All language subtitles for Episode 26 Patreon

Hello friends, how are things going?

How are you?

I hope everything goes as best as possible,

welcome to another chapter, and in this video

I want to dedicate it to telling you

about something that usually costs us a lot

or is usually a bit tedious work, especially

for us, for wedding photographers, and I'm talking

about image selection, how to select images, in

this case for a blog entry, I mean,

the typical entry that we usually publish of

one of the weddings that we liked, that

we found interesting and that later we publish

it.

In this chapter or in this video I

want to dedicate it to tell you all

the different criteria that we have or that

we previously establish to publish a blog entry.

For that, what we are going to do

is first of all show you a slideshow

in which you are going to see around

150 images.

This slideshow belongs, as is obvious, to a

wedding that we photographed in 2018, and thanks

to this slideshow you will be able to

see first about 150 images of the same

wedding, of course, and later what I am

going to show you is an album, the

album that we deliver to the couple, since

in this way you can see around a

hundred images, which are the images that we

usually use for an album, and later from

these 100 images we will go to the

final crib, to the final selection of 30

images.

If I speak of 30 images, it was

because they were the photos that we finally

published.

Speaking a little about numbers, well, each one

is free to publish the number of photos

they want by blog entry, but we always

believe that the number is not thought of

randomly, but that we try, first of all,

to reduce to the maximum and tell the

story as best as possible with the least

number of possible photos.

I remember a phrase that they told me

when I started as a press photographer and

it was something like that, it is not

a better photographer who tells the story with

more photos, but quite the opposite, the good

photographer is the one who does not need

so few images to tell a final story.

Before we start with the end, which you

can see that I am messing up, I

would like to first of all show you

the slideshow and once we see it we

continue, ok?

It calms, it is wild, it is alive,

like Vanessa.

My hat.

I watched her dance in a field, but

on a sun dress and a pony tail.

Spinning around, talking to the clouds.

I can't stop time, but if I could,

I'd never say, go back to the day

we met.

That first kiss on the sheet, on the

roof of your apartment.

Walls and mountains divide us into the I

can, I'm still in love with you.

I don't think it's any worse than this,

so I hope not, and I hope not,

don't trip my hat.

I watched her sing to the rain, it

was beautiful in contrast.

The sun was clearing up her eyes, I

can't stop time, but if I could, I'd

fast forward all the way to the day

she got here.

That first time on the coast, by the

ocean, somewhere in Oregon.

Walls and mountains divide us into the I

can, I'm still in love with you.

I don't think it's any worse than this,

so I hope not, and I hope not.

Walls and mountains divide us into the I

can, I'm still in love with you.

I don't think it's any worse than this,

so I hope not, and I hope not.

Oh, I wish you were here, why don't

you come along with me?

Oh, I wish you were there, why don't

you come along with me?

Oh,

I

wish you were here, why don't you come

along with me?

Oh, I wish you were there, why don't

you come along with me?

Oh, I wish you were there, why don't

you come along with me?

Well, friends, I hope you liked it.

it was a wedding that we photographed in

the year 2018, in the month of May

specifically, you see that well, a little time

has passed and the Slideshow is not like

the ones we do now, but hey, it

was a bit of the germ of what

would come later, of recording a small clip,

doing a small interview, in this case to

the groom, which was a few words, and

then continue with the Slideshow.

So what we are going to do now

is that I am going to show you

the 100 images, well 100, I think there

were 80 or 90 that are more or

less in this album, so that you can

see them and later we will see the

final selection.

But before we start with the album, I

would like to tell you, you see that

the Slideshow has around 170 or 180 images,

more or less, and the story is now

about making a clip of those images and

keeping the images for the album.

Of course, keep in mind that the album,

and if we are already talking about photographic

language, the Slideshow is designed for the couple

and for future couples, the album is designed

for the couple, only for the couple, and

the blog is no longer designed for the

couple, it is designed for future clients, so

that they can see how we work to

educate them.

But hey, let's go first to what the

album is, so that you can see those

100 images, approximately, and then we will continue.

What I am going to do now is

show you those photos, but I will try

to be quiet, which is something difficult for

me, so that we all concentrate, so that

we analyze at all times the photos that

were, and so that you are also attentive

to the photos that I later published.

