Original subtitles

Hello friends, how are you?

I hope everything goes as best as possible.

Just two days ago we launched a survey

in which we asked you about your tastes,

about your concerns, about what future topics we

could address and we saw that the vast

majority of you are asking us about what

our mission was at weddings, how we work

at weddings, how we capture the moments, how

we prepare ourselves in advance before the wedding.

So we decided to change everything a bit,

the order of the chapters that we had

planned to publish and what we decided to

create a video, which is the video that

you are watching, to address all that set

of questions.

And in fact, I wrote down quite a

few questions and before starting with what the

video is as such, I would like to

answer them.

Simply because in this video I will tell

you a little bit about how we are

going to structure it.

And I must tell you that it will

be a video that we are going to

split into two videos, since it is more

than likely that it will be a long

video.

I mean, we don't want to publish a

50-minute video, but what we are going

to do is publish several videos so that

it is a little easier to digest.

And the mission of this video is mainly

to answer the questions that I have already

told you and then later, to try to

explain it to you as best as possible,

what I am going to do is simply

show you a full wedding in which you

will be able to see how we work

the whole wedding, how we prepare ourselves, how

we visit it before, how we work it,

if we are two photographers, how we were

two, that is, at what point Victor was,

at what point Erika was, I mean, everything.

And the best way for you to understand

it, well, that's it, it's just showing you

a full wedding.

Of course, when I say a full wedding,

it means that we are going to show

you all the photographs, but we are not

going to go one by one, simply because

in the most important ones, we will stop

for a while and explain them thoroughly.

So, having said that, I would like a

little to solve some of the questions that

many of you had and then we will

continue with the video, okay?

Regarding the questions, the ones that have been

repeated the most are the ones that I

am going to read now, right?

And one of the first ones is how

do you prepare to capture photos or how

do you prepare to capture moments and how

do you expect them, right?

Of course, I don't know if this is

very, very didactic, but of course, what you

should understand is that before being a wedding

photographer, I was a press photographer, I was

working as a press photographer for nine years

and what I did was daily press, I

mean, I simply worked from Monday to Monday,

and when I say from Monday to Monday,

it means that on Monday I was early

in the morning photographing, well, information, it could

be a football training session or it could

be a trial or whatever, and on Monday

night I was still photographing a delivery of

diplomas or whatever, and on Sunday, well, I

was photographing first division games.

In fact, I have to remember that I

don't like football, I mean, imagine how funny

it was for me to be on a

Sunday afternoon photographing first division football games in

Spain, I mean, it was a bit, well,

the press work, right?

That touches you with everything, right?

Of course, in the nine years of press,

well, what I learned was a lot, not

only to control how to shoot at all

times, I mean, all your parameters, the most

important thing is to know how to be

in the places, to understand people, to know

what is going to happen or to understand

how everything works, to know when you can

stay in one more place and to know

when you have plenty, when people don't want

you to be there, and that was fundamental

for weddings, to understand what was going to

happen, to understand, for example, the bride's mother,

to understand the bride's nerves and to understand

everything that was happening and to know, above

all, when it was not the best time

to be there or when I knew I

could stay longer, that was fundamental.

Of course, and then we added nine years

or ten years of weddings, in total, well,

imagine, I started at 22 years old as

a lawyer in a very, very small newspaper

and I ended up working for agencies and

then, well, in the years of weddings, I

mean, no one thinks I'm a genius, no

one thinks I'm a magician, I'm a worker,

I'm a worker who has worked for many,

many years and maybe the trick is there,

in practice, in the years of work, that

is, if you are a genius and with

two years you already take great photos, well,

congratulations to you, congratulations, but it has not

been my case and it is not the

case of the vast majority of colleagues, right?

So work, work, work, work and work, okay?

