All language subtitles for Episode 58º Off Camera Bea Dani (part 1)

Hello friends, how are you?

How are things going?

Welcome to a new chapter.

In today's video I want to talk to

you about a session that Erika and I

did a few days ago in Zaragoza, specifically

in a place called Expo 2008.

It is a place that many couples, or

often couples from my city or the environment,

when they want a pre-wedding session, they

usually ask or they usually tell us that

they would love to go there and well,

take a few photos.

Of course, I must say that at Expo

2008, or the environment in which you are

going to see, in which we photograph, you

have seen a multitude of sessions and the

truth is that when I started as a

wedding photographer, in the place you are going

to see, I practically went every Saturday.

In other words, I finished the ceremony, whether

it was civil or religious, I assure you

that with all the couples we went there

because it was something that they wanted, it

was like the modern part of Zaragoza, so

we went there.

Of course, after visiting it so many times,

believe me, it is complicated as hell to

go to a place like that and find

it attractive.

So I had to say that because it

is a complication that comes with me.

I mean, it may not be for you,

that when you see this whole place you

will say, fuck, how interesting and all these

things, but for me, getting there and getting

something different, believe me, it was not easy.

Okay, I won't get involved anymore and what

I want to tell you is that, like

everyone, off cameras, what you are going to

see is a couple of videos, it is

a first video that you are watching and

a second that you will see in a

very short time, okay?

Where I would like to start is with

this image, the first of all, and it

is an image that, as you are seeing,

before I explain how it was done, I

want to talk about the location, right?

It is a location that is apparently very,

very interesting, that is all full of letters

and my idea was to say, okay, between

the gap of one of those letters I

have to fit the couple.

In that case, I think I decided to

fit them between a letter U or a

letter O, in which, in the circle, they

were just there and it is simply to

work.

Of course, what I thought, okay, which side

do I decide to put them on?

I mean, with the light in my favor

or the light against it?

Of course, then I thought, okay, to create

something more abstract, less obvious and that seems

super crazy, I should do it against it.

If I do it against it, the couple

will be totally against it and there will

be no perfect definition of them, so I

have to use a flash, right?

I have to place a flash, normally, as

was the case, but as in almost all

cases, 45 degrees and in the case that

I decided to place it above.

Why above?

Because it is the most natural way to

hide the flash.

As we all know, the sunlight always comes

from above, right?

So I also want the flash to come

from above and I always place it at

a position of about 45 degrees.

You see that I do not have any

diffuser or anything, I just put a grid

to condense the light and that it was

directly for the couple.

If we talk about power, from experience I

know that when we use a hand flash,

as in the case of a Nikon, the

SB910 or something like that, I already know

that I have to use the power, I

mean, to a medium or 1 to 1,

do you understand me?

With which, I already know it almost by

experience, right?

So I put it, I put this power

and what worries me, okay?

As a note, normally for portraits I usually

use, as you know, a 45mm or sometimes

35mm, but using a 20mm is not a

focal length that I usually use, except in

very strange cases, except in this one, right?

That is, when I want to make everything

more deformed, I want the letters to seem

bigger than they are, and the couple can

fit between the letter that I had decided

to copy.

Therefore, using a 20mm, I use it to

exaggerate everything more, okay?

In other words, it is not about making

portraits just because, but it is about giving

it a totally double focus, and taking advantage

of the error that the 20mm has, I

mean, the deformation.

If we talk about posing, I mean, if

we talk about how to direct the couple,

the truth is that in this photo I

did not complicate almost anything, I just told

them that, well, that the back of Bea,

for example, was to lean a little on

Dani's chest, very little, and that they would

just try to put their heads together a

little, on the one hand, and nothing else.

I just wanted that, right?

That is, that both of them, at least,

were a little together, that they would show

a little connection, for example, between them, so

that the photo would be, in quotes, a

little more romantic, you know what I mean?

And that's it.

