Original subtitles

Hello friends, how are you?

How are things going?

Welcome to a new episode.

As always, I wish you all the best

and hope that things are going as well

as possible.

In today's video, and to the pleasure of

many of you, I would like to talk

a little about ceremony.

And if I say ceremony, it means that

I would like to share with you how

we work, both Erika and I, a normal

and ordinary ceremony, right?

So, well, I'm going to try to express

myself or explain myself, to see if I

know everything as well as possible, and well,

and at the end of the day, tell

you how we work it.

From the bride or groom entering the ceremony,

until they finally leave.

If I say ceremony, in this particular case,

that is, in this episode, I want to

talk about religious ceremony, Christian, and the images

that I'm going to show you, or where

I'm going to support all my explanations, is

in a couple of local weddings, okay?

Specifically, in a local wedding that we photographed

very recently, on July 30th.

And if I show you this wedding, it

is because it is possible that some of

you, or many of you, have weddings in

similar places, right?

In a dark church, with a colorimetry that

is not very easy to control, and all

that set of things, well, with a parish

that sometimes, you know, that sometimes it is

complicated to work with them, and more when

we move a lot, and well, all these

things.

In addition to the wedding that I am

going to show you on July 30th, I

am going to show you other types of

images of other weddings, also from Zaragoza, specifically

the last wedding that we photographed on August

14th, so that you can see weddings of

the same style, in similar churches, and with

the same problem, okay?

So, I'm going to start talking from the

moment the bride enters, until they finally leave.

And as I say, you are going to

see photos of that wedding in question, of

which I mean, or of those weddings that

I have selected, which are always going to

be local, in the same city, and in

similar churches, okay?

So, the first thing I should tell you,

as we always work together, both Erika and

I, what one is going to do is

to be very close to the main action,

and the other a little further away.

What does that mean?

That, as in this particular wedding, Erika was

in a high position to capture that atmosphere,

or those shots that will be seen from

a perspective, as you are seeing, right?

That is, from a high shot, from the

place where, normally, well, in the past, or

the nuns who were placed to sing, or

currently the choir, the band, the violins, or

whatever is placed, right?

And while she was there, I was on

the same altar, right?

On the same altar, waiting for, for example,

the bride to arrive.

What I must say, always, always, always, always,

we are going to find out, or we

are going to know if we can go

up, or if there is a possibility of

going up.

Why?

To have a different perspective.

One of the main missions in the ceremony

is always to try to capture the greatest

number of different perspectives.

Why this?

Because, I don't know about you, but for

me, at least, the ceremony is the most

complicated part of the whole day.

Why?

Because, as I have already told you, because

sometimes it is impossible to control the light,

what happens there, right?

And sometimes, not always, nothing usually happens.

When I say nothing, it means that the

grooms come in, get married and leave.

Sometimes nothing happens.

That's why, in the moment that, well, in

the moment that the grooms come in, we

are going to try to work hard to,

at least, get that moment in which the

bride enters, with various perspectives, when the bride

and groom get together.

Why?

Because those moments are going to be special,

unique, since the rest, more or less, are

going to be, well, the usual.

When I say the usual, what does it

mean?

Well, there are going to be readings from

relatives, from friends.

When I say readings, we are going to

photograph a photograph like this, like the one

I'm showing you, and another image like this,

with another perspective.

Since we are two, we are going to

work hard to always get things, for example,

important, well, important, that is, from different perspectives,

because if I show you this image, which

was taken by me, in fact, well, I

prefer Erika's, who has looked for a slightly

different perspective, but I want you to see,

right?

I mean, we try to go a little

bit combining all that kind of images, okay?

I mean, things that I have forgotten before

the ceremony begins.

Erika arrives on time, to what is the

church, and because she has been in charge,

almost always, of photographing the groom.

I, who arrived with the bride, as you

know, well, I arrived on time, very, very

on time.

What does this mean?

