Vivica Ilobi: Couture Diva

Tom Marvel je umetnik iza kamere koji je otkrio svoju ljubav prema fotografiji još u mladosti, ali ju je zaista ponovo otkrio u digitalnoj eri. Iskrena fascinacija svetlom, emocijama i ljudskim izrazom provlači se kroz njegov rad i reči. U ovom razgovoru, Tom otkriva kako je tekao njegov umetnički put – od prvih fotografija sedamdesetih, preko ponovnog buđenja interesovanja u 21. veku, pa sve do susreta sa svetskim ikonama i ličnih trenutaka samospoznaje.

Kada je počela vaša ljubav prema fotografiji?

Posle utovara kombija, autoputa, tunela, parkiranja, istovara, postavljanja opreme, naručivanja ručka, zagrljaja i pozdrava, rukovanja, šminke, frizure, manikira, biranja garderobe, testiranja svetla i probnih snimaka, prvog pogleda, kratkog smeha, prvog pogleda kroz tražilo, prvog pritiska na okidač – i kada se prva fotografija pojavi na monitoru – tada počinje i nastavlja se moja ljubav prema fotografiji.

Hronološki gledano, mnogo sam fotografisao još u srednjoj školi, ranih sedamdesetih. Ali razni oblici antisocijalnog ponašanja su se umešali, pa je boravak u mračnoj komori izgubio svoj sjaj. O fotografiji nisam ozbiljno razmišljao sve do 2013. godine, kada sam shvatio da je sada sve digitalno. Kupio sam Canon Rebel (čula sam za „Canon“) i počeo da fotografišem sve što mi se našlo ispred objektiva.

Kako ste godinama usavršavali svoje veštine i kako se vaša vizija menjala s vremenom?

Moja lična filozofija je – „fotografiši ono što vidiš“. Naravno, to postavlja pitanje: „A šta zapravo gledaš?“

Posmatram kako svetlost prelazi u senku na Rembrandtovim slikama. Opsesivno proučavam knjige o Richardu Avedonu, Peteru Lindberghu, Irvingu Pennu, Dianne Arbus, Robertu Franku, Fanu Hou, Gordonu Parksu, Herbu Rittsu, Jeanloupu Sieffu i Helmutu Newtonu. Prisustvovao sam brojnim radionicama da vidim kako drugi fotografi doživljavaju svet. Primećujem fine detalje, teksture i konstrukciju visoke mode – recimo kod Jeana Paula Gaultiera. Pažljivo obraćam pažnju na perspektivu, kompoziciju i kadar pre nego što pritisnem okidač. Vodim računa o svakom aspektu scene: „uradi Photoshop pre nego što pritisneš dugme.“

Koji su najveći izazovi za freelance fotografe i koliko je bilo odricanja da biste uspeli u poslu?

Najveći izazov mi je da svaka nova sesija bude bolja od prethodne: da pronađem novi ugao, da vizualizujem novu scenu, da otkrijem novo svetlo, da zamrznem savršen pokret, da uhvatim iskrenu emociju, da zabeležim istinsku lepotu. Sve to – pri svakoj prilici, čak i kad vreme i mesto nisu idealni.

Koji su vam najdraži subjekti koje ste imali zadovoljstvo da fotografišete?

Fotografisati prave profesionalce i uhvatiti ono što ih čini posebnima i jedinstvenima: osmeh Christie Brinkley, gracioznost Helene Christensen, živahnost Pat Cleveland, eleganciju Ling Tan, radost Veronice Webb, vedrinu Linde Carter, intenzitet Carre Otis i samopouzdanje Beverly Johnson.

Kada ste doživeli „pinch me“ momenat – kada ste shvatili da se sav trud isplatio?

Pre nekoliko godina imao sam čast da fotografišem Beverly Johnson za naslovnu stranu časopisa Harper’s Bazaar. Sećam se da sam seo na stolicu, nameštajući kadar, i baš u trenutku kada sam hteo da pritisnem okidač – gospođa Johnson je uputila onaj svoj prepoznatljivi osmeh direktno u objektiv. Taj osmeh je bukvalno eksplodirao u tražilu! Zamalo sam pao sa stolice. Tada sam shvatio zašto je Beverly Johnson prava ikona – to je bio moj prvi susret sa istinskim profesionalcem u akciji.

