Original subtitles

Friends, how are you?

How are things going?

As always, send everyone all the positive energy,

the best for you and well, and hope

that each of you are experiencing this new

situation as best as possible, hoping that you

are hiring weddings, I know what is happening,

hoping that you are photographing the largest number

of weddings possible, so as always, send you

the best and all the luck in the

world.

But hey, in today's video I would like

to talk to you about a topic that

I may have already done before, but surely,

if many of you have asked me to

return to this topic, to talk again about

this topic in question, it is because I

would not have done it well or I

would not have explained it well yet.

I'm talking about transition photos, right?

Or as we sometimes call them, no photos.

I have prepared a little chuleta because I

did not want to stop doing it wrong,

like previous videos, and I have prepared a

couple of stories to explain to me as

best as possible.

I also have a few photos here that

I am going to show you, but hey,

the first of all, what I wanted to

tell you, that is, when we photograph a

wedding, when we start photographing, or before photographing

it, I always tell Erika, please Erika, in

addition to the photos that we have to

take, I want us to focus on transition

photos, right?

I think that today, more or less, between

you and me, or between you and him

or her, or whatever, I mean, more or

less, we photograph the same photos on a

wedding day.

I mean, the grooms leave the church, from

a ceremony, they throw petals at them and

papapapa, more or less, our photos are going

to be similar depending on the perspective, depending

on the place we are in, we may

take a different photo, but more or less

we are all going to end up taking

the same photos.

I mean, a make-up, a hairdresser, the

moment of the rings, the moment, I have

already told you about the exit, the moment

of the first dance, I mean, that kind

of photos, after all, is what we all

do.

Okay, there may be a stroke of luck,

it may be that that photographer, photographer in

question, has a stroke of luck and captures

a photon, it may be that the light

that day that accompanies him and captures another

photon, and it may be that the location

is an epic location and, in short, that

photographer captures a photon.

But of course, there comes a moment when

you say, damn it, if the light does

not accompany you, if the hacienda is not

the best and you do not have that

stroke of luck, how to try to get

those photons more often, I mean, right?

I mean, and how to differentiate myself from

the rest of the colleagues who visit the

same farms, or more or less, and we

are all doing more or less the same.

And I tell you this because last night

I was correcting the portfolio of a colleague

from Holland, and believe me, when I started

to review all her photos, I said, but

this girl works like hell, what am I

going to teach her?

And I already saw it, I said, okay,

this girl, the mistake she has is that

she does not look well in the light,

that is the mistake, and two, is that

her photographs are like the rest, that is

to say, she does not enhance the transition

photos, I mean, she covers what everyone covers.

And right now, what are those transition photos,

right?

Or what are they clearly, where are those

transition photos, right?

Where, where, right?

If we went fishing, in what kind of

waters, or in what kind of sea, or

in what kind of rivers are they, where,

right?

Imagine that we have just finished what is

the getting ready, we are here, in the

preparations for the bride or groom, imagine that

they finish, okay?

Imagine that here is the ceremony, the part

as such, okay?

That is, imagine that we divide the day

into different parts, one preparation, one ceremony, okay?

What happens between preparations and ceremony?

That is, I mean, at the moment those

preparations end, or at the moment that that

ceremony is about to begin, I mean, between

those big blocks, between those big parts, what

happens there, okay?

That is, it is very typical of us

that you say, well, when all the preparations

are over, the camera goes down, you breathe,

now ceremony, no, no, no, no, it ends,

it ends getting ready, it is about to

start the ceremony, what happens there?

How is the bride going to the car?

She is walking, she goes with her mother,

she does not go with, she does not

take, that is, she is not going to

go with a car for the ceremony, but

she is going to go with a carriage

of horses, but okay, for me, what is

that transition photo?

At the moment that the bride gets on

the carriage of horses, not when she is

already in the carriage of horses, but prior

to the carriage of horses, or prior to

the moment she is in the car.

What does this mean?

That the transition photos require, need, an anticipation

on our part, we need that, to say,

okay, the bride is going to get in

a car, I am going to anticipate, I

am going to give only small clues to

the viewer of how it is going to

be set up, the bride is going to

enter or the grooms are going to enter

a church, because we are going to anticipate,

we are going to give it another perspective,

if you and I have captured the same

photos of the bride entering the church, what

do we differ in?

