PHOTO CONFESSIONAL: Vladimir Marcano
Maybeli Ledezma, Barranquitas 2015. El Mal
IF YOU WEREN’T A PHOTOGRAPHER, WHAT OTHER PROFESSION WOULD YOU PICK?
If photography hadn’t entered my life, I think I would have persisted with music. I tried, but I don't think I had the maturity or confidence at the time to develop myself as a musician. And then photography came into my life so overwhelmingly that my entire creative world became focused on it.
WHAT HAS BEEN THE MOST CRUCIAL DECISION YOU HAVE MADE IN YOUR CAREER’s DEVELOPMENT?
I had to take a long break from my work, which also coincided with the COVID pandemic. I had to take care of my aging parents and accompany them through the final stage of their lives—first my mother, and later my father. This pause led me into a crisis; naturally, I suffered their passing. I had to go to therapy, and what truly affected me the most was the fact that I hadn’t done anything with photography. That’s when I finally understood and accepted that my work functions as a vital force. To put it plainly: if I don’t take photos, I get sick. That’s why I insist so much that photography is how I face the world. This break was inevitable—I had to take on my responsibility as a son.
Duda, Caracas 2018. Fantasmas Hambrientos
HOW IMPORTANT IS RESEARCH IN YOUR WORK?
Research is a crucial element in my work. You have to research extensively on the topics you are going to address or develop. Look for references, read a lot, connect with people who can open doors or help you gain access. Also, study photographic references. All of these elements are essential when undertaking a project.
Destino, Caracas 2018. Fantasmas Hambrientos
IS THERE A PHOTOGRAPHER/ARTIST WHO IS A CONSTANT REFERENCE FOR YOU?
Over the years, one's references change. Your vision matures, and you develop your own visual language. You begin to define what type of photography and which photographers interest you. Two photographers who have remained my references from the beginning are Robert Frank and Paulo Nozolino. I can also mention Graciela Iturbide, Matt Black, Evgenia Arbugaeva, Michael Ackerman, Jacob Sobol, Anton Corbijn, Paolo Pellegrin, Eugene Richards, Josef Koudelka, Jonas Bendiksen, and Japanese photography in general. Locally, I greatly admire Ricardo Jiménez. Ricardo, along with Frank and Nozolino, share the rare gift of being true poets—without formulas, without tricks. You can feel the poetic expression in their images. That is something very difficult to achieve unless you possess that quality.
WHAT WOULD YOU NOT WANT TO PHOTOGRAPH?
Something that definitely makes me feel uncomfortable or out of place.
Desierto Luminoso, Caracas 1998. Fantasmas Hambrientos
WHAT EQUIPMENT DO YOU USE, AND WHAT IMPORTANCE DO YOU GIVE TO TECHNIQUE?
I use a Canon 5D Mark III. I have several lenses, but the one I always use for everything is a 24-70mm f/2.8 zoom. It’s a very versatile lens, and I achieve my best results with it. For portraits, I use an 85mm f/1.8. I rarely use a 17-35mm f/2.8 zoom—only in certain situations, because I don’t like the distortion it creates in close-ups. I also shoot film with a Konica Exar, which is like a Leica with a 35mm fixed lens, and an Olympus Pen, also for film. Technique is always important, and mastering it well can help in situations where you need to react quickly.
Tristeza, Caracas 2019. Fantasmas Hambrientos
WHAT IS THE STARTING POINT OF YOUR CREATIVE PROCESS?
Once you’ve found a subject you want to work on, the next step is, as I mentioned earlier, research. Look for references. Personally, I like to read a lot of narrative—it greatly stimulates creativity. I also listen to music that matches the atmosphere of what I’m working on, almost like a soundtrack. That helps me a lot.
Lorca, Caracas 2012. Fantasmas Hambrientos
HOW DO YOU DEFINE YOUR PHOTOGRAPHY WITH a #tag
#photographyismemory
Jean Carlo Soto, Barranquitas 2020. Más allá de la Herencia
at what point did you feel you were a photographer, and what made you think that way?
In the year 2000, I won an award at the 1st Chappard Biennial alongside photographers I already admired. That made me realize that I, too, could express myself through images. It gave me confidence, and from that moment on, I never stopped. I embraced photography as my profession. To make a living from it, I became a commercial photographer and used part of my earnings to finance my equipment and personal projects. Those were different times—this is how it all started.
