All language subtitles for Patreon Episode 82º Off Camera Marc Sheila

Hello friends, how are you?

Let's go for the second part of this

video and if I say second it is

because if you have not seen the previous

video I recommend it to you because it

is like the first part of all this

in which we explain or in which I

summarize or tell you how and why we

carry out this session, these photos, with which

if you have not seen the previous video

I recommend that you see it quickly to

get into the context of this whole story.

And remember that we were in that industrial

park, we were taking some photos with Gil

and I was transmitting to him what my

ideas and concepts were about what we were

doing and I had behind my ear Erika

kicking my ass, which is a bad thing,

because she was always telling me not to

stick them in such a romantic couple, that

is, stick them in, do things that are

dynamic and do not fall into pure and

hard romanticism, which is not your forte, that

is, stick them in and so Gil will

learn twice as much.

As you can see, I had both Gil

on one side and my wife on the

other, kicking my ass, which is a bad

thing, but hey, it is true that we

have a good time, okay?

We were, that is, the previous photo, remember

that I had been talking about, well, because

the image is, in quotation marks, it is

a slightly static image, with which the lady

already approached me and told me the following

movement, okay?

So then we were, as I tell you,

in an industrial park, in which everything was

a little bit, well, that is, everything, well,

buildings made of glass, made of metal, made

of things like that, similar, with which it

occurred to me that it could be interesting

for us to play with, well, with several

perspectives, in which, for example, the bride could

be lying on one side, the boy on

the other, I am talking, sorry, I always

express myself badly, I am talking about this

photo, okay?

In which, as you can see, Sheila was,

or I proposed to her that she could

be lying there, but before I start, it

would perhaps be important to explain to you,

right?

What was my intention, apart from lying her

there and that her, and that the line

was perpendicular to where he was, right?

I mean, for example, Mark, who was here,

well, Sheila, well, she was here.

First of all, it was important to clean

the background, I mean, clean the background, I

have to place myself with the camera so

that there is no tree above Sheila, okay?

I mean, common mistakes, I show you, for

example, this photo, okay?

You see that no, no, this does not

work, this is not the reason to be,

nor does the composition work, nor anything like

that, and less that trees come out of

the girl or strange things come out.

That is why it is so important that

we clean the background so that she breathes.

I had already told you how important it

was, or that it was for me, how

Sheila was going to dress, the color that

it was because it worked perfectly with the

sky, right?

Because it was a brutal contrast, right?

Of course, it was time to place, for

example, Mark.

I wanted it to be interesting for Mark

to sit down and place himself there, with

which he had his face, without looking at

me, I mean, remember that I never usually

like to be looked at by the camera,

but to look right over there and have

Sheila lying down.

Again, someone approached me and told me, this

is too static, you have to give it

movement.

And the first thing I thought, I say,

pfff, the whole floor was full of stones,

I took a stone, I gave it to

Mark and I told him, think that this

is like a ball that you are throwing,

that you are having fun, I mean, while

Sheila takes the sun, you are on the

other side, counting the balls, or doing the

mongolo with the balls, which were stones, of

course.

But they were all rounded corners, so I

thought it could be interesting to simulate that

it was a stone.

Now then, when I started to give it,

it was when I understood that it could

be interesting to capture the moment, not only

when I threw that stone up, but to

analyze for a second the place where Mark

was, which I put it on a neutral

background, on a neutral gray background, it also

had light and shadow.

You see that half of the body is

in sun and the other half is in

shadow.

As you already know, in the summer season,

as now, if you expose, or with hard

lights, if you expose to the highest point

of light, the rest is dark, that is,

it is practically black, do you understand me?

With which the mission was that Mark was

from chest up, completely illuminated, and from chest

down, completely dark.

Again, you see that you do not see

the place where they are, or especially Mark,

the place where the photograph is taken is

not understood, but it is the same building

as always, okay?

I just realized that when Mark threw, for

example, the stone up, his hand was illuminated

by these fingers, which gave that interesting touch

that I was looking for, and I said,

wow, and I did worry, I told Mark

that he had to place his hand properly

because he had to not only capture that

rock up here, but the projected shadow of

the rock had to be there, and that

rock should not touch the human body, do

you understand me?

There were many photos that touched, or that

did not work, like the ones you are

seeing now, but I needed something clean, something

that worked, okay?

After this we tried to do something else

like this, but for my taste it did

not work, because look at the shadow, or

at the neck, or at Mark's face, in

the shadow, it does not work, it is

too drowned, that is, too tight, it does

not breathe, and the stones, I mean, the

floating stones, or the floating stone, did not

end up working with the hand that is

too close to the shadow, and compositively that

did not work.

To finish a little with this session, because

I would like to talk a little more

about the other one that we also did,

of the Friday session, to finish I would

like to talk about this image, for the

fact that it was not controversial, but it

was very funny to me, first of all,

because I shot it vertically, and first of

all, because I shot it vertically, it was

not free, that is, it was not because

we created a video on Patreon, last month,

about vertical photos, no, it was for the

reason that, for me, the lower end is

totally connected with the upper end, okay?

I mean, notice that there is information both

above and below, and the lower one leads

you to the upper part, and vice versa,

I think they are perfectly united, and for

me that is one of the reasons why

vertical photography, in this case, works perfectly and

makes sense.