Only in the point of view that I

stop to say, what is going to happen

before the bride enters through that door, the

only difference is that, but it is not

that I am creative and you are not,

no, no, no, that is not why, no,

no, no, that I am the same as

you, the only thing is that I am

clear about what photos I want to fish

or what photos I want to capture and

where they reside, if we understand or not.

Look, that is, since we have started, for

example, with the wedding season, as I have

already told you, I always tell Erika, please,

in addition to the photos that we have

to take, I want you to have, for

example, this photo, because I captured Erika very

recently, no, it is, that is, it is

the groom about to enter, I want everyone

to know, but you see that the transition

photos are never obvious, they always leave room

for the interpretation of the viewer, I have

told you that it is the groom, it

is worth this photo, I have told you

that it is the groom, but it could

be anyone, if you understand me or not,

but I mean, I think it goes beyond

all that, that capturing the groom's own photo

with his mother, that we have it, we

have it the same, but why not give

it another point of view, right?

And why did I capture it, Erika?

Because she knows that not only do you

have to capture the mother with her son

entering a church, but we are going to

give it another perspective, and I think that

there also resides the magic of all this,

right?

In saying, okay, this is the moment, right?

The one of the bride or the one

of the groom entering, whatever, but we are

going to give it another perspective, right?

Maybe I can't go up to a balcony,

maybe I throw myself on the ground, maybe

I look at an element that stands out

or that makes me leave the context in

which I am, do you understand me?

In other words, you have to have that

little intention in the look and know what

you want to photograph, for that we have

to be constantly educating, as I tell you,

the look, that is, we have to know

what we want to photograph at all times,

because it is not going to hit shots,

that is, a partner said, I want to

focus this year or I want to delve

into the transition photos, perfect, I think it's

great, but you have to be consistent and

at the moment that the grooms leave a

ceremony, do not lower the camera, say, okay,

this can't stop here, this has to continue

with all this movement, okay?

Do you understand me?

Look, I would like to show you photos

so that you can see what I am

talking about and first I would like to

show you a series of images that many

of them you have already seen and to

finish this video I would like to show

you a real example of the wedding that

I photographed in Colombia of how to get

a transition photo, okay?

Look, speaking of photographs that I have taken

over a long time, okay?

I always say that and I always speak

and I always give the same example, a

girlfriend or a boyfriend have to enter and

especially the girlfriend has to enter and leave

a car at least four or five times

a day, of course, I mean the wedding,

what does this mean?

That the girlfriend is going to enter the

car when she leaves the hotel for the

ceremony, one when she leaves for the ceremony

of the ceremony for the portraits, you understand

when she arrives for the portraits and the

portraits for the farm, at least five, I

have already told you, look at all this

amount of photos that I am showing you

have been captured in those moments and the

same patterns are constantly repeated, I have already

told you where those transition photos are captured

in those previous seconds or subsequent to the

great moment, you understand me?

