want to cover so many things, in the

end you overdo it.

I think it is going little by little,

being a master of what you know and

then incorporating little things.

I would like to ask a couple of

questions first to Mario Setién and then to

you, Víctor, and then we will introduce Eñaki,

I know he has joined and we have

not told him anything yet, so as a

guest, or as a person who in theory

manages all this, it is a bit of

lack of education to bring a guest and

not tell him anything yet, but if you

want to get to the point, I wanted

to ask Mario what reasons lead you to

get out of that simplification of always shooting

vertically, always horizontally, and what reasons or rules

or patterns do you follow when you say,

wow, it is so vertical, but why is

that?

Could you share with us what leads you

to change your opinion and turn your wrist

to make it vertical?

Well, I think it has helped a lot,

as Víctor says, the mobile phone has come

to change our lives and it is much

more comfortable to have the mobile phone placed

vertically than horizontally.

In fact, it is so important that there

is, especially in fashion photography and in many

videos, they have been shot vertically, exclusively for

mobile phones.

Some videos are made exclusively for that, and

regarding the subject of weddings, I mainly see

almost everything horizontally, but there are certain moments

when a horizontal photo clearly does not give

you absolutely anything, and being the vertical photo,

you focus more and fill the image more,

you remove things that do not add anything,

that is, they even subtract from the story,

and I see that photo better in vertical,

simply.

We are talking about 5% of the

total of a wedding, but I encourage myself

more to incorporate vertical photos when it is

clearly justified, and in fact, the people that

we are standing, we are, so to speak,

vertical, and in fact, vertical photos highlight certain

connotations that a horizontal photo I don't know

them by heart, but they have other connotations.

I agree with what you are saying, both

with Víctor, with you, Mario, and with José,

but I always like to say something.

I don't believe that it is only because

of social networks, or because of mobile phones,

or because now the social network still seems

to be fashionable, for example, what we are

seeing, for example, Instagram, but what is going

to happen, which in fact can happen, if

in 10 years, which today seems like a

world, but if in 10 years what we

all understand, as a vertical format, suddenly becomes

square, as Víctor said, or ends up being,

for example, horizontal.

The photograph of all of us, I would

like to think that it has no expiration

date, I mean that a good photograph will

always be there, and if a video is

conceived to be, for example, recorded vertically, to

later publish it vertically, because everything now is

directed, especially the mobile phone for vertical, it

may happen that in the future our photograph,

which at least I think is not only

for now, but also for the future, is

totally out of place.

That is the only fear, well, not fear,

something that I have not finished making clear.

I would also like to think that when

we shoot vertically, and I already show photos,

for example, of Marco Rojo, always, or almost

always, for example, in them, notice that they

usually link elements that are at the top

of the image with other elements at the

bottom, for example.

How can this be?

Notice how strong the top point is focused,

with the water as it is falling.

Guys!

What is that?

Hey, whoever has the microphone, please close it.

Please, guys.

Please close the microphone, bastards.

Okay, I mean, it's just like that explanation,

right?

If I shoot, for example, vertically, in my

case, it usually costs me a lot, it's

something that comes from the press, it's a

trip, perhaps, and my stories, the vast majority

are of horizontal photos, and sometimes they stay

in a black space, both up and down.

If I'm going to adapt, for now, I

don't have it quite contemplated.

I mean, it's true that I see photos,

like the ones we've seen, for example, of

Víctor, especially this one, where I say, wow,

I could have shot it horizontally too, but

of course, my mind is always...

Sorry, I could have shot it vertically too,

but my mind always works horizontally, because, mainly,

it's twice as easy for me to find

the composition in a horizontal format, which is

not a vertical format, because, let's be honest,

in a vertical format, it's not easy at

all to find a good photo that fits.

I mean, that fits like this, or that

fits like this, but here, we could debate

with Víctor if this photo seems to me

as attractive as it might seem to them.

But, logically, there's a lot.

I mean, for me, this one, for example,

has its perfect meaning when these guys fit

into the couple, that little gap.

Víctor, sorry to bother you.

You're putting on Instagram photos that have not

been conceived vertically, but almost all of them

have been conceived horizontally.

What happens is that, you're in...

How do you call this?

