Original subtitles

Hello friends, how are things going?

Here we are, super late.

We had a wedding on Friday and a

wedding on Saturday.

The truth is that they were local weddings,

they were weddings in Zaragoza, but I am

42 years old and it is no longer

the same, right?

When I started doing weddings 10 years ago,

that the doubles were digested well.

It is also true that, without discrediting local

weddings, weddings, so to speak, international ones, or

that kind of events of several days, are

twice as complex or twice as complicated and

more tiring or more tired of working than

not two local weddings.

So, well, there we are, right?

I mean, controlling and preparing for the wedding

that is approaching next weekend.

It is a wedding in Mallorca, a wedding

of some Americans, it is going to be

held, so ...

Anxious.

But hey, in today's video I wanted to

talk to you about Flash.

Remember that I already anticipated you in the

previous chapter that I was going to talk

about Flash, and in one of the last

weddings we had the opportunity to record ourselves

a little and I thought it could be

interesting, right?

So this video is not only dedicated to

all of you, but it is also dedicated

to a German photographer named Andreas Pollock.

He has been part of Patreon since we

started, since I started a year and a

half ago, and Andreas Pollock has written to

me several times in the comments something like,

Hey, please, Victor, if you can talk about

Flash, I would appreciate it.

And in the times that I have asked

all of you some topic, always, among others,

Andreas Pollock has always told me, Flash, Flash,

Flash.

So this video is for you and for

the rest, okay?

Well, what I would like to show you

is how we work with Flash off camera,

both at the party and at dinner too,

right?

Because what I'm going to show you are

images captured at the same wedding and so

you understand how we work with Flash, okay?

To make it twice as easy for you

to understand, we have prepared a couple of

videos that Erika recorded me preparing how we

placed, for example, all the Flashes off camera

and also at the party, right?

I'm also going to show you a series

of images so that you understand everything perfectly.

Just to tell you as a clarifying note

that we are two photographers, but that does

not mean that neither do I put up

with Erika's Flash with a tripod or with

a foot, nor does Erika put up with

my Flash with a tripod, right?

Because Erika is an independent photographer and I

am an independent photographer and we form a

team, a team to photograph or capture the

best photos for our clients.

But I want to make it clear, Erika

is not the assistant, nor am I her

assistant, okay?

We are going to get into the subject

and what I would like to show you

first of all is the place where the

couple had dinner with their guests.

I have to say that it was a

very small wedding of 18 guests plus the

couple, that is, there were a total of

20 people and the photographers, two more, so

a total of 22, okay?

So this was the place where they were

going to have dinner.

What we first understood was that the artificial

light that was there was a lamp light

that gives a warm tone but the light

is very, very, very flat, I mean, it

is not an attractive light.

Obviously, you can turn up the flash as

far as we want.

Both Erika and I have cameras that give

to turn up the flash to limits that

we do not even know, right?

But I am in favor of everything that

goes up to 4000, even if we have

the Nikon D5 or the 850, which yes,

I already know that you can go up

to, I do not know how much, right?

But no, I do not conceive that of

going up ISO and that's it.

Even if we go up ISO, the light

is still as flat, right?

And I always say, why do we use

flash?

It is not about putting the flash because

there is no light, no, no, no, it

is not that, if there is no light,

then there is no photo, that is clear.

I say, we use the flash to create

an interesting light, nothing else, let's forget about

it, right?

So we had, as I say, the enclosure

that I am showing you in which, well,

it is very beautiful, but we already knew

that the moment all the people sat down,

the light on their faces would not be

interesting, so it would be necessary.

Of course, as I have already told you,

I did not want to have Erika working,

that is to say, Erika holding a vertigo,

or a shadow, or a flash, lighting me

up.

I wanted Erika to keep shooting and I

would keep shooting, that is to say, we

are autonomous photographers, independent, so our way of

working in these situations, for example, in this

place, that although it has some arches that

can be seen from the outside, above there

was a ceiling, so we were going to

bounce the flash to the ceiling and the

distribution of the living room or the room

or the place where they were going to

have dinner, as you can see, it is

a white place, perfect for bouncing, and some

ceilings that would have around 3 or 4

meters.

Of course, the flash placed on top of

the camera, bouncing it to 3 or 4

meters, we are talking about a place that

is quite uncomfortable and we are going to

have to use very high powers, because the

flash has to go up, bounce and then

go down, so it is not the formula.

And also, working with two cameras or with

two bodies, with two flash mounted, we are

talking about a huge weight and it is

not comfortable to work with two cameras, or

at least for me, with two cameras with

two flashes.

So our way of working is that if

the space is a square or rectangular place,

we are going to distribute the flashes in

such a way that one flash is at

one end and the other flash is at

another end.

As you know, we work two, Erika works

the same way as me, so on each

foot there is going to be a device

that is going to hold those two flashes,

both Erika's and mine, and so each one

of us can work and we are going

to start doing it very well.