That Erika is going to talk to the

priest, she is going to introduce herself.

But I, if I can too, if I

can, with the greatest calm in the world,

I'm going to introduce myself, sorry, to win

the priest.

Why this?

Because I have already told you that we

are going to move constantly.

And we are going to work in a

way, sometimes, or we are going to put

ourselves in situations or places that are sometimes

a bit complicated, and so that the priest

does not draw our attention or scold us

in front of the whole ceremony, then yes,

I am going to introduce myself.

I must tell you that I was studying

all my high school, I mean, my five

years, well, sorry, four years, the high school,

for those of you who do not know,

for example, from Spain, the high school goes

from 15 to 19, something like that, right?

So, I was studying in a healing school.

In an internal healing school, I mean, I

was there all week, in a healing school,

which I did not know at all.

So, I learned a lot about religion, I

learned a lot about life, but I also

learned a lot about how to relate to

the priests.

And since I was sometimes a naughty boy,

a naughty boy, sometimes, before I fell for

it, I knew a little how to manage,

or I learned to manage a little those

situations with the priests.

That's why I like to go before the

church, before the church, before the ceremony, to

be in contact with them, and talk a

little, well, I mean, introduce myself, I mean,

say that I'm going to be very, very

respectful, but that I'm always going to be

a little distant and all these things, or

very close, but don't worry.

What is that going to help me, for

example?

That at a given moment, for example, the

grooms are putting on the rings, or the

grooms are having a speech, I mean, one

to the other, right?

I mean, at the time of the vows,

I'm going to be able to take risks,

many risks at times, and put myself in

situations like you're seeing.

I mean, I was behind the altar.

Can this be done in Spain?

No, it can't be done.

But how did I get that?

Thanks, one, to my presentation, and thanks later

to my body language, I mean, I know

how to move, remember that, in addition to

studying at a priest's school, I was a

photojournalist for 10 years, I mean, I know

a little how to speak without speaking with

my body, right?

I mean, moving, moving, moving, taking step by

step behind, until finally I'm in the position

that I want, and I shoot.

I've already told you that we're always a

team.

What does this mean?

That if I stand behind, Erika is always

in front, do you understand me?

I've also told you, in Spanish ceremonies, very

few things happen to us, it's the most

complex and difficult part.

Therefore, we're going to take advantage of everything,

right?

And we're always going to look at or

understand, above all, who is the partner, what

is important for them.

For example, in this image you're seeing, those

two candles, they explained it to me before,

they were both the father of one and

the mother of the other.

Why?

Because the bride lost her father, and the

bride lost her mother.

Therefore, those two candles represented what each one

of them was.

As a consequence, we knew that part of

the family was missing, and as a consequence,

every time they were mentioned, it was likely

that they got emotional, so we were focused

a lot, as you can see in this

type of images, to capture the soul of

the wedding, right?

I mean, it's not about capturing the tear

by the tear, it's about trying to focus

on who is the partner, who is what

surrounds them all, and think about that.

Ah, going back a little bit, sorry.

I want to make a brief incision, again,

because I think some of you will ask

yourself.

This wedding was not the only one in

which I have placed myself behind.

If I say behind, I mean behind the

altar, okay?

Why this?

Because I would like to show you the

last wedding we had in Zaragoza on August

14th, in which, as you can see, the

same thing happened.

I want you to see this picture in

which I am seen right behind the grooms,

and I want you to look at the

parish.

The parish is not even looking at me.

I assure you that this parish, this priest,

has very bad milk.

I assure you.

When I say bad milk, I mean that

I have been with him and he has

stopped the ceremony several times, either because the

guests do not answer his questions, or because

in some cases the videographers moved too much,

and he stopped the ceremony.

But look at how important it is that

we talk to the priest, that we manage

all this, in order to take pictures like

this one, in which I stand behind and

I can capture the moment.

