INTERVIEW SERIES: A CONVERSATION WITH HYEA WON KANG - THE WORLD OF FASHION PHOTOGRAPHY

Hyea Won Kang for Allure Korea by Cha Hyekyung

Today’s guest is Hyea Won Kang. She’s an established photographer in South Korea, but her aspirations are relentless. She now works on the world stage, working with magazines such as Vogue Hong Kong, The Edit, and The Sunday Times Style. I have been her admirer for a long time, so I learned tremendously from this conversation. Photography has always been a great focal point for copyright law, and the law should evolve to accommodate the ever-changing needs of the society. Now, the world of photography takes place on digital platforms, throwing important questions for lawyers. I talked with her on various topics to which she shared her frank and honest thoughts. I hope you enjoy this interview.

Hongjun Byun (HB): How did you learn photography?

Hyea Won Kang (HK): In Korea, I studied a major that’s somewhat unrelated to photography. During my senior year, I decided to go abroad to learn photography, which I always had a keen interest in. I attended the Brooks Institute of Photography where I earned both my undergraduate and graduate degrees. Around the time I graduated, the dotcom economy that started in San Francisco was the talk of the town. I thought to myself I would starve as a photographer if I don’t learn about the digital world. So I went on to study another graduate studies in New Media in San Francisco.

HB: I can tell that you really studied in depth for a long time. How was the process?

HK: Brooks, where I first graduated, was more known for its commercial photography. They trained us to develop technical skills necessary to precisely meet the needs of a client. I was a studious student, following the curriculum that was set for students. For example, I learned how to photograph a shining object, how to control the lighting in different light sources, how to adjust the distortion and the depth of field with large format camera, and how to print a black and white photo with the greatest tonality possible. I learned a lot, but I think I gradually forgot about what I wanted to do and what I wanted to photograph in the process.

When I first started studying New Media in San Francisco, the curriculum was centered around getting students familiarized with the new tools of the digital era. So I wanted to take a photography course at least as an elective. I took a course titled Nature of Photography: the course named after the book we used in class, Nature of Photography by Stephen Shore. In that class, my work achieved a high level of technical finesse, but my professor gave me a heartbreaking yet accurate feedback: that my photo was empty of substance. I was sad, lost, and felt like I was dragged to the bottom. I know it sounds weird, but I cherished those feelings at the same time. Then, I decided to change my major to Fine Art Photography. Taking the courses of the professor who gave me the feedback, I was able to expose myself to myriad photographs and books of various photographers. I tried nude croquis and took classes outside the Fine Art photography major such as typography. That was a dramatic transition from my New Media studies.

At that time, I wasn’t necessarily sure that I would become a fashion photographer. Then, I came across fine art photographs of Jeff Wall, Tina Barney, Philip-Lorca diCorcia. I still loved Irving Penn while learning fine art photography. DiCorcia was working with W magazine, and I could see how photographers who stage bring such theatrical element to fashion photography. A viewer intently thinks their photographic works are real, but, in truth, the works are photographers’ recreated reality in some sense. That gap creates contexts in a photograph and allows different interpretations. So I can say that Wall, Barney, and DiCorcia led me to embark on this journey by chance.

HB: After completing the studies, you returned to South Korea. How did you start as a fashion photographer?

HK: I studied in the States for a long time, and I knew no one in South Korea who was working in the field. So I started to reach out to magazines individually by searching for the contact information listed in the magazines. That’s how I met Byungjoon Min, the current editor-in-chief of Esquire Korea, who was then an editor. He called me back in 30 minutes after our meeting to propose a work, and that’s how I started working for major fashion magazines in Korea. That’s also how I first met Vogue Korea. I called them and went into their office with a portfolio in my hand. I can still recollect those moments vividly and sometimes miss those days. That satisfactory feeling and cherished experiences of getting projects solely based on my own portfolio. 

HB: Then, you went on to become an in-house photo director of Vogue Korea. How was the job?

