All language subtitles for Episode 47º Patreon Off Camera Jesús Rubén (Part 1)

Hello friends, how are you?

How are things going?

Welcome to a new video.

What a stage in life we are having

to live.

Of course, this is all a odyssey that

we will have to tell our children and

those who come after us, right?

It's all a real madness.

Speaking of madness, I think that all this

crisis that is involving us is, in addition

to economic, I think it is a crisis

of the head, right?

I mean, of coconut.

I don't know about you, but in my

case it is sometimes a mental situation that

I must control at all times, right?

Because even if you see me here, almost

a year ago, smiling in each of the

videos, believe me that sometimes it is difficult

to keep a smile with what is happening.

Last night I went to bed happy because

I had received a budget for a job

that has nothing to do with wedding photography.

Today I got up happy, but I have

read the news and I have come down

again, right?

Of course, I think it is ...

well, I don't think, I'm not sure.

This is a crisis, as I have told

you, economic and also from here, and in

my case at least, right?

Well, keep my head as positive as possible

and always think about how to move forward.

My mission is always to work or always

stay active, right?

With one project, with another, with one thing,

with another, but what is the worst thing

that can be for me?

It is to stay on the sofa, lying

down, or all the time, well, that, hurting

myself.

So it's been a while, right?

That I've been thinking about looking for jobs,

sometimes outside of wedding photography, sometimes inside.

Calm down, I'm still one of those who

think that this is going to be solved

and sooner or later we are going to

return with the damn weddings and with the

damn reports and all those stories, but I

think that we still have a few months

that we are going to work, but we

are going to ...

sometimes to go crazy, right?

To go crazy, I don't have any formula,

but as I was saying, I need to

be active and that is one of the

reasons for this video.

It is not to talk about psychology, but

to tell you that I have been dating

for a while and organizing sessions for many

things, right?

I mean, a first is to stay active,

a second is to continue publishing, I mean,

it is obvious that I am already tired,

like many of you, of continuing to publish

wedding photos from a couple or three years

ago, right?

I mean, okay, I want to publish new

things, right?

So what the hell, right?

And also a third, right?

I mean, besides organizing sessions, in addition to

publishing, it is useful to be in contact

with couples, which is good and it is

also useful for couples who have hired us

to see us that in quotes we are

still being there.

And also a fifth element, for example, in

my case, right?

That is going to help me a lot

to explain to you, to continue telling you

how I work and what goes through my

head when I get to work like this,

as I have already told you, we have

been organizing sessions for a while and today's

video is an off-camera in which we

are going to talk to you about how

we work that session.

Like all off-cameras, what we are going

to do is always show you a couple

of videos so that you can see a

little bit how we work the session in,

well, in different points.

In the session that I am going to

show you today, it is a session that

we did just a week ago, which we

published very recently on Instagram, and it is

a session in which I forced myself to

work with the couple, not only with natural

light but also with flash.

Since I was thinking that I was going

to show that session not only on social

media but also here, I really thought, well,

okay, we are going to work or we

are going to show the boys how we

work at all times and how we develop

with a couple.

First of all, we started a little bit

by talking about the fact that the session

was held in my city or in our

city, in an enclosure called Expo.

It is a kind of enclosure also similar

to what would be the FIRA, with a

multitude of architectural buildings, but as you already

know, our mission is not going to be

to play with postcard photos, but we are

always going to go straight to the points

that we know best or in the points

that we know that we are going to

find a photograph that defines us better.

You know, we are going to look for

clean backgrounds, we are always going to look

for small frames in which we explain or

show the world who we are as photographers

and if we can, we are going to

play with direct light.

As an anecdote, this couple, despite being super

predisposed to everything, at the first moment I

made them pose, I realized that it was

complicated to simply join them because they did

not really meet, it is not that they

did not meet at ease, but I don't

know, they were very, very nervous and I

had to work, as you are going to

see, quite, quite hard and conscientiously to get

the thing to start working in the end,

because as I tell you, the couple was

super nervous, almost like a flan, and I

had to get deep.

Let's start with the first image, and I

think it is really interesting, it is the

one you are seeing at the moment, and

the story that was the report began here,

and this was the first image we took,

and I decided to start here because I

already had located, as you already know, I

am from Zaragoza, or we live in Zaragoza,

with which I know quite perfectly all that

area, with which it implies two things, a

first, that if it is a place that

we have already visited so many times, it

implies that an over-effort to find photos

that we have not previously published, or locations

that if we have visited, such as this

one, we do not get the same photo

that I took a year ago in this

same environment, with which the difficulty is amplified,

and I already had to think about how

to get out of my comfort zone and

how to try to get something in conditions.

