Original subtitles

Hello friends, how are you?

How are things going?

How is the summer going?

I hope everything goes as best as possible.

We are in July and well, it seems

that the season is about to get interesting.

Let's hope that in August we have a

wedding.

A priori we have two or three.

Two for sure and the third, well, we'll

see, right?

Come on, it seems like a joke, right?

That at this point, I mean, we still

don't know for sure if we are going

to have two or three weddings.

But who knows, well, the first one is

the 2 of August in London, a Jewish

wedding.

Let's cross our fingers, let's touch wood.

I need to shoot, I need a wedding

and feel that pressure, although I don't know

what kind of wedding it will be.

So, well, I'm not here to talk about

sorrows, nor am I here to talk about

the weddings that we may or may not

have.

I'm not here, sorry, to talk about a

new chapter, since last week we had a

pre-wedding session, the first of the year

too.

And I would like to talk to you

a little bit, right?

While I shoot a few photos, Erika recorded

a few shots to put together this video,

right?

So that you can finally see how we

work in a real pre-wedding.

Because until now we had had attempts and

such, but this one was finally one that

the couple had hired us.

And well, I also want to tell you

that we made quite a few images, as

well as we did quite a few video

shots.

In a chapter it will be a little

complicated to condense everything, because there is a

lot of information, right?

So in this session we are going to

create a couple of chapters.

Both the first, which you are seeing now,

and the second, which you will see very,

very shortly, okay?

Of course, what I would like to delve

into in this video is not just to

tell you or show you the beautiful photos

we took.

Because I think that's not how you learn

at all, but what I wanted to get

to or what I wanted to delve into

were the mistakes I made until I got

the photograph that I finally got, right?

I mean, what I want to explain to

you is that, right?

The amount of mistakes and the amount of

things that went through my head at all

times until we got to the final photo,

okay?

First of all, I would like to tell

you that we thought about several possibilities where

to do the session, for example.

And what I was clear about was that

I was not going to go to the

old town of Zaragoza.

Because, well, we already have it very, very,

very, very trilled, very manido, right?

I mean, it is more difficult to find

something interesting in something that you have already

visited so many times.

And in places that, well, almost not daily,

but weekly, you end up visiting, right?

To make a message, to take a walk,

whatever.

So, in places that are so manido, it

is twice as complex, right?

To find something interesting.

We also have another location in Zaragoza called

Expo 2008, which we have already visited to

our satisfaction.

So, thinking, thinking, thinking with Erika, we went

to take a look at a place that

I had visited about 8 years ago.

And I stopped visiting it for the mere

fact that it began to fill with paintings,

ugly graffiti.

And well, and I considered that it would

have gotten so dirty, it would have been

wasted and that it was not worth it.

So I told Erika, hey, there is a

place out there that I visited 8 years

ago that maybe we could take a look,

but I'm sure it's a shit.

But, well, let's not lose anything, right?

To see if that place is worth it.

So we went with Erika.

We went a week before to see if

the place was worth it.

And, well, when Erika saw it, she said

to me, fuck, why didn't we come here

before?

I say, because I thought it was made

of shit, right?

But, well, that's the story.

I mean, we already decided that the session

was going to be there.

So, well, we let the couple know.

Of course, I was the first one to

tell both David and Avero that the place,

a priori, did not seem like an idyllic

place to do a session, but that, please,

they trusted us, because it was a place

made almost for photographers, so that we could

play with all the characteristics of the place.

Because it perfectly brought together lines, which you

know we love, which made it easier for

us to play with the composition and all

these things.

In addition, it has small openings or small

windows in which they always let the light

pass in a perpendicular way, which helps perfectly

when it comes to playing with light and

little stories.

So, having explained this a bit, I'm going

to get into what the session would be.

As soon as they arrived, we greeted each

other and all these things, and I already

told them, and I already invited them to

go up to the site first, because you

are seeing it now.

I mean, the moment I had them face

to face, in the moment they were already,

as you can see, placed, as it usually

happens to me every year, I had a

big creative block, I don't know if to

say that the old ghosts came to visit

me again.

And what I want to explain to you

is that every season the same thing always

happens to me at least once or twice,

in which, the moment I'm about to shoot,

before I press the button, I think, no,

I've already done this before.

And in seconds you think, ok, ok, for

the next photo, which one is it?

And you think, that game, I've already done

it, that pattern, I did it recently.

