All language subtitles for Episode 52º Patreon Off Camera Leti Guille (Part 2)

Let's go there.

Hello dear ones, how are you?

How are things going?

How have you started the month?

I hope everything goes as well as possible.

Welcome to a new video.

Remember that in the previous chapter I was

talking about the first part of Leti and

Guille's session, so in this video we are

going to dedicate it to talking about the

second part and I am not going to

entertain myself much in presentations or in silly

things or things like that and we are

going to go totally straight to the point.

I had left you in the middle, I

had left you with several ideas that I

wanted to comment on and we are going

to enter, as I say, in the best

part or in the moment that I was

most brilliant during the session and it was

just at the moment when we found something

as simple as a kind of parking entrance

and as you are seeing, that parking entrance

had a kind of boards or openings, I

don't know how to explain it better than

you see it, in which you are seeing

how it let the light pass perfectly and

how it created very thin lines of light

and then I understood that this could be

interesting to capture or to be able to

play with the couple.

Remember that I have told you many times

until satiety, the first thing we are always

looking for is the light, the starting point

and second, a background that helps me stand

out to the couple.

You see that the background is a kind

of sheet and they are all lines, for

example, of light, so the idea was to

try to play with the couple, put it

in the right place, I mean, I explained

to them clearly that their heads had to

go neither a centimeter up nor a centimeter

down, right in the precise place that I

had indicated to them and even points such

as breathing or a lack of concentration that

they laughed or something could cause them to

move, so throughout all these shots I explained

clearly that I was correcting them so that

they were always placed at that point or

at the most appropriate point.

So the first idea I had was simply,

as you can see, the place is very

abstract, very rare and very Martian, but you

see that the result is going to be

really interesting.

So first, as always, separately, okay?

And I made them play a little bit

in which each one would not look at

the camera but would look a little above

and you can see it, right?

That is, on one side Guille, on one

side Leti and the first idea or the

initial idea was this and I started to

take a few images, okay?

Once I more or less thought that the

thing could be finished, since I was there,

since I thought that the place was an

interesting place, I asked Leti to come here.

Something that I loved is that Leti had

painted her lips with a really dense red

color, right?

With a passionate red color.

And then I thought it could be interesting

for Leti to move forward for me.

I made her lips coincide, smiling, in one

of those stripes of light in the foreground.

So my idea was to find Leti's most

feminine side, which at that time were the

lips or is what occurred to me, okay?

And in a background, for example, Guille, right?

That is, I was going to clearly enhance

the red lips.

I mean, think that the moment I'm shooting

or the moment I'm going to shoot, I'm

always thinking about what color masses are.

Red works perfectly with the background.

If you also look at it, Guille wears

a kind of blazer that made it mimic

perfectly with the background.

That was not prepared, it was a stroke

of luck, okay?

With which the lips, in short, Leti's lips

still made them enhance more or make the

photo gain more strength.

Once I had that done, I thought it

could be interesting, why not, to ask them

to kiss, that is, to hug, to be

very close, to look at each other.

But in the same way that in the

previous two I had been playing with the

lines of light, in this image too.

With which I placed them very, very close,

I placed them super close, but I also

explained to them where their bodies should be

directed.

I mean, towards the light, clearly, right?

And then, yes, super close to them, I

started working, I was explaining to them, right?

A centimeter up, a centimeter down, for one

side, for the other, for what?

So that those lights would match perfectly in

the points that I wanted.

Once I more or less had that image

ready, that is, more or less than this,

I started shooting like a bastard until I

captured this image, okay?

Okay, once I saw, or I thought, that

I had already squeezed that area to the

maximum, I thought, right?

That maybe I could take a look and

I saw that the stairs were still going

down, of course, there were no longer those

stripes of light, but remember, I already know

that I repeat myself, even the satiety, that

I always end up saying the same thing,

but I have to say it, damn it!

Do not catalog me only as a photographer

who works with hard lights, no, no, no,

no, no.

Also catalog me as a photographer who works

with both hard and soft lights, but the

most important thing is to find the blow

in the light, the strength in the light,

regardless of whether it is hard light or

soft, because look here, when I went down

the stairs, the powerful light or the hard

light had already disappeared, but there was such

a soft and interesting light that enveloped this,

that I asked the couple to go down,

to stand on the stairs again separated, and

the initial idea, as you are seeing, was

that, right?

