All language subtitles for Patreon 64º Off Camera Sonia Luisfer(Part2)

Ok friends, remember I was talking to you

in the previous video of the challenge that

we did with Erika a few weeks ago,

in which we thought it could be interesting

in which on the same day, in the

same location, we would do two sessions, one

in the morning and another in the afternoon,

and try to capture or photograph completely different

photographs, both in one session and in another.

That was the challenge that we set ourselves,

that we forced ourselves to leave the comfort

zone and remember that the last video had

ended just talking about the image that you

are seeing now, in which you could see

Luis Ferr how he held his ring and

how through the ring I photographed Sonia.

But I told you to remember the location

in which I took this image, ok?

But what I want to get to is

that I would like you to observe it

well and that you stay, that you analyze

those columns that are barely seen on the

right, since in those columns, in the session

of Yasmina and Diego, I played with them

and what thanks to those columns I took

this image, which was one of the images

that I liked the most from their session,

right?

Of course, what I was going to do

with them, what I wanted to do with

Sonia and with Luis Ferr, obviously, it was

not going to be the same, okay?

So then, what I first did, in addition

to the photo of the ring, was to

start playing with the couple, serving me as

the base point those columns that there were.

If with Yasmina and Diego it was a

closed shot, with them I wanted to make

an open shot at first and through those

columns the light came in in an incredible

way, so then what I tried to do

is just play with them, right?

And already, that is, placing them first through

the columns, as you are seeing now, always

with the light, for example, in my favor,

okay?

I thought that photo could be, for example,

I changed the register completely, I photographed, well,

or I took this image in which I

asked, for example, Sonia to come to me,

you see that the light that is giving

her is perfect and between one of those

rays of light that there was, I asked,

for example, Luis Ferr to stay and so

I started a little, right?

Already playing with them, already moving them, first

together and then separately and I thought that

perhaps it could be more attractive to take

something more romantic, something in which the couple

was closer and it was, well, the image

that I took was this, in which I

asked them, right?

That they snuggle, well, that they get closer

to each other, that they were a little

romantic, I gave them three or four minutes

so that they were with theirs, so that

they relaxed, that they calmed down, that they

were looking at each other very calmly, always,

the most important thing, that light has to

be in our favor, it has to be

always perfectly directed, the couple always inclination for

the light, never the other way around, because

if not, all the problems come, no flash

or anything, just natural light and we don't

complicate our lives.

I liked this photograph, it seemed interesting, I

think the thing was fine there, but why

not, why not take a couple more steps

and why not photograph a very first shot

of the couple like this, in which we

closed the shot to the maximum, almost, and

that we went a little deeper with what

the couple was, with what love is, for

example, between them and that was what I

took.

Of course, you see that the same location,

the same columns, the light barely varied in

the morning, in the afternoon, because we are

here in winter in Spain, with which I

thought that could be interesting.

The two photographs, as I told you, are

completely different, one is a closed shot, which

the truth is that the location in which

we are photographing is not well distinguished and

the others are understood a little more, because

thanks to the columns I was integrating the

couple into the environment that I really wanted.

Okay, let's continue with the story and what,

as I tell you, we were working, my

head was already starting to explode, because of

course, the truth is that the location in

which we decided to work, I realized that

it was not wide enough to gather two

couples on the same day, I thought I

was very brave, but then when I got

to the moment of the session, Erika, there

was already a moment that she realized that

I was starting to go crazy, because the

locations did not give so much of themselves

as to gather two couples, but that was

the challenge, so we kept working and we

got to a location, to a point, to

a spot, in which with Yasmina and Diego

we shot or took this image and I

decided to completely change the register and the

photo that I took of Luisfer and Sonia

is this, and the truth is that the

background is the same, but notice how important

it is in which we play with the

lines, we play with the perspective, let's make

those little squares that were there work perfectly

and let's change the pose completely, let's change

the acting and notice that in this case,

both are centered in the damn center of

the image and I was worried that Sonia

was there, perfectly there, that she would not

look at the camera, that she would smile,

that she would close her eyes and Luisfer

on the other side, that is, in a

not straight position, because if it was not

all too static, but I asked him to

lean only with this, with his head, to

create a crazier angle, a totally perpendicular angle,

and in the end, because of the image,

it was this one, I think that in

that same place, in that same place where

we were, nothing, five meters away, there was

the same game that I, or the same,

sorry, the same spot in which I made

this image of, well, of Yasmina and Diego,

in which, for example, Yasmina was totally reflected,

as you are seeing, and Diego in the

background, and well, with all the crazy hairs,

for example, of Yasmina, in that same location,

I thought it could be interesting that I

also tried to play with the couple, that

I tried to take something, of course, remember

that both sessions were done, one in the

morning and one in the afternoon, the sun,

as is logical, moves and the shadows change

and move, everything, come on, completely, with which

the photograph that I took was not in

the same place, obviously it was not using

the mirror in the same way, but this

was the one of Yasmina and Diego, and

this is the one of Sonia and Luís.

