Original subtitles

And right after London we went to Glasgow.

Again, another limitation for me was to stay....

(and this was even more difficult)

To stay between the lobby and the business center

where I taught the workshop.

I hate putting myself on so many limitations

but, at the same time,

when you are surrounded by other photographers

and they want you to do what you normally do

(when you are in a city so different from yours)

it's very easy to do what they would do.

Use the same locations, the same mountains

or the same corners of light.

So, I limited myself much more this time

and it was awesome, because

for the first photo we use the table of the conference.

It was a huge table.

We had very interesting colors on that table:

we had wood colour, yellow and black,

and everything was like a triangle.

And I liked that:

to position couples and use the window light that was there

and we got something very cool.

It was a very sweet couple.

They just looked at the camera and laughed.

It was like... an evolution or another attempt

of the photo I had taken in the previous workshop

(of triangulations too) just looking directly into the eyes.

This time I try to add some mischief

matching the style of the couple I was photographing.

A plus was that the guy was wearing a blue shirt

and blue and yellow are complementary colors

and that helps us to have a natural contrast in the photo.

About this last picture

(that many times we don't realize)

in the upper right corner, there is a person,

like a guard.

If you see it, it looks like a protest image.

The window was red.

That is why this image looks red. It was not a postprocessed.

The whole place was red.

I squatted the couple, looking out the window

so that they receive a soft and beautiful light on their faces

and I waited, waited and waited

because I knew that someone was going to enter and someone was going to leave.

So, playing with the brightest points of the image,

which are: where are they and the upper right corner

(where there was no one)

was to try to shoot several bursts until something magical happened.

And I was lucky that this guy, who seems apocalyptic or something, appeared.

I am very, very proud of this picture because...

It's these little gifts or sparks that,

whoever is up there, gives you

to strengthen your work.

As a moral of this series, guys,

it is important to always look for limitations.

I like being in places that don't have a natural beauty,

or a perfect architecture,

because it makes you force yourself to find photos

and do a more personal job.

I struggle myself when I go to iconic places

because everything looks like a postcard,

everything looks already done and beautiful.

And... always be justifying that:

if a person, who is not a "professional" photographer,

get here, "Would he or she see the same thing I'm seeing now?".

That is the question we always have to ask ourselves.

Once we have our but covered,

(that we already did our backlights and the pretty photos...

...and all this that the couple expects),

Ask yourself that question:

"How can I justify the investment they are making in me?".

And many times is that:

It is using our creativity or our visual intelligence

to achieve images that are harder to see

and that you need to have this mind educated in this way

to reimagine what we are seeing

or what a boring eye would see.