Original subtitles

How are you friends?

How are things going?

How is everything going?

Here we are.

Today I have a cold as hell, it

seems that a heat has not entered.

Let's hope that February ends and March comes

and see if spring comes in and this

starts to warm up and get interesting with

weddings and more stories, right?

But hey, let's go for it, right?

Let's see, on the one hand, you have

already seen that the title of this video,

I think it is too presumptuous, it is

something like ...

well, it's how to take good pictures, right?

Or how to get good pictures.

That may seem a bit presumptuous on my

part, but I wanted, I wanted to create

a slightly interesting title to hook you even

a little more.

But the point goes as follows, or this

video goes as follows.

Whenever the season ends, I like to take

a look at most of the galleries that

we have photographed, or weddings that we have

photographed, and I consciously review the galleries.

First of all to see mistakes.

You learn from mistakes.

Both Erika and I reviewed Perico's wedding, Perica's

wedding, how it was done, when we shine,

when we don't shine.

When we don't shine, I mean, when we

screw up, why do we screw up?

And when we take good pictures, why?

Staying with the last thing, which is what

I want to talk to you about in

this video, because for photographic scumbags, I mean,

we do a lot of weddings, I mean,

and we already understand why, but I would

like to share with you when we shine,

right?

And when we shine it has to do

with a set of patterns of photographic resources

that we develop in each wedding and that

I would like to share with you.

There are many, or we have many more,

but in this video I want to share

four.

Four photographic resources, four patterns that we try

to repeat constantly to take good pictures, okay?

That means that we reach those patterns or

we do them naturally or even mechanically or

subconsciously.

I mean, we don't do it thinking, now

we have to do this, now to take

this we have to do ...

No, but we have internalized them so much

that they come out naturally and curiously when

we follow those patterns we usually get or

we usually take good pictures.

So let's get started.

The first pattern of all that we usually

do is whenever we can stick the lens

or the lens to a material such as

a glass, a metal or something similar.

What for?

To transform that reality, to give it a

much more personal touch, to make the images

not so obvious, to achieve completely different volumes

than the ones we are seeing, right?

Or those that apparently seem to be seen.

That is the first.

The second of all is to shoot through,

through what?

People, plants, objects ...

I mean, when we put something, an element,

I mean, a person, a plant, an object

in front of us and the person we

want to photograph, we are creating an intermediate

space that we put the viewer or introduce

the viewer into the mere image and believe

me that the viewer has to start imagining

things, it seems as if the photo were

much more natural, it seems as if there

had not been a photographer behind the mere

photograph and it also helps us to put

people, to put objects, it helps us to

hide areas of the image that we do

not want to show.

Again, what I had in addition to trying

to look for completely different perspectives, I mean,

from top to bottom, from bottom to top,

from top to bottom, but in short, to

what I want to get, always hit the

camera as long as we can on the

floor, on the ground.

Why?

To have a completely different perspective, sorry.

The normal thing is that many of us

photograph or photograph with their backs raised at

this height, that is the usual, the expected,

the many times seen.

The moment we change the plane, the moment

we change the perspective, everything jumps through the

air and, in short, those images arrive, okay?

And the last of all, although I think

you already know it and I have already

repeated it to society and many of you

know us for that, play with hard light.

Hard light is not a simple personal mania

either, because we like it, because we have

grown up in a country with a lot

of hard light or in a region of

Spain, in this case, in which, except today

that there is no hard light, almost all

year round we have the sun, with which

it has a reason to be, but that

could be the first, but the consequence, in

short, could be said, again, thanks to the

hard light, we can hide or we can

highlight areas of the image that we want

to give it a greater prominence or not.

Illuminated areas with hard light are going to

gain prominence compared to shaded areas caused by

that hard light that we are going to

hide.

Again, we show and hide areas that we

want to show or not, getting that obviousness

or not, as we want, okay?

In addition to the drama, the depth, the

volumes, again, that can create that hard light.

Now, having said all this, which would be

like the theory, and that surely some of

you have already gotten lost there, because even

I could have gotten lost too, I would

like to show you, of the four blocks

that I have mentioned to you, some of

the images that I have selected, of the

last weddings that we have photographed, so that

we can take a look at them and

I can explain a little better, okay?

The first image that I want to show

you of the block, remember, shoot or put

your lens close to a glass or a

material such as iron, metals, it could be

this one, right?

You see that thanks to hitting the lens

as Erika did, by hitting it near a

window, we are going to gain the reflection

or the duplicity, not only on one side,

which is the groom, but on the other

side by the glass.

That has to be or is obtained by

hitting, but when I say hitting, the lens

is that you have to notice it, that

you are there, really, well, hitting the glass,

as it could be this one, or as

it could be this one, or this one,

that is, notice that in the case of

this one, in the beach one, I mean,

I feel proud to call it that, because

it was a very beautiful, idyllic beach ,

from the Caribbean and all this, but you

already know that, sorry, the function of having

put that lens so close or right there,

with the mere glass, was to, one, to

extract myself from that reality so, so basic

or so obvious, that it was a wedding

on the beach, to achieve that duplicity, to

have the damn luck that that little bird

passes by, but to achieve that duplicity and

that the obvious becomes obvious, right?

