Marlo Herring
Through the Eyes of a Magician
Through the Eyes of a Magician
Upon first glance of Marlo Herring - standing approximately 5’ 8” wearing a fitted tee shirt, sneakers, short Mohawk, and a contagious smile accompanied by a charming personality - you will initially notice a confident stride and a never-emptying coffee cup in his right hand. After some consideration, it would be safe to assume that this cat carries the air of an artist. Even after an in depth conversation about live and its universal rhythms, his choice of medium remains a mystery to those who are merely satisfied with his presence alone. Nevertheless, most are quite intrigued when they learn that Marlo Herring is a photographer and equally impressed when the degree of his gift is finally displayed; the very gift that also makes him a magician in his own right.
Raised in Atlanta, Georgia, Marlo Herring’s first influence of photography came from his father and watching nature shows. Being an “only child” of a father (and mother) who used a 35mm SLR camera in the 80’s to document family events, there is no wonder how the curious urges of this budding artist paved a path towards the discovery of his own purpose and passion.
Still, it wasn’t until he reached the age of twelve when the desires of becoming a photographer began to push Marlo across the threshold of mind-numbing reality and into a world of imagination. An inquisitive mind propelled him to learn more about the camera and how it worked. There he discovered, in the womb of his father’s camera and the pages of National Geographic, his first love – journalism photography. In the 11th grade he was introduced to the idea of Commercial Photography by a man named Cedric Pendleton (who would later introduce Marlo to Darryl Lane), where he learned that there was more to photography than taking shots of the wild animals of the Sahara or current news events and tragedies; that there were actually opportunities for photographers in advertising, promotion and marketing (headshots, ads, posters, press kits, etc).
After attending Clark Atlanta and acquiring a degree in Graphic Design, Marlo continued on to spend the next three years as a photographer’s assistant to two prominent photographers in the area: Earnest Washington and Darryl Lane. One of his greatest inspirations comes from a man by the name of Henry Cartier-Bresson – a photographer known for “capturing the decisive moment.” As photography is an ever-changing and ever-evolving industry of sorts, Marlo finds himself absorbed in incessant intrigue. “There is always something to learn about photography,” Marlo states. Because of this, Marlo has attained a greater appreciation for the notion of using his camera as a perfect means to bridge the gap between art and technology. “Man, photography for me…it’s magical…being able to capture a once in a life time moment. It’s what keeps me interested. If eyes are a window to the soul, then a camera is a window for the eyes.”
An enthusiast that recognizes the ingenuity exuding from the images captured by Marlo would have to wonder if his works are in fact intentional or magical moments seized by accident. “I use the camera as a third eye, as a device to help others see what is inside my head, whether it be for commercial shooting or street photography,” says Marlo. “I am less of a participant and more of an observer.” Over the years, it has become the photographer’s intent to catch and portray the rhythm of life inside his images; that spiritual “OM” (chanting) of the universe that most people are not aware of in their every day going-ons.
As a product of the hip-hop generation, Marlo often refers to his works as having a quirky alternative vibe, mixed with some musical influence. In fact, it is that same appeal that has allowed him to attain such clients as India Arie, The Dungeon Family (Goody Mob, Out Cast, & The Witch Doctor), Van Hunt, Bow Wow and JD (So So Def), Sony Music and Sonday – all heavy hitters in the Neo-Soul and Hip-Hop industry. “I went to college with a lot of them. Most of them were my friends before they were clients,” Marlo recalls. “I remember when I used to hang out in basement parties – these real eclectic, basement settings around Atlanta, where everyone would get together and vibe - play music, share their work. I met India Arie at one of these gatherings. She had been playing the guitar for only six months at the time…”
Even after years of assisting some of the most skilled photographers in the area, it took Marlo several years to acquire the self-assurance needed to consider himself a professional photographer. Eventually, in 2000 (after training on paid and non-paying gigs from 1993 – 1999) he began to embrace the idea of being what others already claimed him to be. “I had to gain the confidence – for myself, in my skill, and for the level of clients of which I worked for. So I stayed an assistant until I was convinced myself that I had the skills it took to do it and be it.”
It’s for certain that there are two layers of uniqueness in Marlo’s more creative works. One gets a sense of lightness, of genuine love, when simply peering at the surface of his photographs. However, after taking a further glimpse into the heart of his pieces, a force of melancholy will ultimately emerge, ensnaring the observer into an alluring state of awareness and inspiration; almost hypnotically. If properly attuned with the universe, one may even get the sense that the individual behind the camera is one who is connected to a source beyond our own comprehension.
In hopes that the artist sitting before me would offer a hint of depth and substance to a question that I’d had floating inside my head since we first took our seats, I asked, “When you look at your work, what can you say about it that makes you an above average photographer? What makes you “not so average?” Bugged eyes and a dropped jaw led me to believe that my query had shocked Marlo, almost as if I had the audacity to try to infiltrate pieces of his mind that one outside of himself has yet to charter - that part of his brain and heart where confidence resides. Suddenly, as a smile begins tugging at the corners of his lips, he answers. “I really do feel that there is something metaphysical behind my images. I feel like it is the hidden messages about mankind that sets my work apart from other photographers, you can see the souls of the people I shoot.”
It is my turn to smile now, proud of my fellow artist, as my own mind absorbs his answer. He continues on to say: “Everybody walking the earth is walking around with only a piece of the ‘answer,’ but no one has the whole piece. We are, as individuals, at the core, very selfish and could care less about what happens to our fellow man…even though, principally and moralistically, we try to do the ‘right’ thing. I feel like this: the more we open our hearts and minds to the path of less resistance - the current of life, instead of always fighting ourselves, the universe will begin to conspire in our favor.”
Finally I ask him, “Who is Marlo Herring?” I already understand that there is a duality to his personality – a jovial side and a serious, analytical side. I wonder if he even realizes he is unlike most men I have met (or most women for that matter); a man who is in love with love…not just romantic love but a love for people, a love for life. He replies with the infectious grin. “I am silly, I love to joke. I live inside my own head. Marlo is a weird guy who is interested in what makes people tick…always searching, always looking for nostalgia, for answers. And…I am a hopeless romantic; I always have been.”
I smile again. That is good enough.
K. Banks
Visit: www.marloherring.com to view photography by Marlo Herring
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