All language subtitles for Episode 48º Patreon Off Camera Rubén Jesús (Part 2)

Hello friends, how are you?

How are things going?

Welcome to a new video.

As always, well, I wish you all the

best possible.

In today's video I want to talk to

you about the second part of the off

-camera that I talked about a while ago,

okay?

And what I left you just with half

of the session to explain, so in this

second part what I'm going to do is

tell you a little bit about how we

took some of the best photos we took.

As in the first one, I'm going to

stop or I'm going to explain more with

some kind of photos because I think they

deserve a more in-depth explanation and there

will be other images that you are going

to see that are very simple and I

just had an idea a little interesting and

I already executed it and the photo came

out, okay?

As common points that you are going to

see in the images, okay?

It is absolute control of the light, both

we play with hard lights, as you will

see that I am going to do it,

as we play with not so hard lights.

Remember that we did the session in January,

well, in Spain, in Zaragoza specifically.

Of course, in Spain now we are in

winter, it is when the light is more

perpendicular, more complicated to work and less enveloping,

right?

It is clear, it is just the opposite

of the other part of the hemisphere, right?

And above all, also important, you are going

to see how we try to find geometric

lines everywhere, be it circles, be it triangles,

be it rectangles, be it lines that enter

on one side and exit on the other.

And another important thing, and you are going

to see that all images have that in

common, is that we have already told you,

I already told you in the first chapter,

that we are not going to try to

capture the typical postcards, but we are going

to go deeper into the type of photographers

we are and you are going to see

how all we are going to need are

small frames or small spaces in a large

space in which we will only be left

with small parts.

It is as if we cropped, it is

as if we cut small parts of a

large space, do you understand where I am

going?

Okay, that said, and speaking of cropping and

speaking of just staying with small spaces, I

want to tell you where the idea came

from, okay?

As you are seeing, the site does not

do justice with the photo or with the

result of the photo.

As you are seeing, I am in a

business park that I told you about, which

is called Expo 2008 in Zaragoza.

Just to tell you, in the place that

I placed them, as you are seeing, I

saw that there was a line, a very

interesting shadow game, and there was another part

in cement or concrete, it is like a

wall in which that hard light perfectly incidents.

What I tried to play there was to

try to get something that I had not

done until now, and it was to try

to connect the couple.

I already told you in the first video,

which would be advisable that you saw it

before this one, in the first video that

the couple, it was quite difficult for me

to work with them when trying to put

them together, as everyone knows.

There are couples that you don't know why,

you tell them to get together and they

are perfect, and there are others that, because

of the nerves of the moment or whatever,

it does not end up working.

I had already got some image of another

type, but I did not have them together

or I did not have such a closed

shot of them, with which I started to

work.

I was clearly concerned that, above all, that

their bodies did not come out, neither on

the right nor on the left, and that

they were there.

I also asked them to try to imagine

that they were in bed about to sleep,

and how one tries to overlap or try

to get together with the other.

I asked them to put Jesus on their

chest, for example, and to try to play.

It was not easy, I saw that it

did not end up working, but I kept

working, I kept asking them to breathe, to

calm down and all this, and in the

end I got this image.

For me, as I say, the important thing

is that they are about to touch, they

do not get to kiss, but they are

very close to it, and as I say,

the non-obviousness of the place in which

it was taken.

As you can see, the important thing for

me is not that I take a postcard

photo, but quite the opposite, that I go

a little deeper into the soul of the

couple.

I would like to go now for a

much more interesting photo for my taste, and

that at the time of the shot I

had quite a few doubts about how I

could execute it.

As I have already told you, my mind

is always looking for lights that cross there,

geometric shapes, as in this case, triangles.

The first thing I started to think or

to see, and I already saw that there

was a triangle above, which was from some

stairs that went down, and I saw that

there was another shadow projected by a corner,

with which I thought, damn, I can make

a boy placed in the shadow below, and

another one placed in the area above.