I did not complicate my life so much

in telling them to play more with their

hands, I just told Bea, as you can

see, to move her hair a little to

give her a little more strength in what

is the body language that she refers to,

so that the photo was something better in

what pose she refers to, and that's where

the story ends, right?

As I had told you, the enclosure where

I am has enormous possibilities, it has a

lot of, well, of buildings, of lines to

play, I mean, white buildings, colored buildings, with

which I had more possibilities, but remember that

in my head I was in not using

or not taking photos that I had already

taken previously, well, in other reports, right?

So, as soon as we finished with this,

I remember that we walked a few meters,

very few meters, and I realized that there

was a kind of, like, I mean, a

building simply projected a kind of, well, a

kind of square of light on the same

floor, and the truth is that the idea

is very crazy, but it seemed interesting to

me, right?

I say, well, well, taking advantage of these

little squares of light on the floor, I'm

going to ask them to lie down, and

I'm going to worry that Bea is in

one of those little squares of light, and

then, well, I'm going to worry that he,

I mean, that Dani is also in one

of those little squares, right?

So, first, so I made them explain well

this real madness that I had in my

head, so that they would understand me, in

quotation marks, and so that they would place

themselves, well, as it was due.

Of course, in the previous photo, I had

used a 20mm, but now a 20mm, as

it is obvious, no, I mean, I wanted

to close everything and not show more than

necessary, you understand me?

I mean, that's where the 45 comes from,

and also, as extensive, to hide that, in

quotation marks, because we were already taking pictures

in such an ugly place as the floor,

I decided that with the tilt shift, I

mean, blurring, I would get a little bit

to deceive the viewer, or create something less

obvious and something more interesting than really, well,

photographing on a floor, without more, right?

As you are seeing, well, that, I tried

a little bit to make that both were

connected, yes, I threw, for example, their hand,

I mean, I proposed that, well, that they

would join hands, that they were happy, all

these things, and that the light, of course,

would affect the place that it had to

affect.

As soon as I took just a couple

of steps, in the building that we had

next door, I saw that there was a

kind of, well, of a wall, super interesting,

white, immaculate, and with very, very cool geometric

shapes, so I decided that, without complicating my

life so much, without going crazy, without doing

anything from the other world, and also, if

in the previous photo I had made the

couple lie on the floor, now I was

going to do something a little more normal,

so that the couple would not think that

I was completely crazy, okay?

So I just didn't, I mean, I asked

them to stand in the right place, I

was worried that the couple was perfectly framed

in the wall that I wanted to put

them in, okay?

I mean, to stand out even more, and

if the light came from the left, it

was just so simple that I asked them

to both look to the left.

You know, or I have already told you,

like, that sometime, in my city, day yes

and day also, we have air, and sometimes

windmills, that is, it is a story that

sometimes is a piece of cake, but on

other occasions it helps that the photos come

out better, right?

I mean, that's why I told both him

and her to look to one side, I

mean, to the left, to the light, so

that their faces would light up well, and

the air was coming just in that direction,

with which Bea's hair, for example, began to

move, which, well, gives me a certain naturalness

to what photography is.

And at first, the idea was that they

only looked to one side, to the left,

but the image was like too static, right?

So then, what I asked them to do

was to start playing with the hat, that

is, to take it off Bea and put

it on again, to take it off and

put it on again, and when he put

it on, he wanted her to raise her

chin a little so that her chin would

rise above Dani's head, for example, and so

that the composition between the two bodies, his

and hers, would work, and, in quotes, in

one of those, when the hat was taken

off, and he took it off and put

it on again, I was pah-pah-pah

-pah-pah-pah, until, praying that in one

of those, something like that would come out,

right?

And finally, I would like to talk to

you about one of the most interesting images

of the session, and it also has interesting

things that I would like to tell you,

right?

First of all, as almost always in my

photos, notice that it is a very, very

normal place, or very, very basic, or apparently

without any kind of charm, right?

I mean, it is the typical place, you

pass by there, and you don't realize that

there you could have, or have possibilities of

making a very good image, right?