Da li ste ikada doživeli „izgaranje“ tokom karijere i kako održavate ravnotežu između privatnog i poslovnog života?

Počeo sam zapravo kao muzičar. Završila sam Berklee College of Music krajem sedamdesetih i narednih deset godina svirao profesionalno (mnogo priča za drugi put). Nakon dugih serija nastupa i proba, povremeno bih odložio instrument (svirao sam bas – akustični i električni) i radio nešto drugo neko vreme. Kada bih se ponovo vratio sviranju, sve bi opet bilo sveže, novo i uzbudljivo.

Fotografija je, iznenađujuće, vrlo slična muzici. Posle nekoliko sesija napravim pauzu od nekoliko nedelja. Kada „prst za okidač“ ponovo počne da „svrbi“, organizujem novu sesiju – i sve počinje iznova.

Koga biste voleli da fotografišete?

Voleo bih da fotografišem ikone šezdesetih, sedamdesetih i osamdesetih – ali onakve kakve su danas: Sophia Loren, Linda Evangelista, Kate Moss i Lesley Lawson (Twiggy).

Kako pristupate snimanju sa poznatom ličnošću?

Obično se malo informišem o njihovim interesovanjima (i o temama koje treba izbegavati). U zavisnosti od uzrasta, unuci su uvek dobra tema za razgovor. (Imam i sam dvoje unučadi.) Često kažem da je fotografisati njih „velika stvar“ za jednog „starog tipa iz Nju Džerzija“. Takođe ih pitam: „Koje je prvo pravilo fotografije?“ – „Ne diraj modela!“ Uvek izazove smeh.

English here:

Tom Marvel is an artist behind the lens who discovered his love for photography at a young age, but truly rediscovered it in the digital era. A sincere fascination with light, emotion and human expression runs through his work and words. In this conversation, Tom reveals how his artistic journey went – from the first photographs in the seventies, through the reawakening of interest in the 21st century, all the way to meeting world icons and personal moments of self-discovery.

When did your love of photography begin?

After the van loading, the turnpike, the tunnel, the parking, the unloading, the set-up, the lunch order, the hugs and hellos, the golden handshakes, the make-up, the hair, the nails, the wardrobe selecting, the light test and test shots, the first look, the quick intro and chuckle, the first look through the viewfinder, the first press of the shutter, and after the first image appears on the monitor — that’s when my love of photography begins and continues.

More chronologically, I did a lot of photography when I was in high school during the early seventies. But various forms of anti-social behavior intervened, and time spent in a darkroom lost its allure. I didn’t think seriously about photography again until 2013, when I realized that photography was now digital. So, I bought a Canon Rebel (I had heard of “Canon”) and shot everything that got in the way of the lens.

How did you hone your skills over the years, and how is your vision changing with time?

My personal philosophy is to “shoot what you see.” Of course, that begs the question: “What are you looking at?”

Observing how light falls off into shadow in a Rembrandt painting.
Obsessing over books about Richard Avedon, Peter Lindbergh, Irving Penn, Dianne Arbus, Robert Frank, Fan Ho, Gordon Parks, Herb Ritts, Jeanloup Sieff, and Helmut Newton.
Attending numerous in-person photography workshops to watch how other photographers see the world.
Noticing the fine details, textures, and construction of a Jean Paul Gaultier couture gown.
Paying close attention to perspective, composition, and framing before taking a shot.
Being attentive to all aspects of the set and scene — “Photoshop before pressing the button.”

What would you say are the biggest challenges to a freelancer? How many sacrifices were needed to make it in the business?

My biggest challenge has been to make every session better than the previous —
to see a new perspective,
to visualize a new scene,
to find a new light,
to freeze an effortless motion,
to catch a genuine emotion,
to capture a true beauty.
All this, at every opportunity (even when it might not be the most convenient time or place).

