Original subtitles

Hello friends, how are you?

How are things going?

Welcome to a new chapter.

As always, I want to thank everyone for

being there, for your support.

As I have already told you in so

many videos, without you this would be completely

impossible and, of course, I cannot forget the

last ones who have subscribed to this channel.

Simply for giving you my heartfelt thanks and

giving you a little advice, take it as

you want, but it is a good advice,

maybe.

I know that many of you want to

see the latest videos that we are publishing

every week, but this platform has been active

for almost a year and we have already

published more than 50 videos, so I recommend

that if you have time and if you

feel like it, of course, that you not

only see the latest videos but also take

a look at the videos that we almost

created just a year ago, because you are

going to find super interesting content and at

times, as it may be in this video

or the previous edition, I already assume concepts

that I have explained in previous videos and

then it may not go so deep and,

consequently, it may not explain well if you

have not seen previous videos.

Do you understand what I mean?

With which it would be fucking great if

you have time, in addition to seeing the

videos that I am publishing in recent weeks,

also take a look at the videos that

we published, as I say, almost a year

ago.

Well, having said this, we are going to

start with the video of this week or

with the video that plays today, which is

an off-camera that we take or that

we photograph or that we make in our

city.

As you already know, well, if you are

not from Spain, I have to tell you

that now, in our country, we cannot move

freely between the cities, that is, each citizen

has to be in their respective city and

can only move in case of extreme need

or case of work, which is not our

case.

With which this session was carried out in

our city very, very recently, in an enclosure

called Expo 2008.

Coincidentally, it is the same enclosure that we

photographed of the couple Jesús and Rubén.

Do you remember?

We just published it about a week ago,

okay?

Therefore, the problems are amplified by the fact

that we are going to repeat the location

and we are going to do something completely

different from what you saw.

With which this is going to be a

challenge for us and surely it will be

interesting for you too, okay?

Simply, what I would like to do in

this video is to tell you how we

made some images and you are going to

see that we strive to play with hard

light, to play or to direct the couple

much better than in the previous video and

third and no less important we are also

going to use the flash from time to

time so that you can see a little

bit how we play with natural light and

how we mix it with the flash and

well, I suppose it will also be quite

didactic for you, okay?

We started working in a place known as

the Pavilion of Spain and well, and simply

the first thing I asked the couple to

do was to get together, right?

And surprise, you know that sometimes it happens

and sometimes it does not, but in this

case the moment I told them simply to

stand close to each other, I already realized

that the couple worked perfectly, that you already

know, there are couples that no matter how

hard you try to ask them to get

together, there is no way, it seems that

they are like a magnet, that they repel

each other, but there are other couples that

you tell them to get together and you

say, damn it, you say, everything is going

to work well, right?

So today what you are going to see

more how I direct the couple, right?

I am going to ask them as I

asked them many times to get together or

to play one with the other because I

saw that there was potential, right?

We were in the Pavilion of Spain and

what I thought, right?

That maybe as it could be interesting, right?

That I asked them to get together as

I told you and start working, right?

The first image you see is this, it

is very simple, in which I tried to

leave the couple on one side and leave

the environment in a somewhat abstract concept, not

obvious, and try to play with what makes

this building special, right?

That it is a building that is all

lines or that they are tubes, okay?

They are ceramic tubes and I thought it

could be interesting to play.

As you are seeing, what I clearly tried

to explain to the couple how the light

works, right?

How does the light work?

I mean, at what point did they have

to enter or at what point did they

have to be to be perfectly illuminated?

And I clearly explained to them how they

should be in the correct place so that

their faces or their bodies would end up

being illuminated.

Once I was there, what I proposed that

it could be interesting to get closer to

them, I have already told you that this

couple worked perfectly, right?

With which I strengthened that and began to

direct them a little.

I started, for example, to explain to Leti

that it could be interesting for her to

settle in with this part of hers and

that she would try to support her hand

and try to play a little with him.

I mean, that there was a connection with

Guille with her hands and her body, okay?

I mean, I needed that, I needed that

there was a connection between the two of

them and I started to go, well, working

with them, I started to tell them to

relax, to breathe, to smile.

Smiling is always very important because we are

creating that positive energy and when people see

our work and see that the couples are

comfortable, they will also feel in a certain

way, well, comfortable, right?

So, as I told you, I was working

on this location, I was again working with

the pose that I was telling you about

and once I more or less believed that

that image was captured, I told them that,

well, I proposed that they separate, so I

asked Guille to come closer to me, to

lean on one of those columns, to raise

his chin so that, to leave a gap

in the back and in that back part,

I thought it was interesting that Leti could

work perfectly and I already asked Nox to

clearly look at Guille and I already captured

her right in, well, between the head and

the column, right?

With which the photo seemed interesting to me

and I was already getting creative resources from

something more than not asking the couple to

be face to face or from something more

than not taking the couple out in small

with the environment in large, right?

More or less, once I already had these

images more or less resolved, the building is

true that it is quite large and gives

some more possibilities and what seemed interesting to

me that maybe I could play with them,

well, in another way, right?

A couple of days ago it had rained

and the ground had a small sheet of

water and I thought that it could also

be interesting to capture them or ask them

to stand in a column and now play

with Flash, right?

Play in a more interesting way with the

Flash and of course, right?

Now I'm going to ask Erika to help

me, to give a little bit of flash

power and speaking of flash power, it's as

simple as what we usually do, always expose

to the highest point of light and then,

well, lower a couple of steps of the

diaphragm, okay?

With which you already know that the image

will be sub-exposed but later I will

recover it in post-production, okay?

Do you understand me?

