Original subtitles

Hello friends, how are you?

How are things going?

I hope that everyone is as good as

possible, welcome to another chapter.

I'm sorry that each video always starts asking

the same thing, always saying the same thing,

but I think it's a matter of rigor,

I think it's right to start always asking

and, well, wishing you all the best possible.

Possibly, for those of you who follow me

from Europe, you are in the same situation

as us, we have been confined again, or

almost semi-confined, they have closed bars, they

have closed cities, and that's a damn mess,

but, well, I hope that all this set

of measures will be useful for something and,

in a way, will allow us to continue

working next year, or to work a little

more than this year, which I suppose it

will, right?

Because worse than this year can't go, right?

So, nothing more.

But, well, all this negative energy, let's put

it aside and let's continue talking about the

only thing I know for sure, or the

little I know about photography.

In the previous chapter I was talking about

one of the photos, specifically the last photo

I took in the session we did of

the Red Wall, so this video I would

like to talk to you also about the

Red Wall, but not about the last photo,

but about the first photo we took.

I'm talking about this photo and, well, I

would like to describe it and, as in

the previous video, I would like to analyze

it in depth and explain to you a

little bit how the idea came about, so

that you can understand a little bit about

all this, okay?

In this video we are not going to

talk about what the Red Wall is, because

I already explained it in the previous one,

so we are going to get straight to

the point and we are going to talk

about how we took it.

First of all, I would have to tell

you that the photo I have shown you,

or the photo you are seeing now, was

not the result of chance, or it was

not the result because I had a brilliant

idea, or Erika had a brilliant idea.

In fact, we were working on it and

we were, so to speak, we were filing,

perhaps, those laziness, or removing things that were

bothering us until we finally got to it.

What I want to get to is that

you don't think that we have a brilliant

idea and the photo comes out as if

we had given birth to it, no, no,

no.

In other words, it is a product of

having worked, of filing, of filing, of doing

little things, changing, moving, and in the end

this comes out, right?

I would like to show you something that

has helped me a lot in recent times,

and curiously, just yesterday a student was taught

this, well, we had a one-to-one

and I was telling him little things, and

I think I would like, just for a

moment, what is showing is this, and what

I would ask of you is that if

you don't have figurines, that is, that you

buy something similar, and that you have a

game, that is, that you participate yourselves as

if you were children in a game in

which it is about seeing how many different

possibilities we can achieve when we have a

partner.

Of course, this is an exercise to do

at home and to play with yourselves, to

say, okay, if I have a partner, well,

the most basic thing is this, right?

It is face to face, for example, kissing,

putting our heads together, this is the starting

point, but we are going to change, right?

I mean, let's see what happens when we

ask the partner for this, let's see what

happens when we ask the partner for this,

when we ask for this, when we ask

for the other, I mean, what I want

to get to, how many different possibilities do

you know how to get from two figurines?

In a way, this is an incredible exercise

for your head to exercise and reach the

moment of the session and have ease, right?

Have mental ease or mental agility when having

new ideas.

Of course, no one thinks that I already

had brilliant ideas from the beginning, no, no,

it's about this little thing here, we exercise

it and that we propose challenges or little

things, or well, some little adventure, some little

thing that involves us or that moves us

forward, right?

And one of the reasons is this, right?

I mean, to play with figurines so that

when we get to the moment of working

with the scene, we have more mental agility

and, consequently, we have more possibilities of getting

interesting photos, okay?

I mean, going back to photography, which is

the origin of this video, I would like

to show you, I mean, where we started,

right?

Because my idea was not, I mean, capturing

feet and feet, I mean, feet of the

bride and feet of the groom, right?

But quite the opposite, my original idea was

not, of course, this, placing them in front,

I mean, face to face and kissing, because

I had not gone to the Red Wall

to do something so basic, right?

But I had gone to play with them.

Of course, my original idea, or the first

idea, sorry, was to make both, for example,

Manu, go up some stairs and Luna, well,

go down others.

And in one of those, in one of

those, try to capture something interesting, right?

Well, I was already seeing that the thing

did not end up liking me, until finally,

well, I asked Luna to sit down, and

once she sat down, well, I asked Manu

to go down the stairs, okay?

Notice that Luna, at that time, had her

black shoes on, and well, that was an

idea, but also notice that Luna's position is

rather uncomfortable, right?

I thought that Luna was going to, well,

to sit down, she was going to accommodate

herself better, but I already understood that in

the place that she was, it was not

quite, well, quite adequate, right?

Despite everything, I was very stubborn, okay?

Very stubborn, and I kept asking Luna to

stand in the same situation that she was

in, and that it seemed that she was,

in a way, comfortable, okay?

But I already saw that Manu did not

finish working there, so I brought him down,

and I put him a little bit on

the lower floor, and at the same time,

a little bit, well, looking at her, to

see if, well, if that way, well, I

could capture something interesting.

Ah, the photos that you are seeing now

are the raw photos, I mean, as they

were captured, okay?

I mean, that's why you are seeing a

lot of dirt, or things that, well, that,

obviously, would be avoided, okay?

I finally broke aesthetically with everything, and I

got completely close, okay?

And it was already the idea of having

Manu, sorry, Luna and Manu cut out, I

mean, just showing only feet and feet.

I mean, something that is typical of me

is always cleaning the scene, right?

I mean, keeping the background clean, with the

background as neutral as possible, and let myself

be carried away by the composition.

As you already know, as in the previous

video, the composition in this image is that

X that these stairs form, right?

And then there is a pattern that was

repeated, or that I wanted to show that

it was feet, okay?

Why did I have to show a whole

body of the bride?

Not everyone understands that this is a female

figure, and everyone understands that it is a

male figure, okay?