What would you say are your favorite subjects that you have had the joy of capturing?

Photographing true professionals and managing to capture what makes them special and unique — like Christie Brinkley’s smile, Helena Christensen’s poise, Pat Cleveland’s exuberance, Ling Tan’s elegance, Veronica Webb’s joy, Linda Carter’s effervescence, Carre Otis’s intensity, and Beverly Johnson’s confidence.

When was the “pinch me” moment when you realized that your hard work paid off?

A few years ago, I had the honor of photographing Beverly Johnson for a print cover of Harper’s Bazaar. I remember settling in on my stool, behind the tripod, framing up the first shot, and at the exact instant I was about to press the shutter button, Ms. Johnson flashed that signature smile of hers directly into the lens.

Her smile literally exploded in the viewfinder. I almost fell backward off my stool. I had just witnessed my first genuine professional model in action and understood, at that very moment, why Beverly Johnson is the icon that she is.

Did you ever experience burnout during your career as a photographer? How do you maintain balance between private and professional life?

I originally started out as a musician. I graduated from Berklee College of Music back in the late ’70s and spent almost the next ten years as a professional musician (lots of stories for another time).

During that time, after a long series of gigs and rehearsals, I would from time to time just put down the instrument (I played bass, acoustic and electric) and do something else for a while. Invariably, when I resumed playing, everything would feel fresh, new, and exciting.

Photography — which is surprisingly similar to music in so many ways — is exactly the same. After several photo sessions, I’ll take a break for a few weeks. When the shutter finger starts to get itchy, I’ll put together a session to scratch the itch and start all over again.

Who would you love to photograph?

I would mostly love to photograph the icons of the ’60s, ’70s, and ’80s — but as they are now: Sophia Loren, Linda Evangelista, Kate Moss, and Lesley Lawson (Twiggy).

How do you approach a sitting with a celebrity?

I usually do a little research to see what their interests are (and what subjects to avoid). Depending on their age, grandchildren are always a good topic (I have two grandchildren myself).

I might mention that photographing them is a BFD for this OJD (old Jersey dude). I also ask them:
“What’s the first rule of photography?”
“Don’t touch the model!”
Always produces a chuckle.

Talent: Vivica Ilobi @vivica with The Industry Model Management NY @theindustryny
Photographer/Producer: Tom Marvel @tommarvelphotography
Creative Director: Cannon @thecannonmediagroup at Atelier Management @ateliermgmt
Lighting Director: Murat Ozdemir @1muratozdemir1
Lighting Director’s Assistant: Hector Adalid @hectoradalid
Director of Video: Edsta @edsta
Production: Winnie Noan @winnie_noan
Fashion Team Lead: Lead: Max Reid @lu3alo at She Is Maia @sheismaia_agency
Digital Tech: Jonathan Pivovar @jono_digital
Digital Artist: Marilyn Faherty | @retouchingbymarilynn@gmail.com
Photographer’s Team: Michele Swain @michelewihelminaphotography, Eric
Wallace @polymathicwallace & Helen Chi @misshelenchic
Grip: George Pepe @gspepe

Beauty Team:

Hair Stylist: Linh Nguyen @linhhair at See Management @seemanagement using R+Co @randco
Make Up Artist: Brian Duprey @brianduprey for MAC Cosmetics @maccosmetics
at Judy Casey Inc @judycaseinc
Manicurist: Casey @caseynails at The Wall Group @thewallgroup using Kiss Nails
@kissproductsuae

Fashion Team:

Mario Rubino @mariorubinoo_ , Alice Chan @alisss.c
Sofia Sinzmeyer @sofiazinsmeyer & Hailey Hendershot @haileyyhendershot ,Mijael Gormes Pinchanski @mijaelpin

Shot at Splashlight Studios NYC @splashlightstudios

Special Thanks to Beatrice and Benoit and everyone at The Splashlight StudioSpecial Thanks to Michael Canno