But not only in this one, but also

in another wedding we had, for example, in

Lleida, in June, the same thing happened.

What does this mean?

That I will always be crazy?

That I will take risks?

No.

I mean, I have already told you that

it is all about body language, knowing how

to move and look.

If you take a step back, the priest,

who knows everything, always knows everything, does something

like this, he looks up and it seems

that he does not care, you can take

a step back, and you can take another

one, very carefully, without moving fast, without shooting

at full blast, I mean, pam, pam, very

soft.

But if you see that the priest, when

you take a step back, he looks up

and looks at you like this, it is

clear that you can not go further.

But it's all that, it's like giving up,

giving up, giving up, giving up, until in

the end you take this photograph or the

ones I've been showing you.

Another point that I would like, for example,

also to tell you is important.

What happens?

And forgive me for mixing up concepts, what

happens?

If there is no high shot, when I

say a high shot, it is this shot,

to take this type of photos.

What happens?

One of us is going to go after

the bride and the other is going to

be right in front.

As you can see, I was behind the

bride and Erika was in front.

Do you understand me?

Well, we're going to take care of that.

If there is a high shot, it will

be down, I mean, but always, as you

already know, or as I have already explained

to you, always looking for those two different

perspectives, those two different points of view that

later, in the interviews with the couples or

with future clients, we are going to expose

at all times to sell or to raise

all the positive points of us as a

team at a wedding.

Another important point, in the church we do

not work with flash.

Could we work with flash on top of

the camera?

Yes.

Why don't we do it?

Because I think it's useless.

I mean, I prefer to shoot from ISO

and ballpoint and adjust well in everything I

can, pray to the Most High and wait

for the lights to work.

It is true that in churches in Spain

sometimes it is hell, never better said.

But, well, I try to get oil.

In this church, I assure you that the

light was hateful, it was a disaster, because

on top of that the walls are red,

with which the colorimetry or the faces begin

to have a red dominant, I mean, a

disaster, right?

But I prefer to shoot from ISO.

The ISO that I usually use is 5000,

no more.

But the problem is not to raise the

ISO.

The problem is that if we raise the

ISO, we have to expose perfectly.

Do you understand me or not?

Because if we raise the ISO and the

image is overexposed, there is the problem that

noise comes out.

Even if we expose well, surely the noise

comes out, but, well, the important thing is

to save the ass, right?

And why don't I work with the way

to put those flashes on the feet?

Because, I don't know, I want to maintain

that respect, in quotation marks, although many think

that I don't have respect when I go

up to the altar, but I don't know,

I feel uncomfortable with putting flashes on the

church and I've never done it like that.

I prefer to work in the simplest way

possible, focus well on those few moments that

are going to happen and those few moments

that are going to happen, photograph them well.

And things that I must say important, I

hope I don't forget anything.

I'm sure that when I finish this video

I'll say, fuck, I forgot.

But the last point that I would like

to mention is the moment of departure, right?

The moment of departure, we're always going to

be one in front and the other behind.

The one behind and the one in front,

we're always going to be thinking where the

other partner is so that, obviously, he doesn't

appear in the same photo because otherwise it

would be a mess, right?

And that's just it.

I mean, capture those moments as best as

we can and that's it.

And that would be like we usually photograph

the religious ceremony in a church in my

city or in other Spanish cities because, more

or less, our churches are usually very similar

because, in fact, many couples even get married

in small hermits because of the character so

personal and so intimate that they can have,

right?

But, as you can see, that's it.

So, that's it.

If I leave something, if someone has questions,

in the comments it's as easy as asking

and I'll get to it quickly, okay?

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

this, I hope you got something out of

all of this.

The way I do it, as is obvious,

is neither the best nor the worst.

It's our way, but each one depending on

their city, their country, their partner, their way

of working, their way of understanding photography, will

do it one way or another.

So, go for it.

Until next time, friends.

Be good and keep hiring weddings.

¡Cabrones!