Original subtitles

Hello friends, how are you?

Welcome to a new video, I hope things

go as well as possible, I know that

they are complicated times, complex times for everyone,

but well, before starting, I would like to

send you all the positive energy for that,

to try or to wish you that you

manage all this as well as possible.

In this video I want to talk to

you about one of the images from last

year, more powerful than I took or with

more interest, and I'm talking about this image,

that is, it was taken in a building

called the Red Wall, it is located in

Calpe, on the outskirts of the Mediterranean, and

as you already know, a few months ago

we made a couple of videos on Patreon,

that is, specifically a video completely dedicated to

the image that you are seeing, which I

call the blue image, and then we were

also talking about the pink image, but in

today's video I would like to focus on

this image, on the image of the stairs,

and I would like to analyze it in

depth.

First of all, I would like to talk

about how it was done and later what

was the reason or how the light bulb

was turned on so that we could get

to it, that is, if we already talked

about how it was taken, well, the truth

is that I do not want to waste

a lot of time or invest time in

this because it is simply very simple.

Our mission, in addition to having a good

time with the couple, in addition to living

a good experience and giving us a whim

as photographers of being able to shoot or

be able to photograph in such an incredible

place as the Red Wall, the mission, as

I tell you, was in those hours that

we were working with the couple, it was

to integrate it into the environment, into the

building as such, as you already know, it

is an incredible building and we tried to

mimic, include, integrate the couple within the forms

that this building had so characteristic.

But what I wanted to get to or

where I wanted to go deeper is to

explain to you what was the reason or

how we came up with this idea of

putting the couple lying down and trying to

include the human figure within the environment or

within the specific space of the stairs.

I think that there is a little bit

of magic and the result, neither more nor

less, is simply, as in most of all

the reports we make, whether it is a

post-wedding or a pre-wedding session or

even a wedding session, is to always try

to reach or have a rhythm in our

workflow or in our way of working during

the session.

When I am talking about rhythm, it means

that if our session, for example, is going

to last 2, 3, 4 hours, in that

time what we are going to try is

always that we do not photograph everything in

the same position, I mean, that we do

not photograph the couple always in the same

position.

For example, if we photograph a couple right

now and we ask the couple to sit

face to face, for example, looking at each

other or, for example, kissing, we are not

going to photograph the couple in that pose

in the same 4 hours.

What we are going to try to do

is to have a rhythm in which we

are constantly either making the couple be in

a high position, for example, or just the

opposite, or we are going to get very

close or we are going to get very

far away, or we are going to play,

for example, on different levels, for example, that

the couple is up or that the couple

is down.

If I speak of a counterpoint, we are

going to try that the couple is there

or if I speak of a spike, as

was the image, we are going to try

that the image, that is, that the couple

is there.

Most of the session or a large part

of the photos we always decide that day

to always be at the same height.

When we are, for example, at the same

height, it is as if we are working

more comfortably.

I am speaking, for example, of images like

the ones you are seeing now, in which

we try that the couple is more or

less at the height of the objective, always

trying to have a connection point between the

two, as you are seeing, in which the

couple will try to touch.

There are also, for example, other images like

the one you are seeing now, in which

we try to simply place the bride.

These are all images that were captured at

the same height all the time, in which

we are working, as I am telling you,

more or less, the lens at the same

height as the eyes and that is what

we always constantly try.

But there are also other shots, other positions,

for example, in which we try to place

the couple a little, the groom or the

bride, for example, up, and in which both

Erika and I try not to stop taking

images, Erika with a different type of lens,

for example mine, and try that both the

image of one and the other is as

different as possible, for example, to go working.

In this particular case, what we ask the

bride to do is to place herself in

that frame, in that door, and try a

little to adopt or that her body try

to integrate within the architectural forms that we

had right in front of us.

Erika took another super interesting image, perhaps it

is one of the most favorite images of

my session, which was the result that I

was working on the other side, Erika was

working in a completely opposite place, if I

was working with a 35, Erika was working

with an 85, if I was working with

more or less four diaphragms, Erika was working

with super super open diaphragms to try to

play with a completely different depth of field,

and in fact she got this one.

Well, it is not necessary that I tell

you how important it is for us to

go deep or to address elements of the

human being such as the hands.

Having said this, we had achieved several shots,

as you have already seen, both chopped and

counter-chopped, and we were in the moment

of the counter-chopped, that is, you see

that my head is always thinking, okay, I

already have so many images always at the

same height, I have images that the bride

is, or that the couple is down and

I have images that the couple, for example,

is up.

I always try that, that is, that in

my head that is working and that makes

me invite or force me to think, okay,

what is next?

If the previous image was, for example, a

counter-chopped, now it has to be just

the following.

If the previous image was a chop, now

it has to be, for example, the following.

And that is why we are always trying

to find images or positions that are completely

different or that break with the previous one,

until we finally get to the image of

the stairs.