As you can see, what I always look

at, not in the type of light that

I have, in the type of background that

I have, of course, and I am not

going to look at what I have neither

to the left nor to the right, just

simply in that circle, in which I am

going to ask one of the boys to

stand, and another of the boys, it had

occurred to me that it could be interesting

to play with him and illuminate him with

a touch of flash.

When I say a touch, it is that

only his face would be illuminated, do you

understand me?

At the same time I thought that the

human face, as you already know, has a

warm temperature when it is illuminated, or I

thought that it was going to have a

warm temperature.

On the contrary, I knew that the circle

in which the other person was going to

be was going to measure the light in

such a way that it would not burn,

obviously, so that it would have the sky

at a cold temperature and the human being,

or the other couple, would only be illuminated

by their face at a warm temperature, so

that contrast I thought was going to be

attractive in a way.

I just thought it could be interesting since

the boys were really thin, so their human

body was going to be perfectly defined, and

what I decided to do was to put

one of the boys in that circle and

I asked him to imagine that he was

lying there sunbathing and it was something very,

very normal for him.

I asked him to raise his legs a

little to pronounce, to show that human silhouette

more.

In addition, then I already asked the boy,

the other boy, to stand on the other

side.

Just tell you that what I did was

expose the lights or the highest point of

light, I mean, to the blue sky, and

once I had the correct exposure, I sub

-exposed several steps of the diaphragm.

Why did I sub-expose several steps of

the diaphragm?

Simply to get the background that I have,

or the background that I had, that cement,

that wall, to be completely black, you know?

And I just knew that I only had

to compensate with flash.

You already know that if I wanted to

get the boy's right face to be as

bright as the circle with the sky and

with the other subject, I had to put

a certain cane to compensate for both, okay?

Once I already had this image, once I

more or less got it, I thought it

was a very, very good option, although I

thought that the composition was not finishing working.

Of course, when I finally edited it three

or four days ago, I realized that the

image was attractive, but compositively it did not

finish working at all, right?

Of course, once you get home and you

say, of course, there, calmly, it is when

you no longer analyze it, it does not

usually happen to me very, very, come on,

very often, because normally in the shot I

usually do it right, right?

But in this case it was the first

session of the year, I'm not looking for

excuses, it was the first session of the

year and then, well, well, the thing, well,

I failed there, right?

Because of course, look closely, right?

If we have the frame here, we have

the circle that works perfectly with that little

circle that creates light down there, but the

boy is in a high position and perhaps

for this composition or for this image to

work compositively, speaking better, what I should have

done is ask the boy to approach me,

that his face was super close and the

circle very far, I mean, play with the

perspective and that the boy's face was almost

filling the entire frame, okay?

And his face looking for the circle, do

you understand what I mean?

To fill the frame completely and perhaps, compositively

speaking, it would have worked better, or have

asked the boy to kneel down to play

the face and the circle at the same

height, with which it may have worked better

compositively, because if we analyze this image again,

you can see that in this part of

here there is nothing, it is like an

empty place and that in a certain way

it does not have a logical explanation that

that is the most correct, right?

Maybe?

Well, since I was there, since I was

in such an interesting place, what I noticed

was that maybe I could play with something

else or take some more image and what

I thought in that, as you know, in

the photographic rhythm and what I thought, well,

I say, okay, I'm going to do a

report for a couple of hours today, I'm

going to do several shots for in the

future, maybe I would need to have some

photo of some foreground of some part of

the body, I started playing with the basics

and I thought this is what everyone is

I thought about doing something like this as

a confrontation, so I thought that maybe a

finger above the other could work to find

that connection between the two, right?

Simply as an important point is that I

tried to make those two fists be between

the upper circumference and the lower circumference, I

tried that the light that came against it

was perfectly measured.

I want to show you the RAW so

that you can take a look, right?

And so that you can see how the

only light that seems to be a little

burning is that light that we have on

the nail, but the rest, the rest, I

was worried that it was perfectly exposed.

As you can see, the image is almost

taken, the image is finished and you just

have to apply a little contrast and a

little more so that the image is ready,

okay?

And once I thought I had already taken

all the potential out of the area we

were in, we went for a walk and

tried to find something that was in a

certain way attractive.

We found a kind of coverage in which

I thought it might seem interesting and now

it does have, at least compositively, something more

attractive, right?

As you can see, those two lines that

cross there, well, they work quite well and

direct me perfectly to what would be the

subjects as such.