The next question, anticipate and capture strong moments,

how to build very complex images, the first

thing I can advise you is that the

first thing you have to do is love

it, that is, love it and propose it,

of course, it is not worth just saying,

okay, I want to capture images, for example,

complex, okay, but for this you have to

do them, you have to try it and

you have to know that it will not

come out in the first, nor in the

second wedding, nor in the third wedding, nor

in the wedding number 100, that is, notice

that I think I will have photographed around

300 weddings in my life and I make

mistakes constantly, but that's what it's about, right?

To look at yourself, to know what things

you are doing well, what things you are

doing wrong and the ones you are doing

wrong, still exercise that, of course, you also

have to be inspired, you have to love,

you have to absorb, you have to look

at great colleagues who are doing an impeccable

job in what is work with complex images,

for example, if you want to capture this

type of images, I would recommend that you

start to know the work of great teachers

such as Alex Webb, James Natsui, Manu Bravo,

Daniel Ochoa de Olza, I mean, you have

to love that and you have to propose

it to yourself, you have to force yourself

to that and you don't have to be

frustrated if at some point things don't come

out and you have to understand or you

must understand that photography is not a sprint,

it is not a race of speed, but

photography needs time and time and time and

time unless you are a genius, okay?

With respect to anticipating, there is no wedding

that the day before we are not going

to see, for example, the hacienda or the

wedding venue, there is no wedding that the

day before, that is, because we do not

visit the hotel in which the grooms or

the church are going to get married or

whatever, I mean, it is anticipation, of course

it will give you the experience of having

worked for years and years, but above all

what I can recommend that it would be

great if you were a step ahead of

what is going to happen, what I mean

is that if you already know that the

bride is going to enter or leave through

this door, then we are going to visit

her, that is, we are going to know

if there are going to be some stairs,

if there is going to be whatever, that

is, a very large door that is going

to let the light pass, we have to

know if the bride is going to go

with more people, if she is going to

go with her father, that is, for example,

in many cases when I am photographing, for

example, the getting ready, when the car arrives,

for example, if they have a vintage car

or they arrive in a carriage of horses,

whatever arrives before that happens, I am going

to visit the car and I am going

to talk to the driver and I am

going to ask him because the door that

is going to enter if it is an

old car, for example, if it is a

vintage car, I am going to look at

how big the windows are to see if

there are going to be reflections or there

are not going to be, just like in

the ceremony, as I have told you, just

like in the wedding venue, if they are

going to enter a specific place and we

are going to observe if there are different

perspectives, that is, if one of us is

going to be placed here and if the

other is going to be placed at another

point, that is, it requires a preparation, that

is, it is clear that a wedding can

happen of everything and it is uncontrollable, that

is, we cannot control everything, it is also

the beauty of a wedding, but we are

going to make a script and we are

going to know more or less where all

the stories are going to go, so that

the bull does not catch us, so that

we are a little prepared for all that,

okay?

How do you prepare when the rhythm is

very fast?

I have already told you, it is a

step forward, okay?

And what are the best tips to be

creative?

Many colleagues ask what happens when there is,

for example, a creative blockade, right?

Of course, when you have expectations or, for

example, you go with an image, for example,

preconceived, I want to make this image, but

of course, to make this image everything has

to coincide, the light, the space, the grooms,

the intensity of the moment, I mean, when

you go with a preconceived idea, for example,

for a wedding, it is more than likely

that it falls, that it does not, that

it does not, that it does not, that

it does not come to, that it does

not come to produce, right?

With which you are also going to fall

with the photo, I mean, the best advice

I can give you is that you interpret

the light at all times and depending on

the light, everything will come out and then

things will happen and it may be that

at some point Saturn joins with Uranus and

Neptune and all the planets come together and

your photo comes out, right?

But at the moment forget about creativity and

forget about creative blockades, forget about all that

and interpret the light, interpret the moment with

your gaze.