What you are seeing, as I tell you,

are the different folds, just as an anecdote,

our albums are 70 x 25, I mean,

each fold has a measure of 70 x

25 centimeters, and well, you see that we

always try to tell the wedding in a

chronological way, from beginning to end, from the

preparations that you are seeing now, until later,

how the groomsmen dress, and then the ceremony,

as you are seeing now.

You see that before the ceremony, we are

always attentive to those transition photos, what happens

between the great moments, for us it is

primordial, and we are already reaching the ceremony

as such.

What you can also see is that our

model is rather simple, we always tell our

partners that our albums are not a chrome

album, we always try to say that it

is a small art book for them, and

that is why the importance of having a

weight, a value, and that they have their

importance.

We do not conceive an album with small

photos or with many stories, you see that

it is always on a white background, and

always, as you are seeing, if one photo

is in black and white, the other one

too.

In the same folder, we never put photos

in color or photos in black and white

combined, because we believe that this is not

aesthetic.

Here is the report, as you are seeing,

and after the report they went to the

cocktail.

I would like you to be attentive now,

especially in these images, because they are for

the couple, but later you will see that

in the blog, as is obvious, there will

be a very important selection.

Notice that here we wanted to put a

photo in which there was only one and

in which there was a lot of white

space, a lot of white space, especially on

the right side, so that there was a

transition, a change between the cocktail and what

was going to be, for example, the dinner,

as you are seeing.

You can see how after the gifts they

made hugs, cake cutting, the dance came.

I want you to be also attentive with

this folder, or with these photos, because you

will see later that we are not going

to use them, even though it is an

important moment of the hour.

I am saying that we will not use

them for the blog.

And later the party.

And a final photo.

We always ask the couple, when we are

about to say goodbye, if the couple wants

to, and we see that it is positive,

that we know that if we ask, we

know that the answer will be yes.

When we see the couple with a certain

degree of alcoholism, or in the case that

the couple is enjoying it enormously on the

dance floor, we do not steal their time.

We do not tell them, do you mind

if we take some photos of you?

No, we just get closer and in a

moment we say goodbye and we go out

of fashion.

So these are the folders that we use

for the album.

This album was 40 folders, 80 pages.

Normally our albums usually have a little less,

30 to 35 maximum, but in this case

the couple wanted us to include 5 more

folders and we reached our limit, which is

40.

So what I'm going to do now is

show you the photos that we use in

the blog and what I would like to

tell you also, what were, as is obvious,

the criteria.

We use it to choose, to say that

this photo we wanted to be for the

blog or simply to throw it away.

With the photo that I'm going to start

with, it's the one you're seeing now, and

something fundamental for us is always to choose

a cover, a photo that serves us to

open, that serves us to put the viewer

in the story.

And I always say that it is important

that it is an interesting photo, that it

attracts.

You see that in this case I present

the couple with the photo that you are

seeing now.

And later I'm going to go for the

mere entrance of the blog, for the photo

where the whole story began.

And what you are seeing is the photo

in which a young man appears, a young

boy with a man, as you are seeing,

who is an adult.

They are looking at the sea, they are

in front of a window, and what you

are seeing is a super calm, super relaxed

photo in which we are seeing the back

of two people.

In the next photo, notice that everything breaks.

They are already in front of the camera,

of course not looking at the camera, but

notice that if the previous one was super

relaxed, calm, this one is super hard.

I mean, it has a lot of emotional

load.

What I want to say now, or what

I want to convey to you, is that

when we lead the viewer into our story,

into our blog entry, we have to take

it as if it were a living guy,

that goes up and down, that we are

taking it to a rhythm that the viewer

finds attractive.

Why?

So that it keeps going down with the

mouse, so that it keeps clicking to the

next photo.

We have to give it a certain attractiveness,

a certain rhythm.

That is why it is super important that

if the previous photo was with two people

who were behind, with everything very soft and

all this, the next one is BAM!

It has to go up, it has to

give it more strength.

And notice that if there are two people

together in this one, in the next one

there is only one person and it is

straggled to the right.

And the next one is a transition photo.

We will always be interspersing real moments with

transition moments, with transition photos.

And I will always try, as in this

case, which is the hand, as you already

know, I have already told you many times

about the importance of hands for us.