That is, each one of the feet with

two flashes, each foot is going to be

distributed just one in front of the other

so that we can work quietly.

The flash is always bounced up and never

directly, you understand me?

Why?

Because it is a white space that the

flash is going to bounce perfectly.

And in all the weddings, in all the

events we do, we work in the same

way in places like this, I mean, in

which the ceilings are a little high, it

is going to be complicated to bounce and

it is twice as easy to distribute.

It is also super easy to simply move

the feet depending on how we want to

work.

If the action is going to develop here,

we are going to move the feet or

redirect them in a super simple way in

0.1 seconds so that we do not

have any kind of problems with the light.

And I also want to show you for

example, a very clear example, a photo with

flash and another photo without flash.

In this photo without flash, obviously, even if

we raise the ISO as I have told

you before, the light is not going to

be interesting and it is going to be

as deadly as we have the flash a

thousand, two thousand, four thousand, eight thousand or

whatever we want.

There is no light that catches, there is

no interesting light and the good thing about

this is that once we have the flashes

distributed, we can move them super easily and

as you are seeing, it gives us the

same that an action happens in front of

us because we are going to capture it

well and it gives us the same that

the action happens like 10 meters beyond because

I'm going to get a camera that I

have with the 85 and I'm going to

be able to capture that because I have

both a camera and another that is, in

one camera I have the 35 in another

I have the 85 and in each of

those cameras I have a transmitter, with which

if it is necessary to work with 85

I already have the flashes mounted and I

already forget if I had the flash in

my camera with the 85 it will not

work I know it from experience it will

not end up working well and the result

will not be the same and as I

have told you, it is twice as comfortable

to work in this situation so that was

in places as you have seen indoors with

high ceilings what happens when we go out

to a party as was the case in

which there are no ceilings we are talking

about a open air space you can not

bounce anywhere, so you have to redirect the

flash and how are we going to do

it?

or you can do the flash on top

of the camera but I have already told

you that for me it is quite cumbersome

complicated and does not end up convincing me

to go with two cameras with two flashes

and all the monarchy with which, as you

are seeing I simply prepared a section of

the dance floor we always usually place the

feet near the DJ or near one of

the speakers because we already know that the

guests sometimes usually drink and they do not

usually realize that there is a flash of

course, if they throw me a foot with

the Profoto A1 they are throwing me to

the ground a thousand euros at least with

which I am going to worry that they

are always in protected situations or in protected

places, sorry so that I do not get

scared and do not get a bad vibe

of that wedding, right?

So what I'm going to do is that,

it's just like inside I was worried to

think that it was a quadrilateral and that

the flashes had to be distributed in the

right place in the party is the same

if the party I think is a quadrilateral

more or less like this about 10 by

10 meters I'm going to place them on

each side and I'm going to redirect them

to the point where the party is a

flash will always go with more power than

the other it's like we were in a

photography studio and we had to do a

children's session a session of whatever always a

light above the other, why?

so that it is more interesting so that

a light source is more powerful than the

other and the image has twice the strength

or twice the attraction of course, once I

have them mounted, it is easy to move

them depending on how the party takes place

in the places if they are close to

the disjockey all the time, it is easy

to move your feet and place them depending

on how people are both inside and outside

the powers that we usually use are always

very low because you know more natural light

more flash power in the case that we

are working at night I mean both inside

and outside the lights sorry, I explained it

wrong the flash power is going to be

minimal in the case of Erika which was

a Nikon manual flash we are talking about

a 16th 32th it would be around even

a 64th in my case the powers are

around 3 or 4 more or less in

the Profoto A1 3.5 or 4.5

maximum but well I think that every place

every wedding every location you are going to

have to use a specific power even if

I tell you what power you have to

use it was in my case the power

that I usually use in my cases so

that was the video that I wanted to

share with you because as I told you,

working with an assistant I don't see it

clear it is very illicit I have great

friends like Victor de Marcos Rojo or like

Cristian Cardona that I know and they have

an exceptional job but that way of working

with someone next to me it is impersonal

and uncomfortable and also if I ask Erika

to come to hold the flash I lose

a photographer I mean, I lose a photographer

who takes pictures and if an assistant comes

with me or with us the wedding loses

that personality that I want it to have

and I always communicate with Erika and I

would not conceive having two more people to

hold the flash but hey, those are ways

of working all legal like I know other

colleagues I don't say the name that don't

even have a flash I mean, they throw

a vase up I don't respect that but

everyone is free to do whatever they want

do you understand?

so that's the way we usually work both

outside and inside when you can't bounce or

when there are no low ceilings and you

have to use your feet which is usually

in most weddings so that's it, my friends

I'm sure I have explained myself quite badly

because when I have to talk about flash

I don't know what the hell I do

I end up messing up and I end

up saying everything wrong but hey, surely you

have learned something useful here so that's it,

my friends I hope you liked it be

good and as one said to me keep

hiring weddings, bastards see you next time