And thanks to that sheet that I have

below, what I was going to have is

that double reflection both above and below and

thanks to the flash I was going to

pronounce, further enhance what would be, for example,

the couple, right?

With which the result, as you are seeing,

was quite positive and well, I could, right?

I mean, I could have a photo there,

well, quite interesting, playing with natural light and

what it was, well, playing with the flash.

And once I had this, I thought it

could be a good idea that we would

take a look around and see what we

could find to break a little bit with

what we were doing.

Next to the building of the Spanish Pavilion

we have another building called the Aquarium and

the exterior of the Aquarium, the truth is

that it has quite a lot of interest

and is also surrounded by water laminate that

I thought it could be interesting to play

with them with some of that, right?

With a little with the aesthetics of the

building, with some, well, with some reflection of

water and well, we went there.

Of course, when we got there, I saw

that the light did not accompany and the

thing was made to change, for example, plans

and well, I started making an idea, as

you are seeing, nothing interesting, well, I say

nothing interesting because in principle I thought it

was, but later it was not, right?

Well, and quickly I decided to change my

mind a little bit because, well, as I

tell you, this of placing a boy in

the back and the girl coming or vice

versa did not end up working for me

because, I don't know why, or the light

did not work, the composition did not believe

that it could be so attractive and I

had in my mind that the couple worked

perfectly, so then I told them to get

closer again, but this time I thought that

I was not going to ask them to

get closer simply without more, but what I

asked them to do, or what I thought,

sorry, that instead of focusing them, I was

going to focus in the foreground on a

little hair of her, right?

With which, as you are seeing, I was

using the 45mm Tiltshift, remember that the 45mm

Tiltshift is macro, okay?

With which, as you can see, I was

super stuck and I just wanted to play

or fill the whole frame with their faces.

At first I was just playing with them,

with their faces, but I understood that in

order to have a greater connection, I had

to invite her to add her hand and

play a little with her chin.

Notice how important it is to play with

your hands, that is, the such an important

degree or the extra information that we add

when we are playing, we create such an

interesting connection that it makes everything in the

image, not just playing with what would be

the little finger, right?

So I'm still playing with them, focusing on

the foreground.

Why did I focus on that little hair?

For the mere fact that I already had

a very similar photo to the one I

am taking now, which was the previous one

that I had shown you, right?

With which I had to break aesthetically or

I had to contribute something more, right?

Because if not, in the end it is

all the same.

With which I thought it could be a

good idea and the result was this.

In fact, notice that it is a very

simple photograph, but damn, it is that it

attracts me a lot, right?

And I see there is something super, super,

super interesting and also the one who cannot

see his eyes adds something more interesting to

me, right?

I mean, we are removing the things that

we do not need and we only focus

on the point, on the boy's mouth, as

you understand, on the smile, on happiness and

already in it we do contribute more information.

Do you understand a little bit where I'm

going?

Once I had more or less done this,

I thought about how to milk or how

to play, well, something else.

And the truth, the last idea or the

last image I like it a lot, but

the next one that I am going to

show you I do not like it, but

it helps me to explain myself or to

be didactic, right?

And to explain to you how the image

that I am going to talk about is

this, okay?

But to explain to you, above all, again,

the importance that the hands have.

If at some given moment we have a

creative block, as may be the case, in

which I had taken the previous image and

I wanted to have something more interesting, but

I did not have a fresh idea, so

I am not going to have the couple

standing still and I thinking to see what

I can think of brilliantly, right?

What I did clearly ask the couple to

stand face to face.

You already know that when I place the

couple like this, in a penguin position, it

means that I have no ideas, that I

ran out of all good ideas, but I

had to get ahead with that idea, right?

With the image.

So I asked them this, I tried to

reframe them in this virtual box and I

started to tell them that they were face

to face, that they were playing among themselves.

And notice again how important it is to

play with your hands, that is, I asked

her to put her hands on his chest,

so we are already creating a connection and

he was with his hands down.

Again, it's like I tell him, no, no,

no, I want you to hold her to

create that little connection and have something else.

I have already told you, the image does

not kill, it does not seem interesting to

me, but as I tell you, we always

have to have those comodines, those aces, always

under the sleeve, so that at any given

moment we run out of ideas or without

an interesting resource, say, okay, I have the

ace, I take this, come on guys, place

it face to face and we get ahead.

That is why it is always so important

to have those comodines or those aces, or

to have that extra experience so that when

they leave us those good ideas, to have

other ideas that, although they are not so

good, we get a little ahead.

As the last image of all, for this

video, and it seems to me something more

interesting, since they were there, I told them

not to move again and to stand looking

at the light, at the sun, okay?

I really liked how the wind was moving

Leti's hair, so again I approached, I asked

them to look at the light, okay?

Leti, as you are seeing, I completely blurred

her and I already focused on him, on

Guille, okay?

And I simply asked them to look at

the light, to smile, 45 millimeters again, the

hair, I mean, I waited for the hair

to be almost glued to my target and

once I more or less had that and

Guille smiling, I started to continue shooting pam

pam pam until I more or less had

the image that you are seeing now, okay?

So, so far the first part of this

off camera, okay?

The next week or in a few days,

three or four days, I assure you that

you will be able to see that second

part, just as interesting, or I think more

than this one, so nothing more.

That's all, friends, be good, be good, I

hope that things in your countries and in

Spain begin to be fixed.

The truth is that, well, we touch wood

and some of the weddings that had been

canceled have returned again, so I think that

my prayers to the Virgin of the Pillar

seem to be coming into effect.

So, well, nothing else, friends, as I tell

you, I hope that things will be fixed

little by little, that everything goes as well

as possible, be good, behave well and see

you very soon.

Until next time!