That is, to ask Leti to stand on

one side and Guille to stand on the

other side.

Although Leti was completely dressed in black and

Guille was completely dressed in gray, apparently it

seems that those colors are not going to

work with the background that I had chosen,

but you are going to see that yes,

you are going to see that it will

work like hell.

In other words, at first they were completely

separated, I quickly saw that separated did not

work, there was no connection, there was no

force, so now I did ask them to

get together a little more, but the mission

was that Guille was sitting on one point,

raised his hand, I explained to them as

you are seeing now clearly, how he wanted

Guille's back to work or be, and how

he wanted her to raise her hand, for

example, and at the same time his hand

that was going to look for her, that

is, he was going to try to get

that connection.

In addition, I was also concerned, of course,

that the hands or the union of the

hands was perfectly captured between that slot of

the stairs, that metal strip or that little

hole, so that the hands would breathe quietly,

and as you are seeing, in this case

I raised the camera a little more than

me, to try to make the frame as

perfect as possible, because you already know that

I have many manias as a photographer, but

one of the main ones is that I

don't like to shoot like this, I mean,

I always like to shoot in a straight

angle, I mean, I prefer to go up

or down like this with the camera, but

always be in a completely straight angle, they

are just manias, but for my understanding I

think that the composition does not work, and

at the moment we are working with a

35mm, for example, at the moment we are

doing this or we are doing just the

opposite, the lines, as you well know, are

going to open or close, and that does

not convince me, ok?

I don't tell you if you are working

with a 24mm, that is already the absolute

mess, and for me, in my opinion, the

image...

no, better than no qualifiers, right?

Ok, once I more or less did that,

sorry, I controlled the light a lot, which

is also important, and as you can see,

the light came from up to down, clearly,

it is such a soft light, but so

enveloping that it works perfectly, and it is

that, take a look, it even seems that

a flash would have bounced on one of

the metal sides because the light works perfectly.

Ok, we keep shooting, we keep working a

little, and right next to it there was

a building that looked like a wavy potato,

but made of glass or metacrylate, right?

And it was completely full of reflections, so

it seemed interesting to me to do the

following, hit the target as much as possible

to try to capture those reflections, that diffraction

of the crystals, ask Erika, and now yes,

to help me with a light blow, with

a flash blow.

Why?

Because the light, notice that it is very

basic, very, very flat, so you can shoot

just like that, but there is not going

to be that light blow, that intensity, that

point that we want to send to the

spectator that is fixed there, do you understand

me?

So that's where the flash comes from, right?

Also, I imagined that maybe adding that flash

blow, the couple would go up, as it

was logical, and maybe I could have it

reflected in the wavy potato, in the crystal,

do you understand what I mean?

Well, as you can see, the result is

very simple, very basic, but at that time

I thought it could be interesting, now I

also think so, but well, the result, as

you can see, is quite basic.

We are going to go now for an

image that I thought could be interesting, like

the previous one, but you are going to

see that I was wrong.

If I also show you my mistakes, it

is so that you can see them, so

that you can see that I am wrong,

and as I have already told you, the

mistake is part of the learning, so we

went to a kind of huge staircase, I

was inspired by a photo of Jeff Newsom,

but from a lot of years ago, in

which Jeff Newsom proposed to a couple to

go up to a kind of windmill, and

I tried to simulate that, I felt inspired,

and I thought that such a long staircase

could work for me, so simple as I

asked Guille to go up, and I asked

Leti to go up behind, and simply that

it was Guille who seemed to be helping

him to go up.

My idea was to try to get a

perfect silhouette against the sky, I tried to

make it clear to them that they would

not touch each other, and that Guille would

try to help him to go up, and

I would create that.

Of course, I threw myself to the ground

like a madman to force or to hide,

or to get a completely Martian perspective, completely

different, and that's when I captured this.

Of course, the photo doesn't work, why doesn't

this image work?

Because to begin with, the masses of the

bodies are so close to the staircase that

it doesn't work perfectly.

Also, the perspective is not perfect, it doesn't

work, even though I threw myself, even though

I try not to show the ground, but

notice that Leti doesn't breathe, I mean, Leti's

body is so close to the bottom of

the image that it doesn't work.