That is why, at the moment that the

mother was just with what was, with part

of the garment, with part of what the

bride was going to wear in the pinning,

she was just putting it on and boom!

That is, close the shot with 85, capture

this image and give it that strength or

that extra information.

Because if everything were moments, in the end

it would also be repetitive, remember the rhythm,

okay?

And then we throw for something also not

obvious, for what would be a look, for

example, of the groom.

Notice that from a photo, apparently from this

one, well, so, in quotation marks, so minimal,

with a look of the groom in which

we can see that there is someone in

the middle, we go later to another photo

already loaded with information.

And notice that I love the moment in

which the girl puts her hands here on

the chest, so it avoids me that I

no longer show anything, right?

That is, everyone knows that the girl is

completely naked, but we can't see anything.

And also that relative calm that exists there

with the bride, right?

In which we are there, everyone is just

helping her, it seems that everything happens super

slow, the time almost does not advance and

suddenly, from a very calm image, we go

for an image that reminds me, right?

It is the boy who is looking at

the groom now, I mean, it was the

brother, that look, that eye, so hard, right?

Notice that there is only one eye in

the scene and it has that energy, right?

And from this image we go to the

next one, which is the fist.

Notice that the hands for me are super

important, at all times I am looking for

them, that's why if one of the important

things for you, whatever it is, be it

the veils or the eyes or the looks,

you will always go for them and you

will find them.

In the case of the hands, for us

too, we will always go in search of

them, okay?

And well, as you are seeing, here just

the little hand, okay?

The little hand in which it is advancing,

well, it's right there, you see the meaning

of the hand, how it squeezes the fist,

super tense, okay?

And from a super tense hand, we are

going to go for a much more relaxed

hand and that on top of that, it

helps us to tell the story of what

the groom is doing, okay?

Because we like to tell, right?

What does the bride do?

Or what does the bride's group do?

And what does the bride's group not do?

I mean, the boy in this case, right?

We are always going to go all Maidaka.

But of course, you have already seen that,

well, both in the slide and in the

album, there were photos of, well, of, I

mean, of preparations, that either the bride was

going out with make-up on, or she

was going out with other circumstances, for example,

I remember one in which, for example, the

moment when they give her the bouquet comes

out, it comes out, for example, for another

moment, which is a toast, but of course,

I mean, we have to think, those photos

are so important, I'm not saying for the

couple, that they were, and that's why they

were in the album, but I say for

us, to tell the story.

Nobody knows there was a toast, nobody knows

that they gave him a bouquet, do you

understand me or not?

Okay, that's why it's super important that we

think about how we want to tell it

with the images we have.

If I threw away the photo that, for

example, of the delivery of the bouquet, it

was because the composition skidded, the light didn't

help me, if I threw away the photo,

for example, for make-up, it was simply

because it's very obvious.

I mean, actually, as a bride, we know

she's going to put make-up on, yes

or yes, so why do we have to

emphasize that?

I've already told you that I want, I

want to make my post, that my selection

is interesting for the audience and, above all,

for the future client, for the future partner,

who suddenly happens to enter the blog and

see that blog entry, right?

Okay?

Okay?

So, you see that, well, we move forward

with what would be the last part of

what are, for example, preparations, and what, look,

how I keep trying to have a rhythm

and a very, very funny photo, a photo

full of information, as we can see, the

father making the clown, the bride reflected in

the mirror, the bride with her back to

the make-up artist just when he's putting

on the veil, right?

And from something with a lot of information,

we move on to a completely different mood,

a hug, just two people, and that's it.

In the album, there were photos, for example,

in which you could see the father and

the bride arriving at an arcade, right?

But I don't put that photo, I mean,

I don't use it because I think it

was like prolonging too much the moment in

which the bride is about to arrive, since

the photo that I think is more interesting

is this one, for the mere fact that,

look, on the left I have, I mean,

for the wedding planner who is asking, well,

saying, please, calm down, right?

I mean, that seems brutal to me.

I mean, it's like we can feel that

there were nerves in the environment, there was

pressure, the bride is going to enter, I

mean, remember that, well, one of the most

powerful moments of a wedding is when the

bride enters the ceremony itself as such, right?