The stories you post on Instagram that force

you to do them vertically are re-formatted

vertically.

I mean, the good examples come in the

feed.

They're here.

Those are the ones that have really been

conceived vertically, and they are vertical.

For example, this one in the mirror is

conceived vertically.

This one here is conceived vertically.

That's it.

Because my head already thought vertically.

But I wanted, for example, I don't know,

I'm here in the office where I work,

I have a lot of books here at

hand, and I took the first one I

could think of.

For example, this one called Ginés, who is

a photographer from Barcelona, and I've been thinking

like this for a while, and all the

photos he has are vertical.

All of them, absolutely all of them.

Because the format before was vertical.

So they were all vertical.

I mean, I think for example, another one

which is Pérez Siquier, a photographer from Almería.

This one, the format is square, because his

camera worked in the square format.

All the photos are square.

Well, what I mean is that, I mean,

when it comes to composing, composing is composing.

I mean, we can compose horizontally, we can

compose vertically, we can compose in the square

format.

I mean, there are three formats in which

we can compose, and in which I think

that, Víctor, I'm convinced that you would do

virguerías in the vertical format if you wanted,

or in the square format.

I mean, your head is already organized in

a way that allows you to do any

kind of composition.

And it seems very funny to me, for

example, this composition that we are seeing, that

the photo is really upside down, but I

turn it around, and suddenly you say, in

the horizontal format it would never have worked

for me, and in the vertical format suddenly

it worked for me.

And I said, wow, how wonderful!

So my head already thinks horizontally and vertically,

depending a little on the composition I see

at this moment.

I mean, I think that beyond thinking if

we can put it in the album or

not put it in the album, I think

that beyond that, I think that it opens

up a wonderful world for us.

I totally agree, kid.

Exactly.

Don't come with me tomorrow.

Don't come with me tomorrow.

What?

Don't come with me to the doctor tomorrow.

Hey, let's see, gentlemen, they will send you

a treatment, the doctor will give you a

diagnosis, and you have to go again to

the doctor.

Antonio Montesinos, Antonio Montesinos, the doctor will send

you a treatment, you have to go to

the doctor.

Yes, but I'm not going for the treatment,

it was for this topic.

You have to go to the doctor.

You have to go to the doctor.

Guys, guys, guys, Antonio Montesinos, Antonio Montesinos is

the one making the noise.

Yes, Antonio Montesinos.

Don't tell me anything first, and then change,

okay?

Mother of God.

I wanted to add a little detail too,

in English, the portrait is the portrait, the

horizontal format, the same name in English that

translates portrait into Spanish.

Yes, I mean, I...

Let's see.

I think that, I mean, looking at the

photos now, I think that there are times

when they ask you...

Look, for example, this photo of the three

people, a little higher, this one, under the

Happy New Year, this one.

How do you conceive this horizontal photo?

I mean, if they are asking you to

do it vertically, I mean, I don't know,

I think it gives us a lot more...

It opens up a new way of conceiving

wedding photos.

That horizontal photo, if there is nothing around

that adds to it, those three people would

be much smaller and the expressions and all

that.

Sure, I mean, I think that the cadence

of the three girls in vertical makes it

reinforce the action of the photo.

And in horizontal, as you say, maybe it

would have been lost a little more.

Can I interrupt for a moment?

I think that, I mean, the image, maybe

if it was done horizontally, if there was

a lot of negative space, maybe it would

have been lost a little more.

Of course, but it could also give connotations

of loneliness or similar.

In the end, you are going to communicate

two different things and it can be such

a good solution, one like the other.

Sure, but I think more like Mario and

I think more like Víctor here now, In

square format, I mean, in horizontal format, of

course, but either it has points of support

on the left and on the right that

add up or the image ends up being

lost.

And if it's just black, what surrounds it

on the left and on the right, I

mean, if it's just, for example, spaces without

any kind of content, as Mario said, it

would create loneliness or it would create a

very…

well, and the three girls would look in

a much lower size than they look now.

So, in quotation marks, they would lose prominence

in space.

So, more or less, I think it's there.

Hey, excuse me, if you want, we can…

Well, I think I should introduce our second

special guest We are talking about the great

Iñaki Lungaran.