Of course, at the moment that, simply after

not stopping to go through the whole building,

after not stopping to search and search and

search and search again, in one of those

that you just look down and say, damn

it, I have all this here, I had

something interesting, I did not stop seeing lines

and I would like to stop for a

second and explain to you what went through

my head when I came across this, with

the plane that you are seeing.

As you can see, we always shoot a

plane in which there is no one, a

frame in which it serves to inspire us

to see how we can embed, include and

add the couple in that space.

The second thing I saw was that they

are all super interesting lines.

Yes, of course, when looking at such a

crazy perspective, so different, what I understood, or

I thought, sorry, to see how the hell

to include the couple there.

Of course, it occurred to me that perhaps

the most interesting thing could be that they

would come to lie on the same floor.

Because of course, think that a lot of

formulas quickly passed through my head.

For example, a first formula in which I

said, well, I ask the couple to simply

be face to face, but of course, as

I was up, if I ask them to

be face to face, then I will not

photograph their faces.

If I ask them to look up, they

look at me on camera and you already

know that I do not like that the

couple looks at the camera.

If I tell them to sit down, I

did not know or intuit that it was

not going to work.

But of course, if I asked them to

lie down or to lie down, where?

Where do I tell them to lie down?

It is something complex, because of course, as

you can see, the stairs did not leave

me so much room for them to lie

down.

There was just one space to the left

and another space to the right.

And I thought that in those two spaces,

or in those two squares, it could be

interesting for me to ask the couple to

be each one separately there.

Another point was that, of course, those spaces

in which I intended to put them were

not large.

I am saying that the spaces would give

me just a meter and a half at

most, and the couple obviously measures more than

a meter and a half, with which that

was another problem, another added problem that I

found.

From there it comes that I finally asked

the couple to put their feet up, because

it was the only formula.

In other words, really, as you can see,

it is not that I had a prefabricated

idea, nor did I have a super bright

idea, it was simply the only possibility I

had to make that work.

That is why the reason why all that

came up was that, to ask, for example,

the student to stand like this, to tell

him, hey, it would be good that your

feet were up and also that you cross

them.

Because if I didn't cross them, it was

a little strange.

If I crossed them, it seemed twice as

interesting and the photo worked better.

I asked him absolutely the same thing, that

he did the same thing that Luna did,

so that he had that repetition.

Remember also that something very important in my

photograph is to find patterns, patterns that are

constantly repeated.

A pattern was that, that is, to ask

the couple to do the same.

Another pattern was the same location, which are

all lines that seem to be a constant

repetition, with which I understood that it was

interesting as it was.

Well, as you can see, this has been

all about this image.

It may seem complex at first, but after

I have told you everything, you see that

the thing is very simple and it is

about that.

In the end, I think that when you

set a workflow, some rules or an order,

in the end it pushes you to end

up getting images like these.

And before I finish, I wanted to ask

you a question, because when I was taking

the image, Erika was right at another point.

I took the image that I was explaining

to you until now, but Erika took the

image from another point, and what, believe me,

yesterday when I was, well, when I was

reviewing everything, when I was preparing all this

video, I had both images and believe me

that sometimes I don't choose one.

Sometimes mine is the one I like, of

course, but yesterday I saw Erika's and I

said, damn, Erika's perspective, although it is the

same environment, is completely different, but I don't

know which one to choose.

Which is your favorite?

Which one suits you the most?

There are days when it is one and

there are days when it is another, but

well, I would really like to know your

opinion.

And finally, simply as an anecdote, this photograph

was selected by the team of the Spanish

Professional Photographic Association, FEFI, was selected to represent,

among other things, my country within photography, or

within the thematic or social photography group for

the World Photographic Cup.

I don't know if anyone knew what this

was.

Here I also leave the post, I will

leave a little link so that you can

take a look.

Well, the point is that they asked me

if I wanted to introduce myself and if

I wanted to introduce myself with this image.

So I'm really happy that an association like

this wanted to count on me.

I have loved representing my country with this

image and the truth is that recently it

was the first crib or it was the

first pre-selection and this image is already

among the top 10 or the top 10

selected to compete.

So we'll see what happens.

I think the final selection or the final

championship is in March or April, but well,

the truth is that, honestly, I think I

have few possibilities because you have to know

all the contests well, you have to know

well where you are and, well, my style

I think does not fit within the guidelines,

that is, what is there and the photographs

that are judged and how they are judged,

but well, fingers crossed and we will see

what emerges there, okay?

Well, you see that this of the contests

is a world, I think you have to

know what images you have, where you want

to send and what type of contests there

are and how to win in the end,

depending on the image you have, but that

is another video that I have pending to

do because, well, of contests I think I

know a little bit or because I have

lived a little bit enough about them and

a world is hidden behind it, well, super

interesting, I don't know if you would like

it or you find it interesting that I

ever did that, but if you like it

or if you like the idea, it costs

me little to create a video and put

you up to date with what all this

is about, so nothing else, friends, I hope

you liked this and very soon you will

have another video as interesting or more than

this, so take care, be good and until

next time.