All language subtitles for Episode 83º Patreon Workflow

Hello friends, how are you?

How are things going?

Hello, how are you?

Today I'm here.

Well, as you can see here, today they

are all news and I'm going to tell

you a little bit about why they are

news.

One, because as you can see, we are

in a place that is not usually the

place where we record ourselves, because, well, the

truth is that we have a month ahead

with many little things, weddings, with some other

workshop and they are almost always outside of

Spain and you catch us at this time

recording this video outside of Spain on a

couple of sofas that it seems that Erika

still stands up, but mine has come down.

As they say.

And well, we have tried to clean the

background a bit because they were old paintings,

you know, to take care of the aesthetics

a little bit, but as you can see,

I'm on a sofa, as I tell you,

a little bit down, okay?

Well, we're going to get a little bit

into it.

And one of the news is because, well,

Erika is with me today and the reason

for all this is because a little while

ago, a week ago, I launched a small

survey or a question in which I said

that if you had or if any of

you had any idea or would like to

hear a specific topic and the truth is

that there were quite a few people who

spoke or who would like to know what

was the workflow or what is our workflow

from the moment we photograph a session or

a wedding in this case, we get home

with the cards, both Erika and mine, and

then what happens next?

And there was also another group of photographers

or colleagues who asked how we make an

album, how we design an album and this

is one of the reasons why Erika is

here because, as you are going to see

now, from the moment the cards arrive at

home or from the moment we arrive at

home until we deliver the final product, what

happens is that Erika has a role at

work and I have a role at work

and that's why we're going to share with

you both what Erika does and what I

do and try to explain to you as

best as possible.

If we make a mistake, please forgive us

because it is the first time that we

get together like this in front of a

camera on a couple of old sofas in

a hotel room, so if it doesn't work

out perfectly, please be patient, okay?

So we started and the first thing we're

going to do is when we arrive with

the cards, just to download them, it's already

a personal habit of mine, we're going to

make a backup on the same computer in

which we're going to select them, another backup

on an external disk, another backup on a

small disk like the one I have here,

in which we always take everything with us,

everything that has not been delivered, and another

backup on a much larger disk, and another

backup, that is, that fourth backup that always

goes in the cloud in case something happens.

I mean, finally, when we have delivered all

the work, we only have the material on

an external hard drive, not on the small

one, and in the cloud, and that's it.

But at the moment we are working on

them, we even have, as I have told

you, four copies, because we never trust what

may happen.

Once we have downloaded both in Erika's folder

and in my folder, I'm going to be

in charge of selecting them all, selecting each

one, both hers and mine.

Once I've selected them, I'm going to edit

them.

Why me?

For the reasons that Erika knows perfectly well

how to edit them, but each photographer, as

you well know, has a different way of

editing.

That's why I prefer to do them myself,

because then they all have the same aesthetics,

with the same values, with the same colorimetry,

and in the end, when they all come

together, they have a better appearance.

Because sometimes we have tried to edit separately,

and in the end, what has happened is

that we have lost time, because Víctor had

to re-rectify my photos, because the color

was not exact, or there were differences, so

we decided that for the flow of work

to be faster, that each one would take

roles, and that we would give each other

the confidence to say, take my photos, I

know you're going to do it well.

And then, once I've selected them, I've edited

them, more or less, Erika will shoot 4

or 5,000 photos, I'll shoot 6 or

7,000 for a wedding, depending on the

wedding, and we end up with, in the

last wedding, for example, 700 or 800 images.

That's when I give her the 800 images,

and what's next?

Now comes the slide, I take those 800

photos, well, there's a video where everything is

explained extensively, I think it's one of the

first videos on Patreon.

What she's saying is that there's a video

she created at the beginning of Patreon, where

she explains how...

How to make a slide, all the details,

I'm not going to explain all that, but

the idea is that Víctor gives me those

800 photos, I do a pre-selection of

about 100, 100 and something, and what we

try to do is to make those 100

photos our essence, like our seal, Víctor La.

And then, with those 100, or it depends

on the slide, if I need more, I

make a second selection with others to implement

the slide.

And that's it, in the end I use

about 100, 150, and those 100, 100, 150,

are my first selection to make the album.

But wait a second, okay?

Yes.