How was that photo taken?

Very simple, remember that I am in an

industrial park, and as I have told you,

all buildings are made of glass or similar

materials, metals, therefore, the sun, at sunset, perfectly

shines and a multitude of reflections occur at

all times, right?

So, what you see that looks like a

flower, like this, with shadow, is simply the

reflection of a window, hitting there, hitting the

place where the couple is, simply, very simple,

in this case, yes, I told them, please,

smile, look at the camera, and make the

clown like this, with the glasses, I mean,

and I asked them to do this with

three fingers, well, for what?

Well, to make the clown a little, and

to create that strength with the hands, and

to feel a little more that the couple

was centered for me, well, looking at the

camera, and that they did something more than

just looking at the camera, with the hand

we are giving something more strength, something more

intention, and I think that, for my taste,

the image gains a little more strength, perhaps,

right?

The photos that, well, that I have described

so far are the photos that I took

on Thursday, some of the photos that I

took on Thursday, or the most interesting or

most didactic that could be to share here

on Patreon, but, of the Friday session, I

would like to share at least one image

that can help you get out of a

creative block, and you will see that, apparently,

if you don't know, you can say, what

the fuck, what the fuck is that?

But when you see how it has been

done, you will say, oh, son of his

mother, that is, that is why they are

good ideas that it is good to have

them in your backpack, or in here, so

that, at a given moment, if you have

a creative block, as I did, you can

get ahead thanks to these resources, I have

already told you many times in this video,

oh, in this video on Patreon, a photographer

is not only good, or customers not only

pay for how good the photographer is, but

for the experience he has, and for the

ability he can have to get ahead in

complicated situations, there resides the magic of the

photographer, and the experience, and his value, and

what he can ask couples for it, right?

For his work.

I was lost, I mean, I didn't even

know how to get ahead, I was in

a location in my city that I would

have visited hundreds of times, I didn't know

how to get out, and the first thing

I found, right?

To say, fuck, I have some yellow flowers

here, I have a clean background, let's get

oil.

The video is going to help me clearly

so that you already understand perfectly how it

has been done, okay?

If we place the couple in the shade,

what will happen when we punctually expose those

yellow flowers?

That the rest is going to underexpose, that

is, it is going to be, sorry, dark,

black, without texture.

If we only check, if we only expose

those little flowers, for this formula to work,

it is not worth it with any flower,

they have to be white flowers, they have

to be very vibrant yellows, why?

Because by correctly exposing that, as I say,

the background is going to be completely black.

I told Gil, you don't have to think

when you take pictures sometimes as a photographer,

when you want to play with lights and

shadows, because what Gil was telling me was

that I was amazed at your ability to

understand light and shadow, but what I told

him, Gil, you don't have to think like

a photographer, but think like your camera thinks,

if you overexpose it, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's going to work,

it's going to work, it's it's right differences

the background is black, what do we have

to do?

Correct, add a touch of flash from top

to bottom.

Why from top to bottom?

Because the sun, where is it?

Up.

Correct.

So, simply, what power do we have to

put?

Maximum.

I even remember that we even tried to

use two flashes, but I went over the

limit and just one was enough.

Why did I use a grid?

Why did I only want...

Well, the grid means the bee's nest.

Why did I use it?

Because I just wanted their faces to be

illuminated.

Why?

Because they were all yellow circles and one

of the circles wanted their faces to be

illuminated.

I mean, patterns that are repeated, do you

understand?

As I always say, what is your project?

What do you want to photograph?

When you clearly know what to photograph and

what things you want to do, you finally

get it.

And this was the result.

Of course, now you see that it is

very simple, very easy.

It was not difficult to get an image

like this.

But, as I say, when you have tables,

when you have your experience, and when you

already have a lot of plans B, in

the end all these resources end up coming

out and the thing ends up working and

you can give your partner apparently beautiful photos

of a creative block or at a time

when you didn't even know how the hell

to move forward and get something medium in

conditions.

So, I wanted to talk about that photo

and about those two previous ones I wanted

to share with you because they seemed to

me to be photos that, well, out of

nowhere, right?

I mean, from anodyne places, places without any

interest, you can always get oil knowing what

you want to do, playing with the light

and, above all, trying your best and coming

back and coming back and coming back and

coming back and, above all, I mean, wanting

to work, wanting to work, wanting to work

until something comes out and, above all, never

lose the calm, the patience and, above all,

think about something very important, positive.

Why?

Why do you think the first session was

better than the second one?

Why do you think the Thursday session was

better than the second one?

Because in the first one I was super

convinced, I mean, I didn't have any any

moment of weakness.

I was already prepared to take photos.

On Friday I wasn't so prepared, I don't

mean I didn't want to work, but I

was with a losing attitude Why that losing

attitude?

Like saying, I've visited this place many times,

I don't know what I'm going to do,

it's going to be complicated.

I mean, that's a problem for us.

If at a wedding or a session we

go with that attitude, it's going to be

complicated.

That's why you always have to go with

an open mind, positive, and to fight hard.

Well, to entertain myself and to go for

the hills of Úbeda.

That's all, guys.

Be good, be bastards, and keep hiring weddings.

The other way around this time.

See you next time!