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Hello everyone, welcome to another chapter.

Again, we want to thank everyone for being

there, for your trust and, of course, for

your support.

We are here on the 25th of confinement.

I don't know what day you are on.

In Spain it is the 25th, I think.

I hope that those of you who are

abroad, like those of you who are here,

are as well as possible, both you and

your families.

We thought that in May we would start

with the weddings.

It seems that in May they will be

delayed.

We hope that in June, or some in

June, they will be there.

And, well, let's see if in July or

August we are lucky enough to start.

But, well, what is certain is that with

these videos we are going to start at

least one a week to make you and

to make all this go as well as

possible.

In this chapter we want to talk to

you about one of our favorite images.

We are talking about this image.

It was captured already in 2017, September of

2017, in a house near London.

It was a British wedding.

It was our first wedding we did in

England.

And, well, I mean, it was an incredible

wedding.

But we would like to stop in this

image.

We would like to explain to you how

it was photographed or, first of all, how

it was proposed and how it was finally

resolved or how it was executed.

First of all, I want to tell you

that all this set of images, I mean,

all this set of intense moments, I mean,

you can say, for example, when the bride

sees her father for the first time, when

the bride sees her boyfriend for the first

time, when he is going to enter the

ceremony, or, for example, in moments as intense

as this one, as it could be a

reading of vows, some speeches, a first dance,

right?

I mean, they are moments in which we

throw the rest, in which we are fighting

to the maximum to capture the essence of

all these moments, which are clearly real moments

that we know will not be repeated again,

right?

I mean, speaking of this image, I would

like to tell you that the three fundamental

pillars are composition, light and, in addition, moment

or acting, right?

If we talk about composition first of all,

right?

I mean, I would like to tell you

a little bit about how all these lines

are distributed.

I mean, we could say that there is

a transverse line that crosses the image from

end to end and other lines that are

going to give a little stability or calm

to the image, as we are seeing now,

right?

And I would also like to tell you

that there is a virtual composition line that

for me is also fundamental or has a

super important weight within the image in which

we are seeing that there is a visual

connection between the father and the bride, right?

That moment of visual connection that forms a

brutal composition with the other transverse line makes

the image really complete, right?

The father is perfectly framed in that box,

or if a part of the man would

have touched one of the lines of the

box, possibly the image would not have worked

so well.

If we go on to talk a little

bit about light, first of all I would

like to tell you that the sources of

light that there are are never shown to

the viewer.

I mean, as you are seeing a perfectly

illuminated bride, you see that the source of

light that I am talking about, the one

that is illuminating her, is a source of

light that I do not show, but as

you are seeing, it is a window, a

large window, in which he is bathing the

bride perfectly.

Likewise, if we go to the other end

of the image, I am talking about the

corner where the father is, we are seeing

how there are several sources of light that

I am hiding in the same way.

A source of light that we see that

is profiling the left of the man and

another source of light that serves to give

depth, to understand that in that frame of

the door, at the bottom, there is another

source of light.

So, you can see that we have two

sources of light, a source of light for

the bride and another source of light for

the father.

If we start talking about acting, as you

are seeing, it is fundamental.

It is the moment when the bride is

going down the stairs and the father is

looking for her.

Here, mainly, I want to focus on something

fundamental and it is the moment in which

the bride was going down, but look at

the crop, at the cut that the bride

has through the eyes.

If we had shown the viewer her whole

head with her eyes, the weight of the

father would have been diluted and it would

not have been so important.

So, it was important that the cut was

above the nose, but without showing the eyes.

For the viewer to need information, not seeing

the bride's eyes makes you think, imagine things,

as if the bride is nervous, she is

happy.

It is very important that we understand what

elements of the human body we show to

remove information or to give her much more

information.

Well, now I would like to show you

the following images and how they were taken

so that you can see how it was

executed or how the preparation was.

We usually arrive long before the preparations begin,

before the Getting Ready begins or just before

they start putting on makeup, the bride and

her friends.

We don't focus on being two or three

hours photographing makeup, photographing the hairdresser, but when

we have a couple of photos that we

think already work, of what would be the

makeup, we will dedicate all the time later

to analyze that house where we are.

