He moves silently.. should not be noticed on the scene. We are talking about the figure (not always well-defined, unfortunately) of the photographer of scene, in charge of taking pictures directly on the set of the film in order to publicize, through the publication and circulation of their photos, the film itself.
Photos can be taken during the shooting of the film, while the actors perform, or by lay actors exclusively for the shoot.
Shooting while reciting.
So the photographer cannot in any way interfere with the acting or with the scene.
The main elements to be documented are undoubtedly the actors, then the action that takes place, and finally the setting in which it is carried out.
In a very few words.. the photographer has no control over the situation, but has photographed while it develops, becoming virtually invisible! ..Easy, isn’t it?!
The aim of a service of stills is to find a balance between picture documentative and creative photos, to give a comprehensive overview of the performance.
Stop the movement of the camera and transfer the flow of images, stories and characters in the stillness of the paper.
This is the difficult task of scene photographers who are called to tell the soul of a film through “no movement” sequences.
A role, that of the photographer, often overlooked despite his gaze has always accompanied the history of Italian cinema. A look focused on the set but far from the limelight, eyes able to look where others look but also with its own, very special autonomy, far from being a simple reproduction of what the cinematographer lit, the director decided, actors represented.
The photographer, in fact, makes choices independent of the rest of the crew, choosing times, shots and techniques.
Thus becomes the first performer of a work and its discreet look reveals the hidden stories behind the film and behind the faces of the actors that trust emotions, conflicts, hardships, loves.
His photographs bear witness to the entire history of film, showing the complexity of its birth, its becoming and its result in the finished work.
But the value of a picture of the scene is not given only by his creative capacity and its ability to record their precious story of a film.
A photo of the scene has a particularly strong commercial value because it is the first contact with the outside of the film, the first to build through Launch, posters and visibility in newspapers around the world.
An indispensable means of raising the profile of the film and the actors, able to hold the attention of a wide audience with its still images, always present.
The following images are part of the backstage of Helena, a project directed by Nicola Sorcinelli, with whom I had the extraordinary opportunity to work during the filming of the short film on the set of Monte Catria, San Costanzo and Ascoli Piceno.