If I refer to a pattern that I

did recently, it is to place the boyfriend

close to me, that is, completely in silhouette,

the bride in the light, the boyfriend laughing,

and what's more, I remember that there was

a partner from Patreon who told me, or

insinuated to me, he says, well, I've already

seen that pattern, or how do you do

that, that you do so many times?

And I said, ah, I'm repeating myself constantly.

So, when I was, as I was saying,

about to click, I said, nah, I mean,

let's change the record.

And already, smiling at the couple, so that

it was not noticeable that he had a

full face, I quickly told the couple, hey,

no, we're going to change, that this is

such and such.

And I completely changed the record, and what

I told him to leave, I moved just

to a lower space, to place the bride,

well, to have the bride up, and already

see how he played with all the lines.

Of course, once I had Avero there, I

saw that the light that came to him

was perfect, and I saw that the shapes,

that is, that there were, or the lines,

or the architecture, worked perfectly, that's when I

asked him to place himself next to her.

Of course, when I was together, I mean,

when I was together, those damn ghosts appeared

again, those memories of, of not knowing what

to do.

And that's when, when I already told him,

for example, I tell him, okay, what we're

going to do now, I want Avero to

be stuck to the wall, okay?

That his little hands are placed here in

the ass or in the back, and that

he just look for the light, that is,

that his face is always placed to the

side in which the light comes.

And what I told him, instead of staying,

for example, static, to walk, to create something

more, perhaps dynamic, or something more interesting, right?

Of course, when David came walking, I mean,

the first thing I thought, or in the

first shots, I saw that, I mean, that

David was just walking and didn't finish working.

So what I asked him to do was

simply move his hands a little so that

the body would not simply remain with a

rigid figure, but that it had a little

movement, so that the viewer understood that the

boy was moving.

Of course, I mean, once I more or

less believed that that could seem interesting, I

changed the whole register, and I told him

to be the one who supported himself, and

I told her to be the one who

walked, to see if that worked well, right?

Because really, I mean, the couple, well, it's

a couple of handsome guys, well, they came

really, I mean, dressed like hell, so I

tried to take advantage of her too, right?

That was the reason why I told her

to walk too, as David did, but above

all, I told them to never look, I

mean, never, never at the camera, right?

So then, I mean, Vero was walking, but

of course, notice that Vero works like hell,

I mean, very well, but David, the position

he took was a position more as if

he were in the bar, right?

Of course, that's not his fault, that's just

the photographer's fault, who didn't know how to

do it right, right?

Of course, I mean, even if I tried

to direct David a little, I didn't know

how to do it better, so then, when

I saw that he didn't want to force

the bike so much, I mean, he didn't

want to force this so much, that was

when I asked them to change the registration,

right?

As I told you at the beginning, I

met this location about 8 years ago, and

when I visited it, in fact, I visited

it to photograph some exterior reports at weddings,

it was completely perfect, I mean, immaculate, clean,

and besides, there was no tree, right?

So, as there was no tree, all the

boxes or all the openings or the entrances

to the location were completely clean, of course.

Look, for example, at this image in which,

I mean, in the little square, in what

is the box, it's full of trees, and

if I tell you this, it's because, of

course, one of the photos was, well, put

yourselves there in the background, and what you

put face to face, take your hands, put

your hands on top of each other, and

give yourselves a kiss, or be about to

kiss, right?

Of course, that could have been the next

image, but look, as everything was full of

trees, the photo didn't breathe well, it didn't

end up working, so I didn't even ask

them to do that, so what I asked

them to do was to go down just

a little bit, and I asked him to

place himself again in the same place he

was, to play with this kind of triangulation,

in which Vero was just down there, looking

at him, and he wanted to place himself

in that little triangle.

I mean, look, the shadow line that is

marked like this, I was clearly worried that

David's head would never touch that shadow line,

and I was also worried that the little

box where Vero was, I mean, she wouldn't

come out on the left or much less

on the right, but she would be perfectly

centered, I mean, placed there.

And later, when I had more or less

the photos you've seen so far, I thought

the last one was too static, in which,

well, they were just posing, so the composition

was cool, the light was very interesting, but

the photograph lacked a little more energy, it

was very static.

So I asked him again to go down,

and I asked Vero to place himself in

the same place he was, I mean, not

to move, and I asked David to go

to the bottom, to go up the stairs,

and to place himself until I thought it

was good, I mean, to have him completely

in shadow and in a slightly lower figure.