I assure you that I tried, I assure

you that I threw myself here, I threw

myself there, I put the camera here, I

changed the lens, I tried this, I tried

the other, and I thought again, I asked

the couple to go up again, to go

down again, but it didn't work, it didn't

work as many times, but I had to

try it, and that's why I wanted to

show it to you, and above all, I

also wanted to show you the criticism towards

one of my images, and why it doesn't

work.

As is obvious, I published this session two

weeks ago on Instagram, and as you know,

you can only watch it, I didn't publish

this image.

To publish only the good, to be hard

with yourself, demanding like the worst of your

judges with your work, and to publish the

best of you, do you understand?

These things remain in the inkwell as part

of our exercise, as photographers, as artists, but

as is normal, we have to be prepared

to screw it up.

And as the last image of all, I

had some stairs over there, right next to

it, and I thought it was super interesting

to play with them.

I first asked Guille to lie down, and

simply Lety to go down.

My intention was just to capture, as you

can see, Guille's body, for example, lying on

the floor, and Lety going down.

I mean, I would capture only half of

Guille's body lying down, and the other half

of Lety's legs going down, walking.

That was the first idea I had, and

well, I was starting to find it more

or less attractive that there were only some

of her legs, only part of his body,

so I understood that it was more or

less good, but it wasn't to my total

liking, because it didn't convince me, or it

was a resource that I had already used

before.

So I asked Guille to go up now,

I mean, I changed the register completely, so

then I asked Lety to stand in front

of me, and Guille right above.

My intention was to capture him almost completely

in backlight, to see clearly the human body,

with a super masculine position, and always looking

a little to the front and a little

more up, so that the human body, the

boy's body, was perfectly defined.

And that's when I had the idea, or

I was directing it to him, it was

when I told her to stand in front

of me.

The initial idea was simply for Lety to

look down a little, and to play, for

example, with her hands.

There I screwed up again, I messed up

again, because simply because I had told her

to look down and that I hadn't done

anything.

Yes, only with that it would have been

perfect, but the mistake, perhaps, is that I

asked her to put her hand here.

That's too much of a model, too much

of fashion or beauty, and then, to my

liking, it makes the image take on a

more editorial value than a couple's session.

Do you understand where I'm going?

So, that's it.

I mean, I repeated several times, as I

was working with Tilt-Shift, I had to

work manually, I had to focus everything well,

as I wanted, and that's when I shot

a lot of bursts, until finally the image

was, as you can see, more or less

like this.

I could have perfected it more, I could

have done it better, but this was the

image.

In fact, I like it, and in fact,

as you have seen, I published it on

my Instagram, because I thought it was a

good way to finish the gallery.

So, this was the off-camera session.

This was the second part, I mean.

So, well, I hope you liked it.

For me, the first part, I mean, the

first part of this video, in which you

see me playing with the light, I think

it's quite interesting, and it's a good way

to explain to you how in a square

meter, a photographer can move and be bright.

And in fact, there was a photographer who

is already retired, from my city, who was

one of the people who helped me grow

and everything, and what he told me, he

told me, fuck, Lax, he said, what I

like about you is that you can get

to a room of a girlfriend, of a

house of the year La Polca, in which

you don't have more than a square meter

to play, and you know how to get

oil, which I'm not capable of.

And that's one of the things that I've

kept, and that some colleagues have told me,

like, the more complicated the space is, the

less resources you can get, sometimes, in this

case, the more comfortable I find myself, and

the more ideas I find.

It's also true, all this depends on the

place where we grew up.

I come from a region, which is almost

a whole desert, and in the city where

I live, you know I call it Mordor,

because there's nothing there.

It's the city, and you leave it, and

it's a paramount.

So, both me and other photographers from my

city, has forced us to take a step

forward and try to find incredible ideas, sometimes,

from where they can't be obtained.

Of course, if I had grown up in

Paris, or in Barcelona, or in New York,

maybe it wouldn't be like this, or I

wouldn't be the photographer I am now, you

know?

Well, I'm not going to talk anymore, because

if I do, I'm going to start talking

nonsense, and I'm going to say nonsense at

the end.

So, I want to leave it here.

That's it, friends.

I hope you liked it.

Be good.

This month that we've just started, I wish

you the best possible.

It's a super important month for the rest

of the year, for us, at least for

Europeans, or for those of us who are

about to start, in a few months, the

summer, and the wedding season.

So, let's touch wood, and may God give

us luck.

See you next time, friends!