Tom Corbett: This is the Moment
Part of the creativity of being an artist is working with what you have. Sometimes your vision is larger than the resources you have to work with, and you need to use methods and tricks to up the glamor and look of the final images. Every artist learns how to operate on this level, but sometimes all the stars align and there’s that perfect job where you can just play. For Tom Corbett, The Somerset Collection’s “This Is The Moment” was just that kind of job.
Tom, his team, and the magazine headed to Los Angeles where they spent a whirlwind two days at a myriad of sets, with as much equipment as Tom could dream of to make the photos turn out exactly how he envisioned them. “Suddenly I’m a kid in a candy store,” Tom says. “It’s a lot of fun, it’s like working on a big movie.” That approach meant a lot of set-ups and a lot of details. They got 21 shots over those two days, which was a result of working 16-17 hours per day. “We really worked,” says Tom. “But it was a lot of fun.” The energy on set kept them going, and the continued success, shot to shot, invigorated the huge crew each day.
The immense production meant that Tom’s crew grew, adopting all sorts of new lighting and set help for the short time they were together. And everyone was on hand to make sure each and every detail was exactly how it needed to be. “We were really thinking about every shot and how to set it up,” explains Tom. Typically, Tom likes to be more free form to engender spontaneity, but when a shoot is on this scale, you have to get more specific like a craftsman. “With this kind of shoot you have to preplan a little bit more than I normally do, so we do a run-through at the locations beforehand, if we can. And we work out what we’re going to do.” They started at The Four Aces, a gas station used in a lot of movies. “It’s beautiful,” remarks Tom, “and one of my favorite locations on the west coast.” The huge lighting rigs, and particular props by Jesse Nemeth, gave the set the unique feel that Tom has wanted to experiment with for quite some time. He finally got that image he’s been chasing. After wrapping at The Four Aces they moved the entire team to a massive hangar that they filled to look like a 1930’s film set.
The swift production was intense, and hard work, but Tom loved every minute. “Big lighting, lots of props. This is something I really enjoy doing, and my team really enjoys doing. We were really able to play, which was great.”
Creative Director: Kathy Moore
Props: Jesse Nemeth from Bernstein & Andriulli
Stylist: Cannon from Judy Casey
Makeup: Stephen Dimmick from Atelier Management
Hair: Christian Marc from The Magnet Agency
Alicia Rountree from One Management
Corey Wallace from DNA Models