When we entered this house, the first thing

we saw was a huge staircase, so we

guessed that if the bride was upstairs, obviously

she had to go down, so when she

went down, it was possible that she would

give us an image.

Think that at the moment you are seeing

this, the bride with her friends or with

some friends is putting on makeup and such.

So, you see how we are seeing, well,

here a girl appears on the left, a

lady who goes down on the right and

we continue, right?

I just wanted to see what kind of

light was there and we continue documenting a

little.

Notice here that I also photographed a little

how the staircase came, how they coincided or

how there were all these lights, all these

shadows.

Above all, I look at the projected shadows

both from the window and from the girl,

look, and well, I keep shooting.

I saw at this moment how the bride

was just starting to put on her dress,

so I asked her to hold on a

little and not to look at me in

the camera.

I always try that people don't look at

me in the camera and I already asked

her to go up.

I also always ask the brides not to

leave my dress hanging in a window because

I always like to do the dress with

them.

I think it is something fundamental not to

photograph only what is the hanging dress, but

always the person who is really going to

wear it.

Notice that in this image, simply, well, we

quickly move on to this with what was

post-production.

You have to know that before we shoot,

that is, a few seconds before we press

the shoot button, we already know or intuit

how the final result will be.

I already knew that in the upper right

corner that intrusive light would have to darken

it and the paintings that are in the

background could stand out much more.

And the dress, notice that it is a

little almost about to lose texture, I already

knew that in post-production it was going

to win a lot.

You see how I have already tried that

the force goes directly to what is the

dress and the bride and the rest is

kept a little darker.

Why did I reveal this image in black

and white?

Because simply the color did not finish working.

You see that they are very pastel colors,

they are soft colors that are diluted with

the bride's face, with which you see that

in black and white the color works quite

well.

Now we are going to start to what

comes the action as such and I'm going

to explain it to you.

You see that the bride is ready, she

has just dressed, the bridesmaids are about to

go down, I see that in the position

that I find it does not end up

working, I see that I'm going to eat

it.

Notice also that something that bothers me in

this main image is that line that separates

the head of the bride in half, with

which I quickly changed the plane and I

already thought that this could be the plane

or the frame in which it could work.

Things that I want to explain to you

very quickly.

The videographer is right here, a good friend,

so I ask you to look at me

to see how the light works on his

face.

Also look when I explained at the beginning

of the video that I always like to

hide the light sources.

Look to the right that there is a

large window, that large window that I told

you that will perfectly illuminate the bride.

Also look to the left there is another

light source, that light source I also want

to hide, with which I will close the

plane a little more, but I see that

if I put myself like this it does

not end up working the whole plane and

I try if I do it like this.

When I try it like this, I see

that the thing starts to work, I also

have the father on the left and I

already intuit that when the bride goes down

I will be able to capture the dress

on the right, with which it may work

quite well.

At first I intuited that the bride would

go down in the same place where the

videographer is, but you will see that my

plans did not work as well as I

wanted, so I would like to show you

the next shot.

This is the first mistake I made.

You see that this is a shy angle,

it is captured up, I mean, I turned

the plane up, but you see that all

the lines are going to mother and it

does not end up working for me, besides

that I am losing the father.

For this image to work, I would have

to raise two meters so that all the

lines were working.

Remember what I told you in the previous

chapter, when we are shooting, in this case

with the 35mm, all the lines have to

fall straight.

It is not worth it that I place

myself like this, that I capture it like

this.

We always have to have with the 35mm

the straight lines and we have to learn

to flex legs and body so that everything

falls straight, both vertically and horizontally.

That is fundamental.

I would like us to take a look

at this image because it is fundamental.

Here I begin to intuit which will be

my final shot.

Notice that the moment I begin to intuit

which is the final shot, I do not

move and I start to plant.

You see that the videographer already intends to

start going down, but I will not let

him take me down completely.

If I already intuit that this may be

a great photo or a good image, I

already plant and notice that I will not

move because every time I begin to be

more sure that the final shot is going

to be this and I'm going to fight,

I'm going to die for my square meter,

for my space.

You see that the videographer looks a little

the hand up at the top right but

I was already telling him no, no, no,

here I do not move and you see

that he is still recording him.

The bride just starts to go down, the

father starts to go looking up.

