Ramona Rosales On Creating Through Color Theory — ArtCenter Photography & Imaging

Alumni Ramona Rosales (BFA ‘01) speaks with ArtCenter Photo faculty Ash Alexander (BFA ‘20) about her passion for color theory, how she selects the projects that best serve her, and how her time at ArtCenter has supported her photography career.

*Doja Cat* *photographed by* *Ramona Rosales* *for Billboard*

I read in a previous interview that you started photographing when you were only 7 years old! After so many years behind the camera, could you tell me about how your time at ArtCenter impacted your work and career?

Before ArtCenter I was hungry to find a clearer vision of what I wanted to do, and also how to successfully create a career out of it. Navigating the editorial and commercial world of photography was, and still is, somewhat enigmatic since it’s constantly in flux. Adding in my lack of organization and focus, I lucked out by putting my future in ArtCenter.

With the help of a few instructors and fellow students, I learned to trust my instincts as I gained more experience. This helped me during my time as a student in the Photo Department as well as shortly after graduating when navigating the photo industry.

ArtCenter allowed me to collaborate not only with other photographers, but also with other creative departments like film and advertising. I still work with a bunch of folks who I met during our time at ArtCenter, and I cherish the friendships that thrive today. Discipline, technical skills, and commercial structure driven by creative approaches translate in an almost daily use. Whether working on set, promotions, research, administrative tasks, or finding inspiration— a sprinkle of what I learned at ArtCenter is always present in my process.

This is a two-part question— You noted in an interview that your personal work often centers on color theory. Are there any go-to books or resources that you come back to surrounding color theory? And are there any personal projects in progress that you’re able to share with us?

Honestly, I find color inspiration on a daily basis through casual observation. I borrow a lot of ideas around color from paintings, illustrative art, and cinema. My favorite resources are museums, art galleries and just getting outside. I am constantly taking random photos with a pocket camera and iPhone that are color notes or inspiration. In previous projects, I based the color concept on childhood memories and how we have specific relationships with colors, just as we do with other senses like taste and smell. These relationships can be based on memories— conscious and subconscious, positive and negative. I find it so fascinating that color is completely up to how we perceive it, and how carnal our response can be.

I’m in the early stages of a new personal project that examines the ways that color influences one’s perception of the world, through our ancestors’ eyes. This project will explore the colors that my ancestors might have witnessed, and requires visiting locations of where they lived— some being indigenous, while others are located throughout the world.

*Just a handful of the many magazine covers Rosales has photographed.*

Your work always goes beyond the standard portrait, oftentimes through color, light, motion, and styling. Can you tell me a bit about your creative process when concepting for a shoot?

Most of the people that I work with are in entertainment and/or music, so I dive into research about my subject to create a narrative that best fits their vibe or current projects. I try to make this more collaborative with the subject, as well as with my set designers and vanities teams.

From there, I’ll create a mood board to assemble examples of color, lighting, mood, wardrobe, poses, etc to share with the team. The goal is always to aim for something that hasn’t been done. If time permits and I can’t find examples to share, I’ll experiment with an idea or technique before a project to make sure that I can achieve it. If we aren’t constrained by limitations such as time, budget, resources, etc, I’ll alway push for as many options in terms of set-ups or looks, so we can experiment while shooting.

Especially on editorial or low-budget projects, I make it a priority to create specifically for me. Maybe I’m able to try a new approach, and it has to satisfy me creatively. The project will then live in my portfolio to hopefully attract lucrative projects.

At this point in your career, how often are you saying no to jobs and how do you come to that decision? Do you have a value system that helps you identify which projects/clients/collaborators will serve you?

Time is our biggest asset. I value my time over everything else. Earlier in my career I said, “YES” to everything for both portfolio building and financial opportunity. I really put in the work and years to get to where I’m at today by building my style and savings. At a certain point I felt comfortable to be more selective with projects I signed on to, that either paid well or served me creatively (rarely both, lol). If something isn’t a good fit or paying the bills, I visualize that time having better use— personal projects, mining inspiration, promotion, or everyday administration. Also, personal time is very important— I live and breathe art, but sometimes taking a break to reset is the best way to yield new perspectives. One takeaway is that if there is no little to no budget, you should have 100% control on the creative. Put high value on your time.

When you’re not living and breathing photography, how else do you feed your creative fire?

I try to get out in nature as much as possible and, if time allows it, travel to new places. Work allows me to travel, but traveling without the stress of a project allows you to actually soak in a place. I’ve learned to invite inspiration in everything, especially outside the confines of photography. I’ve always been a tinkerer, hungry to learn new skills, technical or obsolete. I can work on vintage Toyotas or repair a french seam on 1920’s dress— it all translates into something I’ll use on set, LOL!

Okay, now a fun one: When you’re in charge of music during a photoshoot, what songs or artists are on your playlist this year?

My playlist can get pretty extreme depending on the project or mood. If I have time, I’ll make a custom mix for each shoot, so it’s way too hard to narrow down a solid song or artist. I’m a Long Beach girl, so it can get pretty ghetto quick, but I will hit repeat on a bop if it hits different. At times, I have to hand over the playlist skills to my 1st Assistant since he’s pretty good at keeping the high energy on set (and my playlist can get weird quickly if the algorithm takes hold).

Sometimes I’ll just need to make an anthem for the day, so here are a few:
“Don’t Challenge Me” by the Makers
“Every 1’s a Winner” by Hot Chocolate
“Piledriver” by Dennis the Fox
“Plan B” Megan Thee Stallion
“Aquarius / Let the Sun Shine In” by Celia Cruz
“Shake Some Action” by Flamin’ Groovies
“I Hate U” by SZA
“Strange Powers” by Magnetic Fields
“Never Stop - Discotheque” by Echo & the Bunnymen
“Pomps & Pride” by Toots & Maytals

You can see more of Ramona’s work on her website: ramonarosales.com