When I said shadow, I mean the illuminated

triangle that is just below, which seems really

interesting to me.

There we thought we could place Jesus and

we thought we could place Ruben just above,

right?

When we more or less had all that,

we started to think.

The first idea was just to capture the

projected shadow of Jesus in that little light

triangle, and Ruben, who is just above, was

placed at the same height, in the same

corner, in the left corner, I mean, with

which all the weight of the image was

turned to the left, on the contrary, the

right was not completely turned, do you understand?

With which we started to work on that

a little more, and what we thought could

be interesting.

First, to include Jesus in that light triangle,

and second, to play with the composition, to

try to balance in a way that image

in which a boy was on one side,

above on one side, and the other boy

was down on the other side, and in

short, to try to balance a little more.

With which I asked Ruben to move to

the other side, and above all, I asked

him not to look at the light, but

to look to the other side.

Why to the other side?

Because if I had one of them illuminated

below, what I wanted to have contrast, or

I wanted to capture just the opposite in

the other boy, I mean, I had to

keep it in shadow, or I wanted to

keep it in shadow, with which I had

to tell him not to look at the

light, but to look to the other side,

so that his face, in the end, would

end up being a shadow.

Notice how well they work, for example, with

the triangles, both above and below, which seem

really interesting to me.

And also notice how well they work here,

for example, with the colors.

A blue with a, in quotes, a very,

very light yellow, which would be the illuminated

point or the illuminated triangle.

That makes the contrast work perfectly.

Likewise, the contrast also works, I'm not talking

about post-production contrast, I'm talking about the

contrast in shot.

How well the blue works with the yellow,

and how well it works that we can

see a boy's face, and yet we can't

see the other face because it's completely in

shadow.

And once we finish the image, what we

proposed is to take another walk and see

if we could find a photograph that was

a little different from the previous ones.

And in my head I was also thinking

about trying to get something more complicity, something

that would show a little more love.

So we kept walking a little bit, and

just below a bridge, a bridge that is

right there in the same area, I saw

that there was a thread of light, like

the one you are seeing now, that worked

quite well, and I just asked the couple

to stand there, to stand there, to try

to hug each other again, to love each

other, or to show a little more empathy,

a little more love between them.

So this idea came up, it was like...

Well, as you can see, it's super simple,

I just asked them to get together, I

started throwing bad jokes, I mean, I started

saying nonsense, like almost always, until they started

laughing a little more, and I captured this

one.

Once I captured this one, to give it

a little more depth or a different touch,

I mean, since we have them there, I'm

not going to leave without taking another image

and having a different image than the one

I had taken, right?

So I just asked one of them to

come to me, to try to fill the

frame with his little head, and I asked

the other one to stand.

It was very, very important that I asked

one of them to stand in that beam

of light, right?

That beam of light for me is super

important, because if there had been no light,

everything would have been quite dark and quite

flat, right?

Therefore, that beam of light worked perfectly, and

I already asked one of them, as you

can see, to stand there, and the other

one to stand close, and that's it.

And finally, since we were working on that

bridge and I thought I could get something

more than what I had photographed so far,

I saw that in the upper area, there

was a kind of grid, which occurred to

me, right?

That I could get a completely different perspective

asking the boyfriends to stand up, lying down,

and I was down.

I mean, I could capture them from below,

I could capture them, and what I tried

to ask them to do was to lie

down, but to try to accommodate each one

of them until I tried to get a

slightly more interesting connection.

Once I had them, it wasn't as simple

as...

as shooting and waiting more or less for

the thing to work a little more or

less well.

Once I had them, as you can see,

I already told them that everything was ready,

right?

So that's it, friends, that's all for today.

I hope you liked this second part of

this off-camera.

And as you can see, as I told

you at the beginning, the important thing is

not to have brilliant ideas, but to have

a good idea and execute it and know

how to work, and the rest comes on

its own, okay?

So that's all.

Behave well, be good, and we'll see you

here very soon.

See you later!