There I did tell the father please, if

you do not mind, do not move from

there, please, because your daughter is about to

go down, okay?

But the videographer that is already going to

go down and unconsciously is going to push

me to go down, I already tell him

with my body language that I'm not going

to move, you see how the bride starts

to go down, you see how the father

is still there and the videographer I do

not move anymore and I invite him if

he wants to go down, I mean, go

down, but of course that he does not

stand in front of me.

There we have the bride almost.

You see that that line I do not

know how to call it, of the landing

or the railing is splitting it in half

with which I keep shooting and now I

have the shot.

This is the shot I have, okay?

You see how I mainly hid the light

source on the right and you see how

all the lines start to work, right?

I would like to show you what was

the final result from this to this, okay?

I want you to take a look how

I was darkening parts, how I was clarifying

parts, but you see how in the shot

I had already cut directly the eyes of

the bride.

It is essential that in the shot we

always have as clear as possible what we

want, right?

It is worth that with post-production we

can reframe as many times, but if already

from the shot we are clear what we

want, the thing will go twice as fast

and twice as simple for us, right?

Notice that if I put it in black

and white it was also because simply the

colors do not end up working and I

would like to show you also what were

the values with which I shot.

If in this case 2.8, 250 of

speed, why 250 and why not throw more

ISO up, right?

Because we could have calmly shot at 1700

ISO and have played with a speed that

gave us a little more tranquility.

In this case, as you know, I preferred

to adjust the ISO to the maximum because

I already knew that later in post-production

I would raise it a lot and I

did not want the maximum possible noise to

come out and also, as I told you

in the previous chapter, I always try to

play with the lowest possible ISO to then

get the maximum possible contrast.

It is a 2.8 because more or

less father and daughter are almost in the

same plane with which they will find focused

at 2.8 both and at 250, well,

more or less as you already know, the

bride or the brides usually go down quietly

down the stairs because to start they can

not run, right?

So it is fundamental that, right?

More or less the ISO 800, 2.8,

250 and something fundamental, I always sub-expose

a point or two points.

In this case, when I have a such

a marked light source, I usually sub-expose

more or less a point, even as I

told you two, but I already knew that

with post-production I could win, as you

are seeing the father, the following images that

you are going to see, as I told

you, were the following that I I was

taking out, as you are seeing here the

father and it goes away completely to the

left, I already lose it, there is no

connection, look at the frame of her or

the cut of her, sorry, that cut under

the nose or rash does not work, of

course, here as I told you, I thought

the bride would go down to what is

the most interior side of the staircase, but

as you can see it goes to the

outside side with which I already lose it

completely, the father here has already been completely

lost, the bride looks to a side that

is not clear, the bride begins to go

down, I do not have it, the father

does not look either, the father begins to

look, but you see that everything goes to

hell, I tried now to copy her for

having a shot of her a little bit,

the light source, you see that she appears,

with which, shit for me, nothing, nothing, nothing,

and well, you are seeing here, you are

seeing what a disaster of how well I

had started, how badly I was already correcting

here, notice that I have the videographer's camera

here already in the shot, surely it will

attract attention or tell him to please leave

me alone for a little while, we continue

working and well, here we have again another

shot, a little more interesting, not the best,

you see that a girl appears in the

background with a light source that is bothering

me a lot, the father begins to work,

I tried now in which you are going

to see one of these, but well, you

are seeing that it really is no longer

the best photo, so I would like to

go back a little bit to what is

the beginning and a little bit to finish,

the main thing is that we arrive in

time, that we prepare the scene in which

we imagine that maybe important things would happen

in this place, of course, in 99%

of the cases nothing usually happens, but of

course, you have to imagine it and you

have to wait and you have to prepare

it because if we had not thought, if

we had not prepared for these scenes or

imagined how the light was going to work

or how it was going to happen all

these things, of course we would have caught

the bull, we would not have been predictable

and the photo, of course, that would not

have come out.

For me, this image works because the girlfriend

is at one end, the father is at

another completely opposite end and they are united

by their gaze, it makes the image round.

And so nothing else, friends, I hope you

liked it, I hope it has helped you

and here we are, strength for everyone and

well, everything comes out, bye!