So, that was something that I already cleaned

up quite a bit, right?

So, notice that I already have a girl,

well, in this case, Luna on the right,

and Manu on the left.

But at that precise moment that I was

shooting, I heard a background voice, which was

Erika, who told me, why don't we take

his shoes off?

The reason is very, very simple, it is

repeating patterns.

And also, notice that the black color of

the shoes, it is not that they were

ugly shoes, but the black color broke aesthetically

with everything, right?

It seems that you were only going to

pose in the shoes that we are seeing,

right?

So, that was one of the reasons that

I told Manu, please Manu, totally barefoot, and

I want you to go down, okay?

Once I already had, for example, Manu without

shoes, that was when he was already going

down, okay?

Also, notice that Luna's hand, okay?

It was like this, and it didn't seem

natural, right?

We have to think well, when we are

already seeing everything, every time we are already

removing, or well, for example, moving things, we

have to think what elements do not work

at all well, or what elements are not,

for example, natural.

If wearing shoes was not natural, placing your

hand on your knees was not natural either,

right?

So, I corrected Luna and told her that

her hand was very soft.

You know, you know, surely, what I love,

or what I like to play with hands,

and the importance of them.

That's why it's something really important, okay?

Now, once I already had, for example, Manu

without shoes, I asked him to go down

again.

And at that precise moment, I had a

doubt that I still have now, and it

was either to have it on the extreme

left side, okay?

Or the closest to her, to Luna.

I mean, either very far away or very

close to her.

Of course, at the time of the shot,

I had doubts, and in fact it was,

well, I shot several, right?

So much, for example, Manu on the far

left, or the closest to her.

Still today, or still yesterday, I had doubts.

And this morning, just before, well, recording this,

I call Erika and I say, Hey Erika,

which one do you think is your favorite?

Or the one that is either this one,

or this one.

And now I throw the same question to

you.

Which one is more aesthetically beautiful for you?

The one with Manu far away, or the

one with Manu close?

Finally, as you can see, we stayed with

the one with Manu far away, right?

Because it seemed that it was balanced a

little more.

I mean, one was on one side and

the other was on the other side, right?

But sometimes I still think that the thing

could work together, right?

But well, I would like to know your

opinion, and that in the comments of this

video, well, do not comment it, right?

Let's see what happens.

Because sometimes I also let myself be advised

by all of you, and by the people

around me, so I'm all ears, okay?

As in the other video, we were talking

a little bit about editing.

In this video I would like to finish

it too.

And speaking of what was, for example, editing,

right?

I would like us to see what was

the original, and I would like us to

also see what was the final result.

It's just a little bit of darkening, contrasting,

and something that was really important was that,

you have already seen that there is no

hard light.

On many occasions, with the hard light, what

I get is to separate subjects.

Separate the bride from the groom, or mark

with a higher point of light, or brighter,

or the groom, or the bride, but in

this case I did not have a light

that would help me with that.

It's a pretty flat light.

Being such a flat light, it seems that

it has no depth, and it seems so

little that there is almost no difference between

the groom and the bride, right?

With which, thanks to editing, it will help

me to enhance, or help that there is

that, right?

In other words, a difference of color and

a strength for the image.

My work, and well, I'm going to show

you the video, right?

Because of the editing.

My work, first of all, is as always,

as you know, in the images, for example,

of color, apply almost always, well, the bochorno

preset, I quickly give it to bochorno, and

what I'm going to do is adjust it

a little bit more, right?

As always, I will pull contrast to the

right, and I will lower the lighting a

little bit, so that the colors begin to

take on density.

Of course, a little bit of clarity and

a little bit of intensity, until more or

less I leave it to taste.

In the same way as in the previous

image, I'm going to play with smart objects,

for what?

To give a cold color temperature to what

was the moon skirt, and to Manu's pants.

For what?

So that they stand out from the background,

so that they stand out from the background.

I mean, I want to give them a

cold color temperature, so that the white becomes

a purer white, and in that way it

stands out much more, do you understand me?

So, with the smart objects, I was already

playing, I was clarifying, and later, to finish,

I was selecting areas a little bit, and

giving it a lot more strength, a lot

more drama, until I get the final image.

As a note, as a point that I

would like to highlight, and that I have

forgotten, and I say goodbye, there are several

points in common in the images that I

have been showing you, both in the one

where Manu was climbing the stairs and the

moon was going down, I want you to

look at Manu's hands, for example, they are

about to touch, but they don't touch.

That's super important.

When Manu was going down, both when he

was wearing his shoes, and when he wasn't

wearing his shoes, take a look, okay?

His feet never touch.

Why is this?

I have repeated it over the last few

years with other types of images, which are

always of the inn, in this case.

Because, since we are organizing an inn, since

it is an inn, and since everything is

so static, if everything is still, for me,

I think it's too still, or too static,

So I want to give the image of

a certain movement inside the pose.

It's what I call a dynamic pose, it's

a pose in movement.

And that's why I always ask my partners,

or in this case, Manu, to go down,

and before he goes down, before he touches,

I'm going to worry that before his foot

touches, the moment before he touches, it's not

like this.

That's what sometimes makes the image undetermined, that

the spectator has to imagine that the boy

is going down, that the boy is in

movement.

The moment we put the couple face to

face, everything is over.

There is almost no margin for interpretation.

That's why it was important to explain this

to you.

I hope you liked the video.

I think it was also a short but

effective video, so you can see what's going

through our heads, and above all, so you

can understand the creative process, and that you

think that the image arises from an idea,

that idea is changing until we finally get

to the final photo.

So that's it, friends.

I hope everything goes as well as possible

in this complicated week.

See you soon.

Take care.

Bye!