I always say something fundamental, that is, we

have to understand that each of us is

totally different because of the mere fact that

we are a man or a woman, or

from one country or another, from one culture

or another, from one religion or another, you

like action movies or you like romantic movies,

I mean, we are all totally different, let's

put those values ​​in alpha, if we are

different, it is not necessary to think about

creating a different photograph, just shoot as you

know how to do it and only because

of the fact that you are different, you

and me, and that is really going to

mark, of course, when you put yourself in

the role that you want to be Victor

Lax or you want to be Fer Juaristi

or whoever gives me the same, you are

going to copy and you are going to

think what Victor would do, no, that is

not the way to think, what would Victor

do, no, what do I do now, how

is the light going from here to there

and how, well, we are going to interpret

that and surely something really interesting comes out

and something very very important, what is your

project as photographers, what I want to get

to, many of you are asking me how

to capture moments, okay, but you capture moments

in what is your real life, that is

to say, in your family, in your environment

of friends, you get lost in your city,

in your town to capture real moments or

not, of course, you would have to start

there, what is your project, there is nothing

wrong with posing or not posing, what you

have to be clear about is who you

are as photographers and where you want to

go, if you want to go to capture

moments, to work on them and to be

consistent with yourself, but not only at weddings

but in real life because what I always

say is when in your real life as

a photographer you extrapolate it to weddings that

is perfect at the moment that you are

not clear what type of photographer you are

and you get to do weddings and you

get to do what you properly have to

do, you will always be empty, you will

never develop anything interesting, either you will copy

or you will do what the rest does,

you understand me, that is, that is fundamental,

who are you as a photographer, I am

not talking about weddings, I am talking about

photography, that is, remember we are photographers and

our last name is weddings, when we extrapolate

photography to our field, I assure you that

it will really work, okay?

And the last question that goes a little

bit, well, because of the last one that

I have talked about, how much percent do

you capture moments and how much percent do

you pose or direct the wedding?

Of course, you have to think that I

do not think this, I never think that,

okay, at this wedding I have to be

a photojournalist, no, that is, I have already

told you, that is, our DNA has mainly

been and is capturing moments, that is, we

could, if we wanted to give numbers, we

could say that a 65-70 percent, that

is, we do not interact with the couple,

I mean, we capture real moments and that

30-35 percent we are going to direct,

but nothing happens, nothing happens if at a

wedding the values ​​change and it is a

50-50, that is, I mean, I think

I am a photographer and I love to

capture moments and I love to do portraits

today, or tell a girlfriend to position herself

there, or to repeat an action again, there

is nothing wrong, that is, it is simply

photography, that is, I think that within the

wedding photography we have created some ghosts in

which I have to be, I have to

capture moments and if I capture moments I

cannot make portraits, I cannot direct, what else

does it give?

If it is photography, if at the end

of the day you have to think who

you are as a photographer, if what you

want to do and if, and do not

limit yourself with deciding, ah, if I capture

a moment I can no longer make a

portrait, you understand me, that is, that is,

how to open your mind a little and

think more as photographers, think more like you

as artists, what is your project as a

photographer and take it to the weddings and

forget about the rest, really, okay?

So, well, those were the questions that I

first wanted to answer you, okay?

Because I saw that, well, that is, many

of you coincide with this, okay?

So now, well, we are going to talk

about the wedding, okay?

And we get ready.

Ok friends, I am going to show you

the wedding that I have told you about,

okay?

Well, first of all, well, tell you, right?

Well, I have chosen this wedding because, I

mean, like, I mean, I see that it

falls within that type of weddings that we

usually, well, we often photograph.

It is a wedding in Mallorca, or it

was a wedding in Mallorca, of the last,

of last year that we did.

This was in August, on August 24, 2019.

And well, it is a couple from, it

is a couple from England who got married

in Mallorca and got married, well, in a

small castle with sea views, okay?

Where I would like to start first of

all, is that, as I had told you,

both Erika and I, well, we usually arrive

two hours, even three hours before the ceremony

begins.

I mean, just before everything starts, as you

are seeing, well, we are there, okay?

I mean, and you see that, at the

moment, I had not yet photographed the bride,

because none of these girls is the bride,

and notice that they are not even dressed

yet, right?