First of all, Iñaki, excuse me, well, you

have already seen that Víctor has stolen you

part of your time of oratory, of speech,

you have seen that he wanted to…

well, and he wants to…

I mean, well, I thank you very much,

just as I thank you for being encouraged

to be part of this little talk.

Simply, well, I want to tell you that

normally for the talks that I organize, the

last time there were only three people, although

they are recorded and then published on the

Patreon platform.

But thanks to you, the power of convocation

has increased a lot.

Simply by presenting, for example, Iñaki, as I

was saying, that Víctor de Marcos Rojo, who

is a dinosaur, and not only because of

his age, but because of his size and

how big he is, and what in your

case also, I mean, obviously, you have less

years than Víctor, but without a doubt, it

shines in you, I mean, a photographer with

concerns, with constancy and with a fight that

only when someone is working and knows how

hard it is to keep at a pace

like this, but a quality for publications like

the one we are seeing, not from a

short time ago, not from a short time

ago, but from a few years ago and

what we are waiting for, that the pandemic,

not only to you, but to the rest,

let us finally photograph and awaken that creativity

again, that surely in you makes all this

shine again.

As you can see, I am talking with

another photographer in whom, as you can see

in the feed, barely, well, not barely, none

of the images, or almost none, except that

now he tells us why in Iñaki Lungaran

we rarely see any vertical photo.

I suppose it must make sense or because

of manias or whatever, but if you want,

Iñaki, tell us a little bit why or

some of the reasons that leads you to

shoot, for example, horizontally, and if after the

convincing speech of Victor Martí, if you are

going to start like me, to get wet

in the next fashion and try to force

yourself to look vertically.

Come on, tell us a little bit and

I'll shut up.

Well, thank you very much for your presentation.

Hello everyone.

Listening to Victor Martí is always a pleasure,

at least for me, just like Victor La.

They are two thick fat men in wedding

photography.

It is true that the other day, well,

looking a little at the vertical, I practically

don't shoot anything vertically.

In a wedding I can have three or

four portraits shot vertically and I don't do

anything else.

I've been working at a wedding for several

years.

It is true that perhaps in the last

two or three years my name has sounded

a little more and I even started shooting

with a reel.

I can assure you that back then a

lot was shot vertically, a lot was shot

vertically.

There was even a time when digital albums

were shot vertically and many photos were shot

like that.

Why don't I shoot vertically now?

I'm just going to be honest and it's

because I don't know how to compose vertically.

I can't find something that excites me shooting

vertically.

Look, this photo, perhaps, that you are exhibiting,

Victor, could go vertically, but I don't know,

I'm not able to see it so easily.

In fact, here I am looking for a

composition, as you all see, where the strength

of the photograph is in one of the

points of interest, but perhaps I don't dare

anymore, and it's because I don't know how

to compose vertically and because in the last

six, seven, eight years I've been composing horizontally.

I don't know, I couldn't tell you more.

I just have a photo, I think on

Instagram, that you also saw, you liked it.

It's this one.

It's very beautiful.

And it's true, I loved it.

But the photographer is there, I mean, I'm

convinced that any of us starts doing it

vertically and gets some impressive photos.

I have no doubt because the way of

composing doesn't vary as much horizontally as vertically.

It's just, I mean, I'm going to do

it vertically or I'm going to look for

elements vertically.

Look, any of the photos you have here,

vertically, would have worked.

Simply cutting them would have worked.

If you look further, for example, this one

you have below, of the soldier with him,

a little higher, Victor, a little higher, there,

there, this one.

Do you put this one vertically?

It's a photo that works.

It's a photo that works perfectly, doesn't it?

I mean, maybe I, particularly in the photo,

if we put it again, Victor, please put

the big one, if I put this photo

vertically and I cut it and I remove

so much black that it has, maybe I

understand it better, look, because I don't understand

that darkness maybe on both sides.

I don't know what's going on.

Somehow a little I mean, if I put

it vertically, maybe I interpret that there is

a light that comes from one side, I

interpret that there was a ray of light

that was out there, but in this format,

which I love the photo, but in this

format, maybe I interpret that it is a

little more artistic, the photo, and not so

natural, for example, I mean, I mean, I

bet, right?