HK: After that first meeting I talked about earlier, I had a chance to work with Eunyoung Sohn, who is a fashion director of Vogue Korea now. The editorial had a fairy tale-ish mood. After that first editorial, I continued to work with Vogue Korea for the following 6 months, which culminated in signing an in-house contract. The contract had an exclusivity provision that prohibited me from working for magazines Vogue Korea was directly competing with. I ended up working for Vogue Korea as an in-house for 10 years from Vogue Korea’s 11th Anniversary Issue to its 20th Anniversary special exhibition. Vogue Korea gave me a priceless opportunity when I was a new talent just taking first steps in the industry. I learned tremendously by taking part in countless photoshoots and meeting many people during those 10 years.

Q: After working in South Korea for many years, you returned to the States. How was it like to go back this time as a fashion photographer?

A: In my role as an in-house director for Vogue Korea, I reached a stage where I had participated in more than 100 issues. As time went by, what the magazine expected from me had become limited. On a personal level, I felt like I wasn’t growing further. You can’t shake off that kind of inertia in one day. You just can’t. So I went to New York without much plan to have some physical distance from the Korean fashion industry. I told my colleagues openly that “I’m going to really leave this time” for the entire year before I flew to New York. I guess I was a bit worried that I might not actually make the move. In New York, at first, I kept working for Korean fashion magazines, but I gradually expanded my work. I was also finally able to be with my daughter and be there for her as a mom. Then, in 2018, I relocated to Los Angeles. Regarding my international works, I receive work offers via Instagram DM or e-mail. I don’t have a separate agency when I work outside Korea, and I’m not well-known at this point at the international level. Sometimes, clients reach out to Teo, my Korean agency. Before the pandemic started, I travelled a lot for work. New York, Seoul, Los Angeles and many cities in Europe. Now, I’m staying in Seoul.

HB: Counting the years including your studies, you’ve done photography for more than 25 years. How much decision-making authority does a photographer have in a photoshoot?

HK: In any photoshoot, I work with other people under many different circumstances. As I worked in the industry for quite a long time, I am now in a position where I can provide my frank opinions regarding the final work. Of course, there are times when the final selection isn’t what I think was the best shot. However, I was the one who clicked the shutter behind the lens. So, strictly speaking, I should say my opinion was reflected to the extent that the final selection is made out of the photos I first selected and shared to a client.

Let’s take the example of a magazine. The editor-in-chief is the final decision-maker since he or she directs the magazine’s vision. As a photographer, I should respect its vision and creative direction. For instance, while Vogue Paris focuses more on clothes, styling and its conception of femininity, Vogue Italia under Franca Sozzani was more interested in creating discourses on social issues with the power of photography. The same photographer uses different execution methods depending on the media he or she works with. Therefore, as a photographer, I can’t push ahead with my color, especially when it comes to covers. It is the editor-in-chief who sets the tone of the magazine. Yet, I always try hard, to the best of my abilities, to produce a satisfactory result both for myself and the media with my own unique way of seeing.

HB: You have the unique experiences of having worked inside and outside the Korea. Are there differences between the two?

HK: My general impression is that the international industry expects photographers to be the expert in something rather than a jack-of-all-trades. In South Korea, the expectation is more towards a photographer who is knowledgeable in many different aspects of photography.

HB: What is a satisfactory photograph for you?

HK: A photograph that’s original. I always crave for better results. It’s not so easy to maintain the objectivity at the time of the photoshoot when my personal attachment affects how I evaluate my own work. I sometimes mistakenly think that the final result will turn out to be epic when the atmosphere at the photoshoot is vibrant and amazing. There are works that I loved at the time of the photoshoot, but, after some time, I don’t like them as much as I did before. The converse is also true. There are works that I develop affection later on although I wasn’t personally satisfied with them at first.

HB: I was literally blown away by your recent Vogue Korea cover with Hyun Ji Shin. Can you share a story?