So, once it's delivered, for example, for the

slideshow, I mean, once edited, selected, edited, I

give her the 700, 800 images, she prepares

the slideshow, 100, 150, a maximum of 200

photos, the slideshow is delivered at that moment

to the couple, to the days, because we

already have...

Four days or five days.

Edited, all the photos are delivered to that

gallery as well.

I mean, slideshow and gallery.

We've already collected all the work, that's when

we deliver all that first package.

Okay?

What's next is to prepare the album.

I'm going to introduce a little bit, and

Erika will highlight a few things, okay?

We always design the album, in this case,

for example, Erika, and we always explain to

the couple...

Why.

Yes, why we design it.

They, remember that they already have all the

photos in their power, but we always ask,

from the first interview, that they trust us

to make that album.

Obviously, if they want to change some image

of that album, they can do it, we

will explain now how Erika tries to get

it right, so that there are not so

few possible changes, and that's when Erika starts

designing.

There was someone, Erika, who asked, why do

you get it right, or why do we

almost never make mistakes when designing an album?

I think that what makes it easy for

us to make sure that there are no

changes, is that we study the couple a

lot before making the album.

Both the previous interviews, during the wedding, we

locate very well who are their best friends,

who is the family, who are those close

people.

All that is already internalized, and it helps

us a lot to make it easier to

make the album.

Another thing that Víctor said, which is very

important, is that the couple already has all

the photos, so I feel free to design

the album as I want, because they already

know that there are more photos, of the

180 photos that I'm going to present in

the album.

So for me, it's easy to have that

freedom to say, well, I'm going to risk

it, I'm going to try to keep putting

those photos that we like, I'm always going

to give that moment to put a family

photo, or something more conservative, because we also

understand that for each product there is a

different language.

It's not the same language that we use

to make a slideshow, that will run with

guests, that will be put on social media.

We create something like...

Like for all audiences.

Exactly, like for all audiences, that there are

no family photos, or very personal photos, that

can bother, or that we don't like other

customers to see.

But for the album, we do give up

all these things, we don't understand that the

album has to have family photos, some better,

a little more classic, or some more beauty

pose for the bride.

But...

You know that...

We have to buy our microphones.

We need a couple of microphones here.

But that's what it is, and I wanted

to add that, that we don't just think

about what...

The slideshow could be open for all audiences,

as Erika said, but the album is a

little more personalized for the couple.

For the couple in particular.

It has some tastes, and we have to

try to satisfy those tastes, not only for

them, but for us, so that there's no

more work for changes, or an unsatisfied customer,

because we haven't captured what they wanted.

I'll leave it here.

The thing is, we try to put our

photos that we like, but we also try

to put those portraits, postcards, and details.

We let ourselves be carried away by what

we know, for example, about the couple's tastes.

For example, three weeks ago, we took a

picture with a couple in the north of

Spain, in which, for them, family was extremely

important.

It's obvious that, although we understand that the

rhythm of the album is going to break,

because almost all of them are real moments,

suddenly posting a family picture or a postcard

breaks the rhythm, but we are aware that

we want to please the couple 100%.

In that case, of the wedding I mentioned,

it's more than likely that we add more

than one family picture inside the album.

Just like the last one we took in

Lleida, the bride wanted portraits at all times,

so we know that in order for the

bride to like her album perfectly, we are

going to have to include more than one

family picture for her, because it's what she

likes.

In the Slideshow, there may not be so

many because it's open to other types of

photos.

Do you understand where we are going?

How many changes can a couple make when

they ask you how many changes they can

make, for example?

Usually, we have five changes but it's understood

as five changes of photos, not five new

proposals.

We have five changes that can change five

photos if they don't like them, and another

thing that makes it easier for them to

have the gallery, we use the Pigtime platform

to send them the sketch of the album

and all they have to do is to

mark the photo and then they tell us

the number of photos in the gallery.

For example, we don't give up to make

many changes and if there is a change

that we think does not match the aesthetics

of the album or the story that we

are explaining, we communicate it to them.

We try to make them understand that what

they are proposing is not the most appropriate

or sometimes they tell you to put a

photo in color with another in black and

white and we try to convince them that

this is not the best option and that

they let us advise them and that we

are the people who normally make the albums

and we try to...