It is true that I expose, on Instagram

I expose many photos of which are 100

% created.

I expose very little documentary photography and many

of them are photographs that I have already

thought about before, I think many times both

Victor and Victor Lach, as Victor Martíns said,

and I am one of the people who

even come to draw a photo, of very

poor quality, the drawing, of course, but always

looking for a criterion, that it has some

rules, that it has some rules, which vertically

I am still not able to see, but

of course, seeing the photo of Víctor del

Marco Rojo, seeing this conversation, listening to this

conversation, we will have to do a challenge

this year, after the pandemic, we are going

to take the cameras with great desire to

try not to cast a shadow on the

great Víctor Martín, at least, at least, yes,

try to motivate me and look for something

vertically.

As you motivate yourself, we are going to

screw it up, horizontal, vertical.

I have only responded a little to Iñaki,

of course, there are photographs like the one

you said, or like the one I had

marked, that in due time I saw it

and that I liked it, but for example,

if I liked this one vertically, like other

more, it is because the escape lines or

the little flashes, make me direct perfectly as

if I were a girl, but answering, for

example, to the question and taking me for

certain liberties, of course, the photos of Iñaki,

for example, look how they are perfectly balanced

and one of the elements that we could

intuit, for example, by the photograph of Iñaki,

is that there is usually in many of

the images, there is usually information on all

extremes, that is, the image was conceived clearly

horizontally and vertically, that is, possibly the complicated

double, to compose or place you so that

the largest number of girls had room for

the same frame.

They are very theatrical images, the Iñaki, they

are choral photos.

Yes, even in many occasions photos that may

seem documentary, they really are not.

I'm not going to deceive anyone, I'm honest.

Most of them, yes, the bulk, yes, but

I already tell you, on Instagram, many can

even be orchestrated, organized and thought out, like

this one, for example, that you see here

on the right.

That photograph is true that it arises from

moments where the friends are and they are,

but it was not so placed, for example,

this girl below with the mirror, because she

was doing it elsewhere, or the mirror on

the right, the upper part of the right,

I also placed it there.

Well, but to me this is not that

it takes away my sleep, but what I

like is the result that you have, and

it is what I like, and that your

head already composed, in this case horizontally, so

that each of the ends, both above and

below, as left and right, and as in

the center to the bottom and everything, that

is, we had here a lot of layers

and a lot of information.

Of course, I do assure you that let's

see, I'm still let's see, I don't think

I'm going to start the wedding this Saturday

like this already, but at a given moment,

I'm sure these conversations come to my head

and you will see that at the next

wedding I am going to force myself to

try to get something, and I believe more

as a challenge and more as a grace

and to say I'm going to have a

good time, I'm going to enjoy and I'm

going to get the vertical game too, why

not?

Maybe an indecent story comes out.

But Victor, I mean, I don't think the

word is forcing me, the word is more

having fun and say, fuck, I'm going to

try this, I mean, see it and say,

damn, and why not?

Vertically, of course, I'm going to change my

head.

I think you're going to have a blast.

I'll wait for that, besides that this wedding

promises, so we'll see what happens.

I would try to do it in some

post-weddings or in some portraits at the

moment to get the rhythm.

Look, what I have promised you, well, both

Iñaki and Victor, that this conversation would last

just, just 60 minutes and I would like

it to stay that way.

We have nine minutes or ten or ten

minutes, sorry, for any of you who are

here, Dave, Roberto, Sainz, Camilo, Fototraben, whoever wants,

if you want, you can ask both Victor

and Iñaki what you want and Alba, I

think Alba was the only girl, but I

see the Fototraben team there, so you are

the only two out there.

So you have here two pieces of monsters.

If you want, you can ask them something.

If someone wants to contribute something else, let

them know that right now is the time,

so I'll shut up and I'll say whatever

you want.

Silence, sepulcher.

Well, I'll speak.

I don't know if you can hear me.

Okay.

It's not a question, I just wanted to

say that I started to take vertical photos

because I added a telephoto lens to my

team because at the beginning I practically took

photos with 35 and because I added an

85 and a 100 that I have now,

I started to practice that more portrait format

or more vertical.

And in fact, with those lenses, it's hard

for me to take horizontal photos, although I

like them, but it's harder for me.