HK: I have worked with her before, including the cover for Vogue Hong Kong. This time around, I thought that I want to capture her different side. We discussed beforehand how to proceed with the shoot. Hyun Ji is a global Top 50 model. That in itself is an amazing feat, and she is at the top of her career at this stage. These days, the editorial trend is more about casting models in their natural light, so it’s hard to find those fierce editorials we often saw in the early- and mid-2000s. I really wanted to bring out of her “Hyun Ji the Fierce”. I had faith in her, a faith that she can pull this out. Luckily, we produced a work that was up to our expectations, and, after the photoshoot, we met and told each other “We put our best effort.”

HB: This is a fashion law blog, so we have to talk about law and the issue of copyright in photography. If it’s an individual work, the copyright subsists solely in the photographer. If it’s a work for hire under contract, then the photographer and the commissioner-client presumptively co-own the copyright unless both agree to contract around. Are there areas where you would like to see strengthened protection in terms of photography?

HK: In the Korean industry, magazines are doing their best in approaching the copyright issue with responsibility as the industry’s player. If a magazine wishes to use my work for other purposes than what was originally contracted for, it always reaches out to me to obtain consent. The same goes true for me. Doosan Magazine, the owner of Vogue Korea and GQ Korea, took the initiative in coming up with standard contracts. They pay us extra when they use our print works on digital platforms. Photographers collectively established the Association of Korean Fashion Photographers to deal with the issue from our side. I can’t say we made a huge progress so far but we certainly made changes. It was a meaningful attempt on our part.

HB: With the public enjoying greater access to photographic works online with social media, individuals routinely share fashion photos on their feeds. Would there be one thing you would ask for?

HK: If not for commercial purposes, I feel grateful for my works being shared. But, as a way of respecting us, I hope that they tag the photographer of the work that they are sharing online. I also wish that people refrain from arbitrarily retouching the work (i.e. changing the color photo to the black and white one, or adjusting saturation or brightness, or cropping), but I don’t feel upset every time I come across them.

HB: Out of pure personal curiosity, do you take photos often in daily life?

HK: I have a 17-year-old daughter, but I don’t have many photos of her. I am ambitious and tend to be a perfectionist, so I still don’t feel perfectly comfortable when I am behind the lens. I like works of Park Jong Ha. It’s more than about his tone and manner. It’s really about how he sees his objects and how he interprets, in his own way, the background and other elements in a photographic work. I get the impression that he does not blame unexpected variables and situations that photographers face. I can sense his professional attitude in holding himself responsible for the resulting works he produced. I can usually tell right away his photos without looking at the credit. He’s young, and, for a young photographer, developing his own color isn’t an easy task. I also get constantly stimulated by other photographers both in Korea and in the world. I can’t even name all of them. There are just too many. Before I go to sleep, I ask myself, “What are you doing, Hyea Won?” I have many ideas that I have not yet tried and certainly want to execute in future. I will do my best.

HB: Wow, now’s the final question. What would be your advice for those who dream of becoming a fashion photographer?

HK: First, you should love both photography and fashion. You will soon get bored if you don’t care deeply about the personality, vanity, and diverse voices that fashion encompasses. In addition to fashion editorials, try to get exposed to a multitude of images. There is no set path, as there are many ways to do what I just described.

Also, the moment you start working in the industry, you’ll realize that no project can be done without the help of others. There can’t be the optimal result if one person in your team (model, stylist, hair and makeup artists, set stylist, etc.) does not do the job right. You should be familiar with the way each individual works and be prepared to bring the best out of them.

 

[한글 인터뷰 원문]

Q: 포토그래피는 어떻게 공부하게 되셨나요?

A: 한국에서 포토그래피와는 조금 거리가 있는 전공을 공부하다 대학교 4학년 때 평소에 관심 있던 사진 공부를 위해 Brooks Institute of Photography로 유학을 떠났어요. 그곳에서 학부와 대학원 학위를 모두 마쳤는데 당시 샌프란시스코를 중심으로 90년대 후반 닷컴 경제가 대두되면서 디지털 분야를 공부하지 않으면 '먹고 살 수 없겠다'란 생각에 샌프란시스코로 가서 New Media라는 전공으로 다시 대학원 과정을 시작했습니다. 