As you are seeing, we are going to

talk a little bit about Luís' one, okay?

So you can see a little bit how

what I asked her was for her to

come for me, above all I was worried

about directing her well so that the light

would illuminate her like a fucking mother, I

was worried above all that both hands would

work quite well and I like that nature

in which Sonia just supports here and the

other supports her in her hand.

Notice that the cut, the cut both in

the elbow and in the hand that rests

on the leg, is at a millimeter, that

is, I was worried that that would work

well.

That was the left part of the image,

which already had Sonia perfectly there, so I

had to start playing with Luís Fer.

Of course, on the side where Luís Fer

was, there was the glass in which, for

example, a reflection of his was going to

be made, right?

I saw that something that seemed interesting to

me was that that shadow that comes in

like this, it seemed super interesting to me

and that triangle of the shadow was projected

on the glass, so I had to play.

I had the crazy idea of telling Luís

Fer to go up there, that is, to

jump, that is, to jump for what?

So as not to show the ground so

little of the image, to cut Sonia in

an American shot and that line, you understand

that the ground is not seen, to ask

Luís Fer to jump.

Thanks to the fact that Luís Fer was

jumping, I was able to go up, I

was able to cut that line and not

show the ground.

Do you understand what I'm explaining now?

And above all, I tried to make it

look like Luís Fer jumping with his feet

like this, and at the same time, notice

that you can see his feet also totally

duplicated out there, with which the image was

perfectly balanced, both on the left and on

the right.

Also, on the right it was totally double.

Why did I do this?

Why didn't I place, for example, Luís Fer

in the foreground and didn't tell Sonia to

go to the side where Luís Fer is?

Because if Sonia is perfectly illuminated, as is

the case, she has all the visual weight

of the image, she already has or receives

all the interest, you understand me?

So, if I placed Luís Fer completely in

the shade, he had very little visual weight,

okay?

That's where the duplication comes from.

Thanks to that, that is, to that double

or that double Luís Fer, the real one

with the duplicated one, it makes for my

taste or for my way of understanding to

have more visual weight and, as a consequence,

the image is a little more balanced, a

little better.

Then, since we were there, it seemed interesting

to me, since Luís Fer jumped like a

boty boing, that he didn't stop jumping like

a kangaroo, I thought it could be interesting

that, copying the Titanic formula, in which the

couple is caught like this, like this super

bunnies, that they hold on like this and

start jumping, that they look at the camera

and I asked them to try to put

a funny face, as if it were a

fish, or like that, right?

I mean, with a scared face, come on.

So, I asked them to start jumping, also

thinking that in one of those jumps, Sonia's

mane, for example, would rise and maybe it

could work.

Well, you see that my head was spinning

completely and finally I took this, right?

So, and that, right?

Well, these were the images that I wanted

to show you, that I wanted to tell

you a little bit about and that I

wanted to share with you, right?

I wanted to share, above all, the experience

of what it was, right?

To shoot a session in the morning, another

in the afternoon, in the same location and

see how my head worked.

As I told you in the video, at

first I thought it was Superman, but in

a second moment I quickly landed in real

life, right?

But I think that this formula, or this

challenge, I think I will repeat it in

the summer, to see what happens, right?

To see if my ideas have been improving

a little bit and to see if the

result is completely different.

Because believe me, when I finished these two

sessions, it is the same as just photographing

a wedding in which the head is totally

going to explode.

Well, the same thing happened, right?

And in fact I believed, or we believed

with Erika that it could be interesting to

share it with you and that you would

see what the whole visual journey was and

that you would see what our limitations were

and the positive points and that you would

judge, right?

So, well, that was all, friends.

I hope you liked it, I hope you

found it interesting and we will see you

soon here in another video as interesting as

this one, okay?

So nothing else, be good and until next

time!