Of course, if I have this one in

which I have, I mean, the bride about

to enter with the wedding planner next to

her, with her father and such, the next

one is this one, right?

It's obvious that I'm going to put that

I was photographing, for example, Victor, the bride's

entrance from behind.

What did Erika photograph?

The bride from the front entrance and we

place the groom, well, on one side, as

we are seeing, okay?

Already after the nerves, of everything, of what

the day is, I mean, there were photos

that came out a little clumsy, some a

little out of focus, some of the ceremony

simply that, well, it doesn't get to transmit

or it's not as important as I would

like and that's why, from such an open

angle as you are seeing now, from this

one, I'm going to a super closed angle

in which again, what a coincidence, we have

hands, right?

And surely, from a super super closed photo,

we are going to go for something also

super, with a lot of depth, right?

It's like always trying to keep that rhythm,

right?

And notice that the previous image is this

one, with only little hands, and the previous

image, okay?

We already go deep again to the father,

right?

Because if we don't see the feelings in

the hands, in the next one I want

them to appear, okay?

And notice that right now, from the image

I'm showing you or the one we were

talking about, I mean, it's the father's, it's

where he is, there, well, it's the super

hard moment for him, all this, from a

super concentrated angle we go again to a

super open angle, right?

It's like, it's like a bird's eye view,

right?

It's like, what does the viewer see who

was peeing outside or who, well, didn't want

to enter the ceremony or whatever, and he's

seeing it from the outside door, right?

You see that our job is always one,

to be close, as we already told you

in the previous chapter, to be close to

what is the action as such, and the

other partner is like a little bit, like

a satellite photographer controlling everything that, I mean,

that is out there, right?

And you see, from something so, so, I

mean, with so much space, right?

With so much air, we go to something

already with super, super closed, which is the,

well, the congratulation as such, okay?

From the congratulation, as is obvious, we are

going to go outside.

As you saw, both in the slide and

in the album, there was both the entrance

and the exit that, I mean, captured from

the front as well as captured from behind.

The one I captured from behind, which was

me, I did not have space, I mean,

I wanted to play it, I wanted to

take so many risks that, that you see,

no, well, it did not come out.

If it is not there, if it is

not good, sorry, it is not published.

The next image, I have already told you

that it is not going to go from

behind, but it is going to go a

transition photo.

The moment that everyone is there, the rice

has already finished and remember, the main action

ends, but we always keep working to get

these images, okay?

Everyone knows, sorry, that the moment that the

boyfriends are there, everyone applauds, the bride raises

the bouquet, her husband next to her, everyone

knows that the action has finished and from

this we go to this, from something super

open, we go to something super closed, okay?

In which is the hug of the best

friends of the bride, okay?

And notice that this was the moment in

which, in which, in the slideshow you saw

that as it finished, that is, as this

photo the outside report came and in the

album, as it finished, this image came the

outside report too, but what happens?

That if I come constantly publishing real moments,

that is, they are all moments, that is,

as they happened, if I now publish four

or five photos of, for example, Posado, then

I break the rhythm and for me the

rhythm is extremely important, that's why, that's why

I'm not going to publish so little report

and I only mark and I only publish,

sorry, this photo that belongs to the cocktail,

okay?

But nobody knew, okay?

This photo was like, like, for me, like,

like a before and a after, it's like

breaking the report in half.

Until now, there has been preparation, ceremony, and

now, boom, this, which is like the bride

is just, is just keeping the veil, we

break everything and we are going to go

for the next thing.

Notice that it is already the launch of

balloons.

In, both in the slide and in the

album, you saw that a photo super close

to the one you are seeing and another

with much more perspective.

Which is better?

One or another?

It is obviously the one that is close,

the one that is seen, for example, the

one you are seeing, the hands with the

balloons.

Well, we are going to publish only one,

do you understand?

And you already saw that in the cocktail

the couple is arriving, it is seen how

they went down some stairs, it is seen

how they toast, it is seen how some

friends take the bride from the veil, that

is, a series of images that for the

couple will have a lot of value, a

lot of meaning, but we have to be

frank, that is, they were not good images

to publish them.

That is why they are not published and

we already work directly with this one, with

the one you are seeing now, with the

moment in which we already tell the world

that the couple is in a closed place

in which you can already see a table,

some covers, but the bride is still energetic,

do you understand me?