I have already told you that I had

problems joining the couple, so I had to

start pulling bad jokes, pulling jokes, laughs and

such to get them up and simply seeing

that face to face they did not end

up working and they did not get along

well, what I told them to turn around

and try to join their crowns, right?

After the crowns I told them that they

should join the fronts from behind, because I

did this, as if they were almost putting

their heads together, to get to the point

where they almost fell, that they began to

laugh, in quotes, looking to take silly photos

to finally try to scratch something interesting.

Do you understand where I'm going?

It was just that.

And as an anecdote, I was a little

bit very, very separated, I was playing with

the Teal Seed, but I was trying to

blur the background completely.

As you can see, being so, so far

away, the background comes out, so I approached,

I focused on them and what I did

then was to have them perfectly centered and

the background more blurred, thus achieving a less

obvious effect than what I could have, right?

On the way we found very, very quickly,

as we were in a very, very architectural

area and there was a little slot in

which a little bit of light came in,

a flash of light and it occurred to

me to place them there, them separately, simply

to raise their heads, to lift a little

so that the shadows were not so, that

is, so, so, crumpled.

And as you can see, it is as

if it were a light mask, both for

one and for the other, and I thought

that, well, it could seem interesting, right?

I was especially concerned that the background was

really clean.

That was, as you can see in the

photo, how it was done, extremely simple and

it is one more photo to have a

little bit of a broader report, right?

To go playing with different points.

If in the previous one I played with

my hands, now I play with my eyes.

If in the previous one I played with

architecture, now I also play it.

I try to play a little bit with

everything, with all kinds of, well, of elements

to take a rhythm and thus reach the

last photo I want to talk about today,

which for my taste, although it may seem

simple, is the photo that positively attracts me

the most and I like this first series,

right?

First of all, I would like a little

bit that we analyze it without the couple.

As you are seeing, it is an image

in which there is a central pillar, right?

There is a perfectly illuminated central column, but

I want us to analyze this square that

there is light, right?

In that square I wanted to put the

couple, yes or yes, okay?

But in addition to that, I would like

us to analyze a little how there is

a black space that, in turn, has the

same measure as the space that there is,

for example, these golden grass that, in turn,

has the same measure or very similar to

what the sky would be and, in turn,

has a measure very similar to what the

upper area of cement would be.

You see that it is pure architecture, it

is pure composition and it seemed to me

that it could be really interesting to play

with the couple there.

Of course, now you are going to see

that I played a lot with them and

you have to understand, right?

That the mission is that.

The mission is not to have a brilliant

idea at first, but to simply have a

good idea and then elaborate it, work it

until you get your image or an image,

in a way, interesting, right?

I started by asking the couple to stand

at that point, okay?

And that each one look to the outside,

one to the left and the other to

the right.

Important.

As you can see in the video, okay?

And it may seem ridiculous, I made the

boys get down, get their asses down, get

their backs down and, believe it or not,

which is a position a little absurd, right?

A little silly, I only cut the guys

in the chest, so then the legs or

the ridiculous area was not going to be

seen, okay?

Once I had done this, I thought that

it did not end up working and that

the image would work better if I placed

one of the boys behind and one of

the boys in front, okay?

Do you understand me?

So that the boy's head, who was in

front, was right in the belly area, right?

Or in the chest area and then play

with something more interesting and keep that idea

that one will look over there and the

other will look over there, okay?

But it was important that the boy who

was in front occupied this place and that

his head would not pass here or his

head over there, that was something very, very

important.

Again, take a look at the position of

the boys, it is really ridiculous, or it

seems ridiculous, but I explain that to them.

Hey, look, what I would like to do

now is this, in the photo, although I

am going to invite you to adopt a

ridiculous position, please calm down, trust me, because

what I want to get out of you

is from the chest up, so even if

you think that you are adopting a position

that is not entirely correct, think that the

image is not going to go there and

later, in most cases that I do this

type of things or this type of images,

or I ask the couple to adopt this

type of positions, later I show them the

final photo, well, or the photo in the

camera, so that they can see and say,

of course, I understand, and then I gain

more points or more confidence in what may

come later.

Well, friends, this has been the first part

of Love Camera, Jesús and my dear Rubén,

a session that we did a little while

ago, a little while ago in Zaragoza, and

well, I hope you liked it, as you

can see, some composition error that I have

had, but the most important thing for me

was that it was didactic, that this video

was didactic for you and that you understand

a little how I combined, in some cases,

artificial light with natural light and how I

have played with, well, with the lines, with

the squares, with everything related to geometry.

So nothing else, friends, I hope you liked

it and very soon that second part.

Until next time!