All language subtitles for Episode 66º Patreon Pupurri (talk about photography)

We are there, we are recording, everything is

going well, I am framed there, I hope

so.

Well, out of nonsense, friends, I hope everything

goes as best as possible.

Here we are, after almost a week of

having arrived from Colombia, I am already starting

to position myself correctly and start organizing everything.

The truth is that I came from Colombia

with a huge upload and they already told

me about this, that it was possible that

it would happen to me.

I came, I mean, after having worked, after

having taught workshops, one-to-one, sessions, blah

blah blah, until a wedding.

Suddenly I arrive here in Spain, happy, happy,

healthy, with money, with work to publish, and

suddenly I arrive in Spain, and on Monday

a wedding is postponed, and on Tuesday another

new wedding is postponed.

I mean, they are weddings from last year,

they had to have been held at the

beginning of this year, specifically one in June,

and well, it has been postponed or they

want to postpone it.

I am already starting to be a little,

although it sounds strange, a little tired of

all these things, right?

And the other wedding that wants to be

postponed is in September, which was already from

last year, it was postponed for this year

in September, and they want to postpone it

for next year.

Well, of course, that September wedding, if they

want to renew it, they will have to

pay a full bail, right?

But that's how we are, right?

The truth is that, as I was saying,

I have a good friend named Víctor, Víctor

de Marcos Rojo, he is constantly in the

movement, well, always, well, in the last few

months, sorry, he has gone to Latin America

on several occasions, to hold weddings, of course,

and he has already told me, he says,

man, it is to leave Spain and go

to America and start working, go back to

Europe, and it is a disaster, right?

But hey, let's see, let's see what happens,

I am positive with the issue of vaccination,

this year I think it will be a

year of survival, that is, literally, everything that

each of us who get hooked, be it

communion, be it baptisms, be it whatever it

is, it will be money that will come

to us perfect, I don't know about you,

but it is very likely for me that

the matter will go around this year, right?

But hey, having said all this, we are

not going to talk, as always, about penalties,

because for penalties I think that each one

of us already has ours, right?

So it's not a plan, right?

I would like to ask you a question,

right?

Have you ever wondered why, when you are

watching, for example, the work of a photographer,

whether it is wedding or not, right?

Have you ever stopped to ask yourself, and

why the photographer or the photographer sees his

last report and says, but how can he

have so much capacity, so much capacity to

be able to have or capture so many

good photos in such a short period of

time?

If, for example, a wedding photographer, right?

You say, fuck, how can it be, right?

You see the last photographed wedding of that

team of photographers or that photographer and you

say, it can't be, man.

I mean, in a wedding, 15, 20 photos

have been taken that are good, and I,

why not?

Why don't I take that out, right?

I mean, what happens to me?

What happens so that others do that and

I don't do it?

I think there are two types of reasons

why we feel amazed or we are struck

by the work of those people, and the

two reasons are because, one, maybe that photographer

is a genius, it can happen, although the

truth is that in the world there are

very few geniuses, and in photography, as is

the case, the same thing happens, right?

I don't know how many geniuses there may

be today, but I'm sure not many, okay?

And there is another second reason why we

can think that that photographer or that photographer

has an overwhelming job, right?

And the reason is because that photographer follows

some patterns or is constantly looking for a

type of elements that help him get incredible

images.

I mean, that second group in which I

could include myself, right?

Although it was egocentrism, right?

But I mean, I'm not a super talented

photographer, I'm not a genius photographer, much less,

but a photographer who at least has a

clear idea of what elements I need to

be able to get images that come out

of the ordinary, and consequently I don't stop

going around those elements constantly to try to

repeat that set of patterns as many times

as possible so that in the end everything

stands out.

I mean, there may be photographers who rely

on a certain type of light, whether it

is hard or soft, to get to the

type of photography so special that they have,

or there may be other types of photographers

who rely on geometric elements, or it may

not be geometric elements, or it may happen

that there are photographers who stop at a

certain time, I mean, if that moment has

been captured a few seconds before from the

main moment or a few seconds later, creating

that halo of mysticism, of non-obviousness, of

transition photos that we have mentioned so many

times, there may be other types of photographers

who, whether they tend to capture moments or

not, always try to get balanced images, both

on one side of the photograph and on

the other, in short, getting super complex images.

Notice that when we talk about complex images

we could already talk about photojournalism.

There are photographers who have the ease of

being able to face 5, 6, 7, 8

people and make those people fit perfectly and

create a unique atmosphere.

There are photographers who, as I have already

said, are very good at that type of

image and there are others, in my case,

that I find a little more expensive, but,

in short, that's what all this is about,

that each of us knows what our strengths

are and our weaknesses, and enhance those strengths

so that our photograph goes up.

Of course, if none of us have stopped

to think, with a coffee, with a tea,

with a cigarette, with whatever, who are we?

What kind of light is the light that

we feel attractive?

What kind of light is attractive to us?

Do we want to make portraits?

Do we want to pose?

If they are poses, what kind of poses?

What kind of light?

If they are real moments, what kind of

real moments?

That has to be thought about.

As each photographer has its rules, as I

have told you, try to repeat them, or

find them in the greatest number of occasions

to try to capture the greatest possible number

of good or interesting photos.

I always say, what is the difference between

a brilliant photographer, a photographer who is understood

as good, and a not so good photographer,

a medium photographer?

What is the main difference?