Some are taking off their underwear there and

such.

And you see that, at the moment, I

have not yet photographed the bride, she is

in the background, but I have not yet

focused on her, but I am focused at

all times on those who surround her, on

her sister, on the girls, but, above all,

we are focused not only on what is

the makeup of the bride, but on everything

that happens around her, okay?

And while one of us is with the

bride, the other is with the groom.

I mean, we work completely separately.

I mean, while I, in this case, was

photographing what the girls were, Erika was photographing

the boys, okay?

So, there is the double of tranquility, focused

at all times and not having to think

that we have to run first to photograph

a boyfriend and then run with the car

to photograph the bride.

So we are already 100% focused.

And what, well, you see that while I

was doing light tests, I saw how the

light worked, for example, in this case, you

see that it is not a hard light,

but we are talking about an interesting light,

okay?

And my mission was that, right?

It is to photograph all the things that

happened, from girls looking at the phone, which

is something so mundane, so normal, to what,

to these things, right?

You see that, I mean, at all times

we are very close, we are focused not

only on photographing what is probably makeup, but,

as I tell you, everything that is around.

And while I was there, you see that

Erika was already on the other side, starting

to photograph boyfriends, okay?

And here we are, photographing from little things

like this, so basic, okay?

To things like what the bottle of champagne

was worth, right?

For example, you can already see it.

I mean, I mean, we try everything and

while one is doing things with the girls,

the other is with them, okay?

And it is the mission.

Of course, I mean, previously, they are already

warned.

They, in fact, were the ones who treated

us for this, because they wanted to live

their wedding to the maximum and they wanted

to have some photographers who would not steal

from them for a long time and who

would capture everything as it happened, okay?

There are photographs, as you are seeing, super

basic like this, and there are photographs like

the one I had shown you above, or

you will see that they will start to

be more complex, right?

And there are photos, for example, like these,

which are for us transition photos, right?

And of course, there are photographs, as I

am telling you, I would not have to

show you this, right?

Super basic, as this could be, but you

have to keep in mind, we are not

working just for ourselves, we are working for

them.

We are talking about this dress costing 15

,000 euros.

I mean, how are we not going to

photograph it?

I mean, it is super important for the

bride, super important.

So we have to do it, because of

course I make one for her, so that

if she wants it, but of course I

am going to have a much better one,

like this one, in which her best friends

are with her sister, lying in bed and

all this.

I mean, for me this one has more

strength than the other, but we have to

be clear, as I had told you before,

that we work not only for ourselves, but

also for them, okay?

Again, transition photo, to have a little bit

of everything.

Different perspectives of the groom.

I like this photo a lot more, it

is already quite complex, foreground, people in the

background, okay?

Also, notice that what we try to do,

that the reveal is very, very equal in

all photos and that it has the same

mood, that it is not, for example, black

and white is all the same and that

the color is all the same, or as

similar as possible at all times, okay?

Well, you see that I even photograph things

like this, which at first may seem, for

example, very basic, but I think that photographing,

for example, a photograph as basic as this

one could be, is just the germ of

what is going to come later, right?

I have to be close to them at

all times, as Erika does, close, close, close,

close, close, close, close, close, and already start,

okay?

To what would be to go creating things.

I mean, notice that here, that is, the

moment comes in which, that is, in which

Gaby already takes off her dress, okay?

And she puts it on me there, that

is, she unconsciously puts it on me so

that I photograph it again, right?

I mean, as I tell her then, I

say, ah, what are you going to do?

Ah, yes, well, that is, as she starts

to laugh because she had realized that, right?

But I keep shooting, I keep shooting, I

keep shooting.

Why?

Because her dress is super important to her.

And look at the number of different takes,

or photographs, or different perspectives that there are

of the same shot.

Of course, here I am telling her, wait

a moment, raise your dress up, hold it

there.

Now I want you to go near the

window.

Of course I am addressing her, but as

you have seen, there are times that she

addresses herself and there are times that she

does not address herself.