Q: 오랜 기간 사진 공부를 하셨는데 과정은 어땠나요?

A: 원래 제가 그전에 졸업한 Brooks는 상업적인 포토그래피로 유명한 곳이었어요. 클라이언트의 요구를 정확히 맞춰주는 일은 기술적으로 많은 연습이 필요하고 그 연습을 잘 시키는 곳이죠. 거기서 시키는 대로 꽤 열심히 했던 것 같아요. 반짝이는 물체는 어떻게 찍고, 색온도가 다른 광원들이 함께 있을 때 전체 조명은 어떻게 컨트롤하고, 대형 카메라로 어떻게 앵글과 심도를 조절하고, 흑백사진은 어떻게 최대한 풍부한 계조로 인화하는지 그런 것들을 배웠죠. 많은 것들을 배웠지만 거기서 내가 하고 찍고 싶은 것들은 좀 잊혀졌던 것 같아요.

샌프란시스코에서 처음 공부할 때도 디지털 미디어의 새로운 도구 위주의 공부만 하다 보니 사진을 선택 과목으로라도 듣고 싶었어요. 그렇게 Nature of Photography라는 수업을 듣게 되었죠. Stephen Shore의 책 제목과 같은 이름의 수업이었어요 (한국에는 사진의 문법이라는 이름으로 번역되어 있어요). 그 수업에서 테크닉적으로는 완성도가 있지만 내용이 비어있는 제 사진에 대한 아프지만 정확한 피드백을 담당 교수님께 받게 되었어요. 슬펐고, 혼란스럽고, 뭔가 다시 바닥으로 내려온 기분이 들었어요. 그런데 또 그게 좋았어요. 다시 전공을 Fine Art Photography로 바꾸고 그 교수님의 수업만 2년 내내 들으면서 많은 사진가들의 다양한 사진들과 책들을 만나게 되었죠. 누드 크로키도 하고, 타이포그래피 같은 수업도 들으면서요. 디지털 미디어에서 꽤 극적인 전환이었다고 봐요. 

그때만 해도 꼭 패션 포토그래퍼가 되어야겠다는 생각은 없었을 때였는데, Jeff Wall, Tina Barney, Philip-Lorca diCorcia, Jan Groover의 사진들이 흥미로웠어요. 물론 Irving Penn도 여전히 좋았어요. Philip-Lorca diCorcia는 당시 미국 더블유와 작업을 하기도 했는데, Staging하는 사진가들의 사진이 어떻게 패션 사진과 만나는지 볼 수 있었죠. 보는 사람은 기록이라는 사진의 속성에 집중해 리얼하다고 생각하지만, 그들의 사진은 현실에 스테이징을 입힌 일종의 재창조된 현실이잖아요? 그 간극이 새로운 컨텍스트를 만들어내고 사람들로 다양한 해석도 불러일으키고요. 어떻게 보면 그분들이 저를 이 길로 우연히 인도한 셈이죠. 

Q: 학업을 마치고 한국으로 돌아오셨는데요. 어떻게 패션 포토그래퍼로 활동을 시작하셨죠?

A: 공부를 미국에서 오래 하기도 했고 한국에 업계에서 일하는 사람을 한 명도 몰랐어요. 그래서 잡지에 있는 연락처를 보고 무작정 연락을 돌렸죠. 그렇게 지금은 에스콰이어 코리아 편집장인 민병준 기자를 만나게 되었어요. 첫 미팅 후 30분 있다 작업을 해보자고 연락이 왔고 그렇게 하나둘씩 국내 잡지들과 작업할 기회를 얻게 되었죠. 보그 코리아도 그렇게 인연을 맺게 되었죠. 전화하고 포트폴리오 들고 찾아갔어요. 그때가 지금도 생각나고 그립기도 해요. 정말 아무것도 없는데 제 사진 하나만으로 일감을 하나하나씩 얻어낼 때의 만족감과 그 경험들이 제게 무척 소중했던 시간이에요.