The difference for me, in my opinion, is

that the good photographer, the good photographer, one,

has temperance, two, looks for the lens and

never looks through the eyes, that is to

say, when he looks through the lens, through

the lens, what he clearly looks at are

the extremes, both upper left and right, or

the lower extreme, left or right, all that

frame, everything works correctly.

What do I mean by this?

That the good photographer, in 0.001 seconds,

analyzes the frame, analyzes all extremes, up, down,

right, left, and sees that all those people,

elements, whatever, are fitting, that is to say,

they are fitting perfectly.

The good photographer is the one who does

not shake his wrist, has temperance, breathes deeply,

and says, until everything is fine, I do

not press the button.

The not so good photographer, so to speak,

gets nervous, takes over everything, knows perfectly well

that that photograph is not good, but presses

the button, and gets carried away by the

anxieties of the moment.

That is the damn fucking difference, gentlemen, between

one and the other, believe me, it is

like that.

This quote is very basic for today's video.

Constantly analyze the extremes of the image, left,

right, up, down, and when everything is aligned,

then press the button.

Listen to me, and I say this because

in the last workshop that I did in

Colombia, and it is not because Colombians are

not good photographers, precisely Colombia may be one

of those countries in the world with a

super high average level, but all over the

world, both in Colombia, Brazil, Spain, Ecuador, Mexico

or the United States, photographers usually make almost

always those same mistakes, and those mistakes are

that photographers do not read the extremes, up,

down, left, right.

So, that.

Just to finish a little bit, I would

like to analyze only three images very quickly

so you can see a little bit of

what I'm talking about and put a little

bit into practice.

Let's see this first image that I'm showing

you now.

Notice that many images have been shot, but

I was clear first what was the weight

of the image, which was the mirror, for

me the mirror or the reflection of what

was right next to me, but we can't

see it, but we can see it, in

the background that made it easier for me,

but the important thing is that I want

you to see how the girl on the

right is fitted to the limit, but with

the one on the left the same thing

happens.

But notice that below, the cut is working

perfectly, and I was worried that it would

not mutilate the girl's elbow, which is all

excited, or the arm on which it rests

on the table.

That was essential, but notice that above, I

was worried that obviously that reflection would come

out perfectly and it would not crop.

Do you understand me or not?

That is the damn fucking difference between having

done things right or wrong, and I stood

at the point that I believed, and from

there I did not move until I assumed

that I had that photograph more or less

well.

The same happens with this image.

When they were, for example, both a boy

and another hugging, which was when the ceremony

ended, not only did I worry that those

two boys would fit perfectly in that imaginary

frame of the two columns, but I was

worried that the image, sorry, that the people

who were up were perfectly, to the right

too, and to the left too, because both,

that is, those three points, up, left and

right, were fundamental to me.

And notice that the cuts are maintained at

all times, because that had to be respected,

so that the reading of the image would

work perfectly.

I mean, why does everyone applaud?

For the hug.

What happens when they hug?

I mean, what happens when the couple hugs?

People applaud, so there has to be double

reading, the balance between what is above, left

and right, with what happens in the center,

which is the subject, which is the action

of the photograph.

And it's not just about photographing or capturing

real moments, it can also be a pose.

As you can see, the limit on the

left, the boy looking out the window, works

perfectly, is illuminated, and the girl who is

on the right, above, upper right, is right

in the moment.

Do you understand?

Why does this image work?

Well, for several reasons.

One of the main ones is because the

light that is hitting the boy on the

left, works perfectly, the composition works, because we

have an element on the left, on the

right we have the bride coming down, also

illuminated.

Oh, by the way, without light sources, that

can be seen, I mean, there are no

windows, okay?

And finally, why is it special?

Or I think it's special, or it has

a point of interest, or it's attractive.

Because the bride, or sorry, because the bride's

foot hasn't stepped yet, hasn't stepped on the

ground, on the platform, on the ladder, do

you understand me or not?

That means that the action is not finished.

If it had already stepped, that already, the

action is already done, everything, right?

But notice that it is super important to

capture that precise moment, the moment before something

happens.

So, having said this, I hope you have

explained it well to me.

And well, and this video, I mean, it's

like it goes into that set of videos,

of very direct tips, in which I have

seen lately, that you are liking it a

lot, more than the off-cameras, and in

fact, there have already been several colleagues, like

Mario Setien, in which he wrote to me

to tell me, hey man, I like these

videos in which you throw a tip, you

explain it quickly, more or less you explain

yourself well, and I like it, right?

And they can be applied quickly to what

we do.

I told him, ah, damn it, but it's

not easy at all, believe me, to create

interesting videos constantly, even though the origin, I

mean, when I record a video, I want

to surprise you, but as it is logical,

some videos you like more, and some videos,

well, you may like a little less, or

not as much as the previous ones, but

believe me, I always put everything in the

pan to try to please, and sometimes you

don't know where to throw, because when you

think that a video is going to work

a lot, it almost doesn't receive feedback, and

when you launch a video that you say,

well, I hope you like this video, I'm

not very sure, that video ends up winning,

right?

So, well, I mean, I feel your pressure,

bastards, I try to give the maximum, I

try to give the best of me, I

hope you liked this video, if not, you

can't do anything else, okay?

So, well, I won't entertain myself anymore, I

hope you liked it, I hope it helps

you, trust me, listen to me, that this

works.

Until next time!