Johandry Soto, Barranquitas 2021. Más allá de la Herencia
HOW DO YOU DEAL WITH REJECTION?
At this stage of my life, I’m not interested in awards at all. When I was younger and just starting in photography, I used to question myself a lot when I didn’t win something—most of them were local competitions. Venezuela once had a vibrant cultural scene with awards, grants, etc., before Chavismo. Now, my only focus is on what I do, and nothing else. I don’t participate in anything, and when I do, it’s because of pressure from friends or colleagues.
I honestly don’t struggle with it. Rejection or failure is part of life—it’s important to fail because it forces you to reflect on what you’ve been doing. It also helps you mature. You also have to understand how things work—sometimes rejections have nothing to do with the quality of your work but rather with other interests beyond your control.
HOW DO YOU THINK YOU HAVE ACCOMPLISHED SUCH SUCCESS?
I believe success, like everything in life, comes down to perseverance. Photography requires time and discipline. If you are faithful to your craft and don’t give up, sooner or later, your moment will come. Over time, you meet a large number of people who help you achieve your goals. Success is always relative—even if nobody liked a single one of my photos, I would still take them. Photography is more of a vital impulse than a pursuit of success.
Daniel Soto, Barranquitas 2020. Más allá de la Herencia
HOW DO YOU APPROACH STRANGERS IN YOUR PROJECTS OR TO INCLUDE IN YOUR PROJECTS?
The process starts with mutual observation. You present yourself to the other person and explain your intentions—what you want to do. You must be as transparent as possible and always act with respect. Never insist if they say no. This process can be long or fluid—it depends on the person, the chemistry, or whether they already know about you through others.
Once you establish trust, or even an emotional connection, the approach becomes much more natural.
IS IT COMMON FOR YOU TO QUESTION YOURSELF OR YOUR PHOTOGRAPHY?
It’s completely natural to question yourself regarding your photographic work—I’ve gone through that several times. It’s necessary and part of the learning process. Doubts and insecurities will always arise. Having support is important: friends, colleagues—people you can turn to for guidance. Sometimes, all you need is someone to tell you, “There’s nothing wrong; everything is fine.”
Rafael Cadenas, poeta. Caracas 2016
how is to approach to the art world/ photo-book world?
Books are very important. In recent years, photobooks have gained a lot of recognition, even in the art market. Some have become collector’s items. I’ve been closely following this trend since it became massive, but over time, I’ve developed my own perspective.
Creating a photobook takes a lot of effort and money. Among other things, you need to find a way to distribute it internationally—where it can be seen in different countries. I was fortunate to have a publisher outside my country, which brought me great benefits and joy. It connected me with many people interested in my work. Without that international distribution, I would never have achieved the same reach. It’s a massive effort.
WHAT WOULD YOU SAY TO A NEW PHOTOGRAPHER WHO IS JUST STARTING OUT?
I would tell them that photography is serious business and requires great effort. There are no shortcuts to success.
I’ve talked to some young people whose main goal is to become influencers or Instagram celebrities—they want to be famous quickly. If that’s the case, I’d tell them to invent a character and do what social media stars do.
But for those who seriously want to dedicate themselves to photography, I’d advise them to read a lot—narrative, photographic theory, semiotics. Research photographers—not just the contemporary ones but also those from previous generations. Many things we see today as “new” have roots in classic works.
See art, watch great films—all of this contributes to a photographer’s development. If you have the means, study photography at Arles or ICP. If not, study at local schools and research deeply. It’s possible to make it. Just understand that it’s a long process, and you must do everything possible not to give up.
ABOUT Vladimir Marcano
Born in Caracas, he lives between Caracas and Buenos Aires.
Commercial photographer since 1999, specialized in portraits, reports and editorials for national and international media.
He has trained at the CONAC Photography Center, and in workshops
with Alex Webb, Rebeca Norris Webb and VII Agency.
Since 2009, he has worked with The Guardian UK, Bloomberg News, Univision, La Nación, El Mundo, and others.
He has received recognitions such as Special Mention
at the Daniella Chappard Photography Biennial (2000)
and Honorable Mention at the VII Pirelli Show (2007).
His photobook El Mal was a finalist in the Latin American Photobook Award (2017) and in the First Latin American Photography Contest (2018).
He has exhibited in spaces such as the Alejandro Otero Museum, the Miami Street Photo Festival and the Noorderlicht Festival in Holland.