Q: 그 이후 보그 코리아의 인하우스 포토 디렉터가 되셨어요. 어떤 역할을 하셨는지 조금 더 자세히 설명해 주실 수 있나요?

A: 그렇게 첫 미팅 후 지금은 보그 코리아의 패션 디렉터가 된 손은영 기자랑 보그 코리아 첫 화보 작업을 하게 되었어요. 12월 호에 실릴 동화적인 느낌의 화보였죠. 이후 보그 코리아와의 6개월 정도 꾸준한 작업을 했고 그 후 인하우스 계약을 하게 되었어요. 계약 조항에는 경쟁지를 촬영하지 않는 조항이 포함되어 있었고요. 그렇게 시작한 보그 인하우스를 10년을 했네요. 11주년 Anniversary Issue도, 20주년 전시도 함께 했으니까요. 

보그 코리아는 당시로 보면 신인 포토그래퍼인 저에게 소중한 기회를 주었고 그 과정에서 많은 촬영, 많은 사람들을 만났어요.

Q: 오랫동안 한국에서 활동 하시다 다시 미국으로 가셨는데요. 해외에서 활동들을 어떻게 진행하셨나요?

A: 인하우스를 하면서 보그 코리아와 함께 만든 책이 100권을 넘어가고 그 시간이 더 길어지다 보니 매체에서 제게 기대하는 것들도 한정되어 가고 저도 발전 없이 고여있는 느낌이 많았어요. 하지만 그런 내성은 하루아침에 바꿀 수 없어요. 그래서 물리적 거리를 가지기 위해서 2014년 가을에 뉴욕으로 무작정 갔어요. 혹시라도 못 떠날까 업계 사람들한테 “나 이제 정말 갈 거야”라고 1년 넘게 떠들고 다녔어요. 가서 처음에는 서울의 일들을 주로 했지만 조금씩 뉴욕에서의 새로운 일들도 늘려갔어요. 10년 만에 제대로 엄마 노릇도 하기 시작했죠. 그리고 2018년인 2년 전에는 다시 뉴욕에서 LA로 옮겼어요.

해외 일은 아무래도 해외에 따로 에이전시가 있는 것도 아니고 많이 알려져 있는 것도 아니니 주로 인스타그램 DM이나 이메일로 문의가 와요. 가끔은 제 한국 에이전시인 Teo로 연락이 올 때도 있고요. 코로나 전까지는 뉴욕, 서울, LA, 유럽 이리저리 다니면서 지냈던 것 같아요. 지금은 서울에 있어요. 

Q: 학창 시절부터 따지면 25년 넘게 포토그래피를 해오셨어요. 포토그래퍼가 촬영장에서 어느 정도의 의사결정권을 가지나요?

A: 어떤 촬영이든 여러 상황과 많은 같이 일하는 사람들이 있죠. 이제는 아무래도 업계에서 오래 활동했고 의견을 말할 수 있는 위치에 있어요. 물론 제가 보낸 컷들 중에 개인적으로 가장 마음에 드는 컷이 아닌 컷이 셀렉되는 경우도 꽤 있죠. 하지만 결국 촬영장에서 카메라 뒤에서 셔터를 누른 건 다른 사람도 아닌 바로 저예요. 엄밀히 말하면 제가 보낸 사진들 중에 결정을 내리시니 그런 측면에서 보자면 결국제 의사가 들어갔다고 할 수 있겠네요.