What I liked was that, in a way,

it looked like a broken advertising poster.

I thought that it might be interesting to

play with the couple totally separately.

You see that you have, or you see

that they can be seen, for example, by

different lines, both vertically and horizontally, and those

lines projected super interesting shadows that form like

this, as you are seeing, right?

So I thought that this could be something

interesting to play with.

I also thought that there were, for example,

elements like the floor, that I was not

going to need.

In fact, I was going to be working

all the time, always trying to eliminate the

floor.

Why?

Because, as you are seeing, if I keep

it, that is, if I keep the floor

in the final image, everything is too obvious.

The moment I no longer show the floor,

as you will have heard me speak a

multitude of times, the image begins to be

less obvious, and what you see seems to

be infinite, right?

Because below we cannot see what is there,

neither above, nor on the right, nor on

the left, right?

It's like an image that is completely open,

and the viewer can not imagine if below

is close to the ground, or if above

is not ...

Well, I think you understand me, right?

Of course, the next thing was just to

think, okay, I'm going to put her on

the lower left side, and I'm going to

try to ask Dani to go up one

of those squares to create a more interesting

interaction.

So, we help Dani to go up, okay?

You see that it was a bit complicated,

but, well, in the end he went up

perfectly, and once I had him up, I

was worried that his body, especially his legs

with his feet, would not touch any of

those master lines, and I explained to him

clearly that it was super important how he

should place his foot, how he should move,

and that at no time he should move

a little more, because otherwise it would break

the composition, right?

So then, when I had them more or

less, I started to shoot, right?

Of course, I told him and her to

look to the left, to the side where

the light always came, because thanks to that,

the whole image would work much better, right?

I started to see that the concept was

too much, or the resulting image, was a

little basic, so in one of those, I

asked her again, that is, to throw up

the damn hat to try to create something

more interesting with the photo, I mean, to

create a little movement, because if not, sometimes,

when we tell a couple to stay looking,

for example, at the horizon, sometimes everything is

very static, right?

It seems that you say, damn, I do

not contribute anything new, right?

Or the image is too soft.

So then, that is one of the reasons,

right?

If they had taken a scarf, I would

have said that I would have moved it,

or a handkerchief, or a scarf, or whatever

it was, I would have tried to play

with that, right?

As I had, for example, a hat, we

only played with the hat, and this was

the result.

Of course, the truth is that I was

not entirely convinced, because in one of the

images, I had already asked her to play

with the hat, with which I was in

doubt, and then I completely changed the concept.

I left Dani in the same place as

I was, because really, going up and down

was a bit complicated, and I already told

her to come closer.

And I was already worried that she was

in ...

I mean, that she would come forward, and

that she would be perfectly fit in one

of those little squares, and I already started

playing with her, both with the hat, I

asked her to put it on, to show

me her eyes, to take it off, to

show me, for example, the poison, I mean,

I was playing with different types of options

to try to see how I could get

something totally different from the previous one, although

the truth is that after seeing all the

results, or all the options that I tried

to play, the one that I stayed with,

well, I think the most interesting one could

be this one, it's the one with Bea

throwing the hat, which, although it's a bit

similar to the previous one, but well, I

think it's the one that has the most

strength, and the one that can arouse the

most interest.

What I wanted to show you were these

four images, so that you could see a

little bit that, despite the difference between them,

the most important thing was to know how

to control the light, whether it's artificial or

natural, and above all, to direct them, right?

And of course, in addition to playing with

the environment, in addition to playing with places

that apparently didn't have any interest, or places

that did have it, as was, for example,

the case of this image, but my mission

was that, it was to explain to you

a little bit how, well, how to get

involved in places that we've already visited so

many times, and then how to get involved

with light, whether it's natural or artificial, right?

So, that's all, I hope you liked it,

see you very soon with the second part,

you'll see that it has even more interesting

photos than these.

Be good, until next time.

Que orden!