But I don't know if that reason that

there are lenses for portraits, lenses for whatever,

also gives you that tendency to photograph in

one way or another.

In fact, it is recommended in general with

lenses like 35 mm not to take vertical

photos of people because, of course, it can

deform considerably.

On the other hand, with lenses like 50,

85 and more, yes, it is recommended.

That doesn't mean that with a lens, a

28, a 24 in vertical, you can't take

a photo.

But if you occupy the person a large

part of the frame, then probably the portrait

is not very happy as it comes out.

Yes, I agree a bit that the 35

and, I mean, from the 50, they are

very proclivity lenses to the vertical.

I think you're right.

Yes, also.

For portraits and so on, right?

Exactly, with lenses like the 28 in 35

or the 24 in vertical, it helps you

a lot to give a lot of depth

to a photo, incorporating things in the foreground

and leaving people in the background.

In fact, in landscape photography, especially in Costa,

wide-angle lenses are used a lot with

vertical photography, putting the typical flower or little

tree in the foreground and the whole landscape

or even the milky way in the background,

because the depth is brutal and you can't

get that in a horizontal format.

Very good, very good.

Well, here I am as a coordinator, simply,

before finishing, well, there are five minutes left,

as I was saying, we are going to

say goodbye to this a little bit, simply

to give infinite thanks to both Víctor and

Iñaki for joining us here.

It has been a luxury to listen to

you.

As I say, I wouldn't like this to

be prolonged and that we continue to digress.

I think we have reached a very, very

interesting point.

What Víctor said and what Iñaki said is

also super cool.

The truth is that they told me to

listen to you and I'm going to take

it like this, as a fun, Víctor, of

what you have come to tell.

The truth is that I continue with my

13, you are going to continue to see

me grab or give a horizontal cane, which

is my forte, but you may see some

more vertical publication.

Man, it's just that, as I was saying,

80% of the photos I take are

horizontal, but suddenly the vertical appears and I

have a blast with it, and that's what

it's about, having fun.

I think that taking vertical photos will make

you a better horizontal photographer.

That's good, that's good.

Yes, sir.

Interesting.

Just to say goodbye, I would like to

give a virtual hug to Mr. Antonio Montesinos,

who I heard talking to a colleague before,

I guess he didn't notice, but we have

already cut it.

Antonio has spent a few days in the

hospital, but I have already left him.

I just wanted to send him a big

hug.

We can see him in the Milky Way,

flying in space.

So...

That's great, man.

I hope I can ask you to reactivate

the audio.

I don't know how to ask to reactivate

the audio.

I think you are there.

I don't know how.

I'm terrible with technology.

I don't know why it doesn't let me

activate the audio.

I don't know why, man.

I'm sorry.

I think it doesn't let you talk.

It doesn't let me.

Let's see.

Hello, hello?

No, it doesn't let me.

Now you can restart.

Now, man.

Can you hear me?

Yes, I can hear you.

First of all, thank you, Víctor, for those

words of support.

Today we have been testing a magnetic resonance.

On Thursday you will see the results of

the MIME.

I hope it's just a good scare.

I hope it doesn't go beyond those verticals.

There is a possible and doubtful lesion, but

it is not yet 100% real.

Until Thursday, we don't get out of that

doubt.

That's why today the magnetic resonance is here

in the head.

Let's hope it's nothing serious.

There we go.

It's complicated, but I'm super motivated.

I want more balls.

I want to give it all this year.

I'm motivated.

I'm glad, man.

Thank you very much, man.

We hope we all have a spectacular year.

I wish you all the best.

Give it a click.

We hope so.

Well, that's it.

As always, thank you to everyone, including those

who are out of Spain due to the

schedule.

It's a bit complicated.

Again, thank you.

Especially to Víctor and Iñaki for joining us,

for enlightening us and for creating such an

interesting and cool environment.

You have spoken with a lot of property

and I like that.

As I said, it's recorded and I'll put

it on Patreon so people can listen to

it.

I think it's been an interesting talk.

It's time to invite more guests like you

and talk about photography with the same spirit

as you have.

Thank you all.

Thank you, Víctor.

Bye.

Take care and see you next time.

Bye.

Bye.