잡지를 예로 들면, 최종 결정권자는 잡지의 비전을 제시하는 편집장이고, 편집장이 그리는 잡지의 비전과 방향을 당연히 존중해야 합니다. 예를 들어, 파리 보그는 옷과 스타일, 그리고 여성상에 집중하는 반면 프랑카 쏘자니 시절의 이탈리아 보그는 사회문제를 스토리텔링을 통해 풀어내는데 더 관심이 많았잖아요? 같은 사진가도 작업하는 매체에 따라 execution을 달리하고요. 그런 의미에서 포토그래퍼로서 잡지 촬영을 할 때 온전히 자기 색깔만 주장할 수는 없어요. 커버는 특히 더 그렇고요. 잡지의 톤을 결정하는 것은 결국 편집장이에요. 다만 사진가로 최대한 저라는 필터를 거쳐 매체도 저도 맘에 드는 결과물이 나올 수 있게 노력하는 거죠. 

Q: 국내외 활동을 둘 다 활발히 해오셨는데요. 둘 사이의 다른 점이 있을까요? 

A: 해외에서는 뭐든지 잘하는 것보다 확실히 잘하는 게 있는 사람들을 기대한다고 할까요. 우리나라는 그것보다는 다 잘하는 사람을 원하는 것 같고요. 

Q: 본인에게 만족스러운 사진이란 무엇인가요?

A: 독창적인(original) 사진이죠. 저는 더 좋은 사진을 찍고 싶어요. 아무래도 작업을 하는 그 당시에는 객관성을 지니기가 힘들 때가 많아요. 경험이 판단에 관여해요. 현장에서 반응이 좋으면 결과가 좋은 걸로 착각하거나 하는 거요. 당시에는 좋았는데 시간이 지나고 보니 당시만큼 좋지 않은 사진들도 있고, 또 반대로 당시에는 만족스럽지 못했는데 시간이 흘러 보니 애착이 가는 사진들이 있어요.

Q: 이번 보그 코리아 6월호 커버 매우 잘봤어요. 특히 개인적으로 현지씨 커버가 매우 인상적이에요.

A: 현지를 촬영할 때 최근에 보그 홍콩 커버 촬영을 하기도 했고 그전 작업들도 있어서 어떻게 지금까지 보여준 모습들과 다르게 찍을지 고민을 많이 했어요. 촬영 전에 만나서 같이 의논도 했고요. 현지라는 친구는 세계 톱 50 모델이잖아요? 사실 엄청난 업적이거든요. 또 어떻게 보면 지금 모델 커리어 정점을 달리고 있는 친구예요. 요즘은 자연스러움이 트렌드다 보니 2000년대 초중반처럼 모델이 가진 개성을 파워풀하게 보여주는 화보들이 잘 없는데 현지에게 그런 힘이 느껴지는 강렬한 화보를 만들어 주고 싶었어요. 현지가 할 수 있다고 믿었고요. 다행히 어느 정도 예상한 결과물이 나왔고 현지랑 촬영 후에 만나서 “우리 정말 애썼다”라고 했어요. 

Q: 아무래도 법 블로그이다 보니 사진 저작권 문제를 빼놓을 수가 없는데요. 개인 작업이면 당연히 포토그래퍼에게 저작권이 있습니다. 계약을 한 커머셜한 작업의 경우, 예를 들어 잡지사라면, 잡지와 포토그래퍼가 동시에 저작권을 가지게 됩니다. 저작권 분야에 있어 다루어졌으면 하는 부분들이 있을까요?

A: 국내 업계를 보면 다들 위치에 걸맞은 책임 의식을 가지고 저작권 문제를 접근하고 있어요. 만약 잡지사가 제 작품을 다른 용도로 사용한다면, 저에게 허락을 구하고 있고, 반대로 저도 그렇게 하고 있고요. 보그, 지큐 등을 소유한 한국의 두산 매거진 같은 경우 업계 선도적으로 표준 계약서도 작성하고, 프린트 화보를 디지털에서 사용할 경우를 산정해 추가 비용을 포함했어요. 여러 사진가분들과 함께 한국패션사진가 협회를 만들어 저작권 문제를 다루었어요. 미미하지만 성과도 있었고 의미 있는 시도였다고 생각해요.