What I wanted to get here was a

contrast in all levels, I mean, not only

starting with the contrast in what would be

for post-production or starting from the same

shot, what I wanted to get was to

give him the silhouette, I mean, to place

the boy in shadow, I mean, to place

him in a background where it was blue,

I mean, a cold color temperature, and to

place her, in quotes, in the positive side,

where she was perfectly illuminated, and also, as

you know, with a slightly higher temperature, I

mean, to play with that contrast to start

with what would be color temperatures, and also,

of course, if I placed Vero looking at

the sky, or something like that, it was

maybe too static, so then, I asked her

to jump, but when she jumped, I wanted

her to smile, to be happy, but not

to look at the camera, but to look

a little more that way, I mean, as

you know, I have a little bit of

phobia, a little bit of mania, and I

don't usually like couples that look at the

camera, so then I asked Vero this, I

asked her to look that way, and also,

I don't know if you know, but in

my city, there's always air, or very often,

there's air.

For some things, it's fine, but for other

things, it's a pain in the ass, right?

Of course, in this case, I thought that

the air could benefit me, could help me,

and what I asked Vero to do was

to start jumping, I mean, both her and

him, at the same time, poing, poing, poing,

poing, poing, right?

I mean, trying that in one of those,

when she jumped, I asked her to move

her mane, and then, it would be even

more dynamic, right?

And also, what I asked him to do

was not to raise his arms, I mean,

just like, I mean, remember that in the

past, I had told him that when he

walked, to move his arms a little bit,

now I wanted him not to, to do

it like a figure, right?

Of course, I mean, when she got up,

she got up like this, just a couple

of feet from the ground, when I asked

her to jump, to stand like this, and

with her legs, I mean, just at the

same time, poing, poing, poing, it would seem

that she was floating, levitating, right?

I mean, in a way, I thought it

was interesting to play with a little figure,

it would seem that she was levitating, and

the girl who was jumping, smiling, with sunglasses,

would look to the other side, right?

So, well, that was the result.

Ok, let's go for the second image, and

especially in this image, I mean, I assure

you, I got crazy, I

mean, in the end, I had more or

less the same records, constantly, right?

I put the girlfriend on one side, the

boyfriend on the other, I had played with

different shots, but I wanted to play with

different heights, I mean, I wanted to play

where the boyfriend was here, where the girlfriend

was there, I mean, I was doing things

too basic.