And look, that hand reminds me, and the

hands that applaud remind me of the previous

hands that there were that threw balloons, you

see that the connection of the hands is

at all times, from the beginning with that

little photo that the mother comes out with

the little flower to the later ones that

I have been showing you at all times,

okay?

And from this one we continue to this

one, we continue with the same criterion of

the hands and of the festivity, okay?

This was the moment that they delivered branches,

okay?

They delivered branches both to the bride as

to the bride's mother.

Later, what happened later was the dance, it

was the first dance, okay?

But, what happens?

That we did not have the day?

It is not that we did not have

the day, sorry, I mean, we take certain

risks and we photograph, as is obvious, the

dance, but we do not have it well

photographed, I mean, or a photo that let's

say is the photo of the dance, right?

And it is with the photo that everyone

is going to stay, but what happens?

We had normal photos, normal and ordinary that

did not add up, therefore, if they do

not add up, they do not publish and

you see that from this we go to

the party, we go out directly to the

party and notice that from the party we

publish three or four, okay?

And we finish with this.

And that's it.

And the post ends here.

Remember that in the album the photo ends

with a final photo, but not here.

Not here, why?

Because I prefer that the blog, I mean,

or that the entry, sorry, that the entry

ends very high with the guy showing me

a little drunk, there a little, like saying

quiet there, right?

I mean, I prefer to finish like this

than not finish with a sudden photo that

ends very smooth, right?

It seems that the couple is super melancholic,

super ...

No.

It does not mean that I don't do

it, that I'm going to keep doing it

and we keep doing it whenever we can,

but it is not the case.

It is not the case for, for example,

for a blog entry.

Be careful.

It does not mean that in the next,

for example, that in the next post we

don't do it.

It is that in fact we are going

to do it, okay?

But each blog entry is a world, each

story is its own story that we must

give it the weight it needs and the

importance that it deserves, okay?

That is why it is super important to

decide what photos we want to publish and

above all, when we publish, it is as

if we pressed a key.

Depending on the photos we publish, we will

start to receive a type of clients or

others, okay?

Why don't I publish so few, for example,

weddings in my city?

Well, it's not because I don't like my

city.

In fact, I'm living here.

But why?

Because usually, are not usually as attractive or

as visual or as crazy as sometimes we

photograph in the Balearic Islands or in the

rest of, for example, Europe or the peninsula,

right?

That is why that is something that we

take into account, right?

In the moment that you no longer publish,

you are going to stop receiving clients.

Why not, for example, we publish photos of,

for example, dresses, brides, super, for example, princesses.

Why?

Because, or at least in my country, that

type of dress is usually of people or

brides in this case, more conservative.

By not publishing that type, for example, of

dresses, we don't receive that type of couples.

It seems strange, but believe me, I'm right

about this.

Ah, and well, something I can't forget, right?

Something that is really important.

The blog, as well as social networks, right?

Like Instagram or like Facebook, has helped me

a lot to myself as a photographer, right?

Because, when I published, for example, or when

we publish this entry, in which, well, in

which I have shown you now, of course,

the next one we wanted to publish had

to be better.

I mean, that indirectly makes my subconscious think,

ok, this wedding has to be better, right?

I mean, if this wedding that I have

shown you was photographed in May, the last

weekend of May, the first wedding that we

photographed in the first weekend of June, think

that our mission was to say, we have

to surpass this one.

To what I want to get.

I mean, the blog entries or the social

networks, or, in this case, the blog entries,

for example, will help us to grow to

demand more, to self-demand everything we can.

so, it's not like, it's not like, I

always say the example, it's not like if

we were little donkeys in which we only

go forward.

And it's like the previous has passed and

we have to overcome it.

Whatever.

And that makes that I myself be my

own judge, right?

And I already told you, I think, in

the previous or in the previous chapters, that

I am the worst judge.

I mean, I punish myself always, for example,

when I have to punish myself, okay?

So, that's all here, friends.

I think I didn't leave anything.

I hope it has served you of help.

I hope you liked this.

And nothing, well, we'll keep seeing each other

around here.

And well, and have a great week.

Okay?

Take care.

Be good.

Bye.