매체가 빠르게 변화하다 보니 디지털 저작권과 같은 것들에 대해서는 정의가 모호한 점이 있죠. 재사용, 변형 등을 통해 상업적인 이익을 취하는 분들도 있는데 그런 부분은 법적 제도화가 필요하다고 생각해요. 소셜 미디어 때문에 출처를 밝히는 범위 내에서 사진이 점점 공공재적 성격을 가지게 되었는데, 그럼에도 상업적인 사용은 다른 차원의 문제니까요.

Q: 많은 분들이 그 어느 때보다 쉽게 사진을 접근하고 인스타그램과 같은 소셜 미디어 피드에 공유하기도 하는데요. 저작권자로서 어떤 부탁을 드리고 싶으신가요?

A: 상업적인 용도가 아니라면 사진을 공유해 주시면 저야 감사한 마음이 있죠. 대신 태그 정도는 해주시는 것이 예의가 아닐까 생각해요. 또 어떤 분들은 컬러 사진을 흑백으로 바꾼다던가 명도, 채도를 조절하거나 crop을 하시는 경우도 있는데 임의적인 리터칭을 해서 포스팅하는 건 삼가 주셨으면 하는 바람이 있지만, 그렇다고 그런 일들에 일일이 속상해하거나 하지는 않아요. 

Q: 개인적인 궁금증인데 사진을 평소에도 자주 찍으시나요?

A: 그런 포토그래퍼 분들도 있지만 저는 아니에요. 제 딸이 17살인데 엄마가 사진가인데도 예쁘게 찍어준 사진이 거의 없는 것 같아요. 저는 개인적으로 욕심도 많고 아무래도 완벽주의자 성격이라 아직도 카메라를 드는 순간 마음이 편하지 만은 않아요. 

요즘 후배지만 한국에서는 박종하 포토그래퍼의 사진을 좋아해요. 단순히 톤 앤 매너가 아니라 대상을 바라보는 시선, 배경과 요소를 해석하는 능력까지 훌륭해요. 사진이 촬영 시 맞닥뜨리는 변수와 상황을 탓하지 않는 느낌이에요. 결과에 대한 책임과 노력이 느껴져요. 크레딧이 없이도 그의 사진임을 보통 알 수 있어요. 아직 젊은데 그렇게 색깔을 지켜나가기 쉽지 않은 걸 알기 때문에 실력이 느껴져요. 

그 외에도 많은 국내외 사진가들의 사진이 저를 이불킥 하게 합니다. 나열하자면 끝도 없어요. 저는 질투가 많아요. 잠들기 전에 "넌 지금 뭘 하는데?”라고 또 물어봅니다. 아직 하고 싶은 것도, 해보지 못한 것도 많으니까 더욱더 열심히 노력하겠습니다. 

Q: 마지막으로 패션 사진작가를 꿈꾸는 분들에게 조언 해주실 수 있을까요?

A: 먼저 패션을 좋아해야 해요. 패션이 품고 있는 개성과 허영과 다양한 목소리에 관심이 없다면 금방 지루해질 거예요. 화보뿐만 아니라 많은 이미지들을 접하면 좋겠죠. 방법은 너무 여러 가지니까 이렇게 해야 할 수 있다는 정해진 길 같은 건 없어요. 

더해서 패션 사진가를 꿈꾸는 친구들이 아직 잘 모르지만 막상 일하게 되면 그 어떤 것보다 중요한 깨달음은 이 일은 절대 혼자 할 수 없다는 거예요. 모델, 스타일리스트, 헤어와 메이크업 아티스트, 세트 스타일리스트 등등 함께 일하는 사람 중 하나만 틀어져도 최선의 결과물이 탄생할 수 없어요. 다른 사람들의 작업과 스타일을 잘 공부하고, 그들의 능력을 함께 이끌어 낼 수 있는 준비를 하는 것이 필요합니다.