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Stock Interviews John Lund photographer Marc Romanelli
Marc Romanelli has been shooting stock for more than twenty years. It is based in Santa Fe, New Mexico, where he lives with his wife and baby daughter. Pictures of Marc are handled by Getty images and movement, Corbis (movement), Source (movement), and Workbookstock, Hello, Mix, Bluemoon, and Alamy for still images.
John: Marc, I know you've been shooting stock for a long time … and not currently shooting tasks. Can you fill us in on his early career, how he became a stock shooter?
I started painting, drawing and sculpture as a child and only picked up a camera at the age of 17. I started objects found shot … crushed cans, tree bark, rusty metal … I showed the world through the lens of a 55mm Micro Nikkor. Seeing that close to me was a revelation, to be followed by wide-angle lenses that distort the reality of other wonderful ways.
I started buying my portfolio around Manhattan and finally Life Magazine harassed me a few allocation. Has a deck of modern photography in 23, and then signed with Image Bank at 24. From the beginning he realized that the freedom offered to the actions was the way for me to go. Traveled extensively with very low budgets, maintains very low overhead, while at home, and reinvested earnings in shooting trip.
About 20 years ago took a decision to concentrate on shooting people, getting comfortable with the management of people in recreational sport shooting with the (then) recently moved to the mountains west of Santa Fe …. This eventually became the shooting lifestyle and everything that struck my fancy including some art things.
John: Make your own actions license, the license only through agencies, or both? Which agencies handle your work?
Not my own license, and I am not represented by Getty images and Motion, Corbis (movement), Source (movement), and Workbookstock, Hello, Mix, Bluemoon, and Alamy for still images.
John: RF, RM or Micro?
Shot RM, and RF. I have not shot Micro and probably not in the future.
John: You shoot moving and still images. How long have you been filming movement and how he came into this field?
I started shooting motion in 1997. I call it the "second wave" of the boys in the image of the Bank who has his feet wet shooting motion. I had an intuition that had to be taken naturally. I have owned one Arri 16 years, an Arri BL2 3mm, and now a Panasonic HVX200 video camera (for sale cheap).
John: Do you find that you need a different set of skills to the draft movement?
Different skill set … absolutely with the movement must create an arc in time, perhaps 20-30 seconds and tell a story. You are responsible for moving the camera and / or issues in time and space and not depend on a decisive move that crystallized in a single frame.
John: How does the proposal in your future plans?
The movement is an integral part of my business image, and an increasingly important part. Tech fever yet is forcing the shooters to recognize that hybrid camera, capable of shooting 1080p files and photographs movement is here to stay. The world sees the as the most natural movement, emotional and effective way to communicate.
John: How do you deal share a session? In other words, ideas, plans, casting, etc.
Focus on what seems to work best (in an increasingly volatile environment). One of the keys that I try to take is the question "How does it feel real, authentic"? Easier said than done.
Especially now, as the visual paradigm undergoes a radical change of excess, expansion, and egocentric focus … reality, community, shared responsibility, and contraction. I work very intuitively … I miss friends and people I know who have a sense about, I rarely work with the models.
Also do not shoot in a studio. My preference is to find real places. This may present problems, but I prefer the feeling of a real workplace.
John: Are you involved with the world of fine art?
I ventured into the world of fine art, having had an exposure individual of my personal work in black and white shown in Santa Fe and a group of Show as well.
John: How about more satisfying in their work?
I enjoy photographing my 3-year-old daughter. She keeps my chops razor sharp picture, my intuition and photos on high alert … try to visually capture the mercury!
John: Anything else you want share?
I think my decision to make a release of shares is determined by comparing the talent on the location, without losing sight of how could differentiate my image of what it is.
I tend towards what I call "the situation" outbreaks, outbreaks of lifestyle that are based on the reality, and subscribe to the notion that end users of my images are essentially seeks to raise, inspiration, positive images. In fact, at times, more positive coming out of a session is the relationship, interaction and communication with the talent either friends or acquaintances. It is as if there is a "loaded positive residues "has been created by the action of the moving picture. Normally, if my experience is that I have done a good job of capturing something.
The industry is in flux. What you see now the biggest challenges for you as a stock shooter? How do you deal with these challenges?
Our business is developing at full speed and the engine is the digital revolution, the mass democratization also called "multitude of supply", the availability of digital cameras now exceptionally affordable, and new sites and sales platforms for the creation of a surplus, an excess of images chasing fewer and fewer buyers. This is especially true now because of our fragile economy.
What to do? I choose to shoot I know, shoot what feels good, diversify by moving shots and still images, the search for new agencies that want to build their collections of how quickly a book, charging them with images, but without forgetting the "girl who brought him to the dance" in the first place … would be the bread and the agency of butter. In my case is that the agency Getty.
John: Marc, thanks for sharing that with us!
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