And about the five changes it's also something

a little mental because the moment you say

that you have to pay for the sixth

change and each extra change of each photo

is 20 euros so it's something...

A psychological barrier that you say, well, it's

fine or I'm going to think about the

changes because I don't want to invest more

money than I have already invested in the

whole wedding pack.

And so, believe us, everything is quite streamlined.

It's just a matter of educating the client

a little and telling them what the barriers

are just like all wedding providers have their

limits.

Photographers, I think, also have to mark a

little how far we want to go so

that everything goes well.

How many folds do our albums have?

Our albums are 40 folds, 80 pages.

No, it's 30 folds.

Yes, it's 30 folds.

No, it's 30 folds.

It's not 40 folds, it's 30.

Well, last year it was 40.

We changed it.

No, there was COVID.

Ah, well, the other one.

It's 30.

And normally it's a photo...

Wait, sorry, 30 folds, 60 pages.

So there are no doubts.

And normally a photo per page or a

maximum of two or three per fold.

We try not to have more because it's

something that we always explain to the client

that our book is not a book of

collections or of comics but it's more a

book of art where the photograph has to

breathe, has to have its space and has

to have its protagonist.

We are a little bad when it comes

to offering a huge range of possibilities with

different covers, different colors, different types of sheets.

No.

We are very classic for that.

We always work with Dreambooks Pro in a

size of about 800 more or less the

size of a sheet.

It's a sheet that's quite thick and we

always try that the cover of the album

is made of a material that is a

kind of bukan.

Yes, it's a linen.

It's like a timeless book that goes through

the years and that is not trending.

We try to transmit to the client that

it is a book of high quality and

that we try to invest in quality and

not quantity.

That is, little but very good.

And that when you see it in ten

years, don't say, wow, what a book!

Maybe it's too classic and too boring, but

we believe that in the long run or

over a period of years it's much better.

It's still good.

It's a book of an author.

It's what we try to transmit.

And in the end, couples don't ask us

for more.

They are convinced that this is the best

option.

And for us it's better because we don't

have to think or ask our supplier to

send us samples.

In the end, we make it easy for

them and easy for us.

And I don't know if we forgot something

else.

No, well, I think something we don't do

is that we don't try to include pages

when we model an album because yes, if

we include a page, it's for some reason

express or the other way around.

Sometimes couples ask us to put extra pages

because maybe we haven't included groups of families

because sometimes there are too many and the

couple asks us and if they ask us,

we do the last thing.

Do you remember Leiria?

She wanted to put a lot of families

and she wanted to put 8 groups of

families and we made her understand that it

couldn't be like that.

We couldn't put 8 images because they would

be too small and she wouldn't understand.

We explained it to her in such a

way that she said perfect, I think your

argument is perfect but put extra pages because

for me it's very important to have all

those people there.

And that's when we put 4 more folders

at a higher price and the album is

ready.

Yes, exactly, but if you want to put

more things of course you can but within

our aesthetic rules so that everything follows the

same line that we want to follow because

that album if it goes to other people

we don't want them to get a wrong

impression of our work.

We can't always satisfy the client in all

his requests we can say of course, it

can be done but I think the best

way to do what you're asking me is

this.

So, simply summarizing what comes to be two

types of language as Erika said in Slideshow

we get to live those crazy images that

are for all the audience for all the

guests of the same wedding and in the

album it's going to be a mix that

doesn't mean that in the album the best

photos won't go because it's our DNA they

already have the others in the gallery and

they've seen that there are more but they're

going to live together and it's going to

be Erika who takes care of Slideshow as

well as of all the books so that's

the flow of our work that we usually

have since we get home we download images

we select them we edit them we prepare

the Slideshow the album and it's delivered the

deadline in Slideshow it's 4 or 5 weeks

and in the album it's 2 and a

half months after the wedding I think so

because in Slideshow we upload the gallery and

in the next week we deliver the album

and the process starts a bit longer and

sometimes if they ask for changes I do

it that's it we don't forget anything this

time there are not only one head there

are two everything is fine that was all

we wanted to share it I hope we

look good in this little room I hope

we were clear I hope you liked it

see you soon in another hotel room in

the lost world greetings from Lisbon be good

and hire more weddings for next year see

you next time