Like this one too, it is a mere

portrait of the groom with his brother, that

is, hitting me, hitting the glass so much

makes it achieve that duplicity in the middle

and that it seems that instead of two

people there are three, it is as simple

as that.

Now I would like to move on to

the shooting through.

And the first example is this, clearly, right?

I mean, notice that getting to put, or

getting to frame the, that is, the father

of the groom who is looking through the

elbow of the mother who is about to

put the scissors in, makes us put the

viewer in the movie, I mean, in the

action, and that the photo has that depth.

As a personal habit, this is not that

you have to do it either, this is

each one, but I personally always like to

focus on the background.

I mean, I never focus on the first,

the first term, the foreground, but I focus

on the background for what?

To direct the viewer towards the father, in

this case, right?

Let's go to the next one, which is

this one, and it is to put, I

mean, why did I put the herbs, the

herbs or the leaves for all that?

Very simple, we were in a very basic,

very normal place, putting plants in between, between

the bride and me, makes me hide what

I don't want to show, you understand?

Like here too, the moment of the dance,

this one, it seems, the pattern is the

same as the one that I had taught

you about the father and such and such,

right?

It takes a couple of photos, I mean,

this is the same, I mean, I put

the viewer in the mere action of what

is the pure dance, right?

Like this one, I mean, notice again that

I was telling you to focus on the

background, right?

We redirect all the attention of the viewer

towards that bride who is saying that nobody

says anything, that is, we get perfectly or

I put you in the story of what

is happening there, like this photo, right?

Also look at shooting through, through the veil,

here you can see how Cheme Bella, for

example, working, shooting through a veil for what?

For what?

Sorry, to give it that depth again, that

strength that I need, that novelty for photography

and look at this photo, for example, of

Rica, in the little hole that is focused

on that bride, it seems brilliant to me,

I don't know, it seems a very good

idea and it's like taking that action out

of context and running away from what apparently

can be as obvious as a bride waiting,

right?

We go for the third point or the

third resource, which would be whenever we can

have a completely different perspective, right?

In other words, completely not so obvious, right?

That is to say, it is obvious how

to shoot like this, always at the same

height, without changing perspective and the first photo

that I have to show you is this,

right?

I have been doing it, many of you

ask me if these photographs are taken after

the ceremony and the answer is no, they

are taken in the middle of the ceremony,

it cannot always be done, there are times

that if the wedding is a cathedral, I

do not dare, but if the weddings are

civil, there is no problem in placing your

camera a little below, focus on the manual

and shoot, it is as simple as this,

but not only do I mean to have

completely different perspectives, but what I also want

to get is to put your camera sometimes

on the floor to get, as I say,

completely different perspectives, look at this one that

the bride is entering or look at this

one in which it is the moment that

the reading or speech in the ceremony is

about to end, right?

In other words, it is a completely different

perspective from what we are more or less

used to seeing, just as it could be

this one, do you understand?

In other words, the literal camera was on

the floor, but why does it seem to

us, in quotation marks, attractive?

Because it is not a perspective, sorry, so

handled, so exploited yet, it also has something

in common too, and we enter the fourth

and last group, that of playing with light.

I keep talking about the image, notice that

when I play with light, I am illuminating

what I want to illuminate or what I

want to show, sorry, and I am hiding

what I have left over, as simple as

that, just like here, from the same wedding.

I'm just showing a little bit of the

groom's face, a little bit of the bride's

face, and I can get that frame or

that composition with circles, with geometric shapes, so

interesting, but also talking about this photo of

Rika, she clearly exposed the highlights, she took

care of all the shadows, I mean, she

left all the shadows without texture, but we

all understand who the person on the left

and the one on the right is, and

how those elements that are above the heads

are glasses, glasses that everyone understands are champagne,

because it is transparent, what is going to

be drunk in a ceremony.

So far, friends, those four concepts I wanted

to share with you, there are many more,

such as hiding the floor or playing with

body language, I mean, we could make a

much more extensive video, extensive, but in this

video I wanted to focus on these four

points that I think are so important and

invite you to what we sometimes do, or

very often do, when the year ends, review

all those galleries that we have photographed and

see what we have screwed up to learn

and so that next year, or this year

in this case, we do not make as

many mistakes as those, and how to get

out of it or continue taking more good

photos, like the ones we have taken so

far.

So nothing else, I do not steal a

damn second more, we are on Thursday, enjoy

what is left of the day, I hope

that if someone has a wedding this weekend,

that they take advantage of it, and if

not, to enjoy the weekend to the fullest.

Nothing else friends, be good.