Obviously I have the father with the daughter

or the boyfriend and such and such all

these things but those photos before and a

car for me is a huge creative resource

because because they usually have reflections because they

usually have doors to enter and exit enter

and exit hands that open doors that is

to say all that is a breeding ground

for me perfect and to get that type

of images and that is what I always

say sometimes when they tell me joder victor

uncle how did that happen to you macho

or how can that fucking photo happen to

you I say I can't think of it

is that I follow some patterns sometimes mechanically

anticipate or delay a few seconds to play

with that spectator and ultimately get that type

of images that I need and we always

try sometimes and I like to show this

example of erika to go beyond what we

properly have to photograph I mean this photo

of erika was captured in the cocktail but

because we have to be photographing the cocktail

all the time if the cocktail may be

four skewers four guests ok we have but

we are going to get out of the

damn context that we are not going to

photograph something more than boyfriends in a cocktail

or in a reception or in that we

are not going to have a wide view

to see beyond what happens in front of

us sometimes we are blinded by always capturing

boyfriends boyfriends boyfriends boyfriends but what happens there

what happens there there are children going around

there are grandparents sitting those things that I

think are important and that is where the

essence of the wedding ultimately resides because going

back to the beginning is that photographing from

the same point the exit of a ceremony

you and I are going to have the

same fucking photo that simple but in what

I want to differentiate from you in that

when they have thrown petals I still hold

on holding on holding on holding on holding

on because the grandmother in the background may

start crying and then I have the grandmother

and I have the boyfriends with the petals

I mean I'm going to see what happens

I'm going to wait a little longer and

in short I think there is a little

bit of this I don't know if I'm

messing with you or I'm messing with you

but I have prepared a series that I

captured in Colombia and with that I will

finish and I want you to explain to

me with that better with the series it

is but I would like you to imagine

the ceremony is over everything is finished all

the families are in a garden in which

they are going to take family photos the

one in charge of doing them because it

was me and well the family photos because

you already know they are passing by people

and you take care that everything is fine

that the light is good and you start

to shoot but my dna or my concern

as a photographer is not just to say

gentlemen smile and take the typical typical fucking

family photo sorry for the whore for the

whore photo but what am I waiting for

between if I have to photograph the family

photo that seems perfect to me boom I

already know that people are going to arrive

to be placed then why not include them

that moment prior to the group photo that

moment that those people arrive we are going

to this obviously the group photo I am

going to make sure that it is perfect

I am going to do it as best

as possible but I am going to anticipate

I am going to want to photograph that

before it happens ok and I am always

going to wait waiting waiting for the group

photos for example as it happened to end

and I am going to let the boyfriends

be free and I separate little by little

I mean the first shot was the group

photo second shot when they were over that

the boyfriends were there a little bit with

their relatives if that is, I separated a

little from them, that is, as you can

see, I already put the bride among the

people among the relatives, in turn, when I

was taking group photos, I saw that on

the left there was a girl swinging on

the swing, that is, I want you to

imagine the garden with all the families waiting

to take photos, those group photos are over,

I know that the girl continues on the

swing, I continue to separate, I continue to

separate, the wedding planner arrives to tell her

what is going to happen now with the

bouquets and with all those stories, I know

that I have 5-10 seconds, I take

4-5 steps back, I include the girl

from the swing right in front of me

and I try to frame everything in its

places until I get this image, I don't

know if I explained myself well but this

image is an off moment, it is not

a moment that comes out of nowhere but

I mean I already fought for that photo,

that photo did not come by mere chance,

that photo is the product or it is

the fruit or it is the result of

having known how to wait and having known

how to say ok here I have the

boyfriends right in front of me, it has

already been finished or in the next photo

they say that it is the last one,

here I have a little group at the

minimum of change when they finish with the

family and tell me that the boyfriends are

ok, I'm going to see if I can

do this, I'm going to keep moving and

then at the minimum of what happens, something

like that the wedding planner arrives that is

going to distract them for two minutes, the

girl who is there, I go there, she

has shot, I try to include all that

to try to include or photograph a photo

that comes out of context, you understand me,

that is, it may not be a photon,

it may be, I don't know, I do

like it, it seems attractive to me, maybe

it seems attractive to me because of the

effort I take to give me or give

you the opinion and tell me if you

like it or not, it seems very normal

to you, but that's what it's about, you

understand me, that is, wanting to get something

beyond what we have in front of us

and especially when the main action is over,

the group photo, not to lower the camera

but to think now is the time to

work hard again and give my interpretation to

this wedding with my most personal look, you

understand that I think it is the only

thing that will end up differentiating us and

finally and with this I finish you have

to be prepared to screw it up to

annoy it I mean when you want to

transition you have to be prepared so that

in 99% of the cases you may

not capture anything you understand or not, that

is, they seem failures and in many of

the weddings it is frustrating because nothing is

captured, I do not know, you understand where

I am going or not, I mean, I

think it is essential to understand that you

say, okay, well, I have not achieved anything

but that 1% is the one that

is going to mark the damn difference because

you think that I am here in front

of you for that 1% you understand

or not, that is, in the end, the

constant, the constant, the constant, the constant and

from one wedding it does not come out

to the other, the other, the other, in

the end it comes out that I get

nervous, good friends, I hope you liked this,

I hope I have explained more or less

well and that I have contributed a little

more to a little more clarity to all

this jaleo of the transition photos, okay, so

nothing else friends and until next time, take

care, be happy and continue hiring weddings, bastards!