However, we have to understand that we are

not robots, that we don't put a coin

and we take beautiful photos and also I

always always say that I compare the wedding

photograph with a football season and look that

I don't like football but the fact that

every footballer or every season needs a preseason

of course I started my preseason in the

month of July when in other seasons in

the month of July I am already rolling

rolling rolling of course I am asking for

pears to the back and I was demanding

of myself at all times and of that

and of that same nervousness or similar or

it made me block me, but hey, that's

another singer, so let's focus on the image

when and then I already understand, I don't

say I want to play with the couple

because at different heights so I was looking

at what place I could sit down, of

course, notice that there are like these benches

that are seen that are made of cement,

they are not like concrete, okay, and I

already understood, I say wow, if I sit

down, I do not see in the foreground,

it is simply not that only he sees

the lens a little like that, he is

already going to create for me the effect

of triangulation, not with which I decided to

place as you are seeing the groom sitting

in the foreground and the bride because they

will come walking what I wanted to show

was half the groom's body more or less

from here to the top and just the

opposite of the bride from here to the

bottom and also as the green skirt worked

very well the sandals that the bride wore

worked perfectly because they had a white dot

because it stood out very well with the

whole environment of cement so everything was going

well so then I ask the bride simply

to come to me and of course I

already said that the groom was not going

to look at me to the camera and

that is when the bride arrives and I

tell her then, okay, we repeat it again

when she went to the background, notice how

important the light is, notice how in this

image it works perfectly and not only because

it illuminates her but because of the shadow

that it projects, that is, notice that the

shadow that it projects just to the right

works perfectly if we talk about geometry, not

when I asked her to go back to

the background, the light went away and I

stayed there, I say the whore, I say

no, of course, that I have been silent

there, I repeat again, but I already understood

that it was not going to work, she

lit up a little bit, but notice that

the shadows projected not with which I already

lost the interest that I had in the

first one, so then of course I thought

about the environment that was surrounding me, how

the light worked and I saw that there

was another kind of bench, that is, just

as good as cement, so then I asked

them not to move us to the other

side so we moved to the other side

to them because I focused him there I

already told him clearly that he does not

look at me at the camera that he

looked to one side and I already told

her that they would come walking, notice that

my mission was to get a little higher,

it is worth to play even more with

what it was for the triangulation, it is

worth so then, well, because I repeated the

arsenal quite a few times until it came

out, I have already told you that they

had gorilled me a lot, so then I

asked him that, that is, that he would

come for here, well, at that time, he

was not clear that the photo that you

are seeing now was for me the favorite,

so then I wanted to repeat it to

try to play with another record, not to

have another different possibility and the possibility that

I took that I was seeing was that,

notice that the background was not completely in

shadow, but it was illuminated and the bride,

that is, as it was going to be

illuminated from the skirt down, but from the

skirt up, it was completely in silhouette, not

because the background was above us, it was

overexposed, which I thought could be interesting, but

when the bride came walking for me I

did several shots, but I was not convinced,

because I was not convinced, because notice that

only the bride would have said that she

would look to the opposite side that she

would look at him, that is, she would

have had a more interesting silhouette, it could

have been the photo, perhaps not, but notice

that when looking from the front, that is,

the human figure, that is, the figure in

this case of her, is that she does

not have life, despite the fact that I

told her to place her hand here, for

example, to pronounce the silhouette and the other

hand, well, to leave it a little bit

like that, moving without touching the body, not

to try to get, as I was saying,

that silhouette so interesting, but notice that there

is something in the photograph that does not

work, okay?

Already going back to the previous image, which

I think is the most interesting, that is,

I would like to explain a little, that

is, the importance of how that triangulation plays,

how I placed the bride in the foreground,

how I told her to look to one

side and how I told her to look,

okay?

The photo was also taken with the 45,

with which it was repeated several times due

to the fact that, as you already know,

the 45mm is the focus is completely manual,

with which, of course, imagine that it is

the focus in manual, tatatatatatata, and pray, right?

Because more or less, well, some come out,

right?

With the 45mm, what it allowed was to

be a little closer to them and go

even deeper, right?

Notice that if we compare it with the

second, when closing the plane so much, I

was clearly concerned that the background was completely

dark, that is, completely, well, dark, I mean,

dark, right?

So that, that is, so that the legs

would stand out even more and so that

the groom could also work well, right?

That is one of the reasons why I

tried to make a small cut, right?

That is, the camera was lowered down to

avoid all the background that I had left

over.

And then, in what we are seeing, for

example, the issue of lighting, that is, notice

that it works well, both what it would

be for her legs, as it is, I

don't know, as the foreground, him, and also

what I, I mean, what I liked, right?

The shadows that this projected at all times.

That what you really notice is that if

I talk about light, or if interesting light,

or hard light, or whatever, it is not

only because of how the light works, that

is, because of how the body bathes, for

example, in this case of a couple, but

because of the shadows that are projected, that

is, it is no longer only important how,

that is, how the light works, but the

reflections or the shadows that it is going

to project us, because that is going to

help us to have more geometric shapes and

it is going to help us, in short,

to obtain a much more complex image, right?

So, well, here it is all friends, it

has only taken time to talk to you

about two images, in the next chapter we

are going to talk about the rest, and

well, we are going to talk about all

the problems that I had, which, as you

are seeing, were not few, despite the fact

that the location was very good, despite the

fact that the couple was very good and

was predisposed to everything, if I had told

them that they would have thrown themselves into

a puddle, they would have thrown themselves into

a puddle, but there is the third point,

which is that of the photographer, right?

Although mentally, well, he was prepared, although he

was going with a lot of desire, but

notice that I lacked filming, and when I

got home, I already knew that something had

not finished working well, I downloaded all the

photos and Erika told me, how are you?

And I said, it's not quite right, and

she says, well, if everything worked well, right?

I say, yes, but I had the ghosts

that I have told you, or the creative

block of thinking that I had already done

that before, and also, of course, I need

a shoot, like every human being, right?

I mean, here it is not that no

one thinks that neither I, nor the most

painted, nor the most incredible photographer, is going

to take good photos at the first one,

right?

I mean, I need a shoot and I

needed it, right?

Of course, we have not done a bad

job, but we could have done it better.

So I don't entertain myself anymore, friends, I

hope everything goes well, I hope you liked

it and I'll wait for you in the

next chapter.

Take care!