Photo by AngtMa Alk*n Morgan
Mark Pynes on his first assignment as a fashion photographer.
Fashion photos fun
Whether or not a quick admission, most fashion
photographers like their jobs. Many lament the hard work and
discount the glamour. Some bemoan the scrupulous attention
they must pay to detail, the exhausting emotional encouragement
that they're compelled to offer to looks-conscious people. But
when they talk about their work, strains of the American-Dream
hath-come-true outweigh all the hardships.
"I like photographing women,” says photographer Mark
Pynes, who broke into fashion photography with the 1982
Emerald Fashion supplement. "A lot of women have an unspoken
desire to be models, and a lot of guys would like to be
photographers. It's kind of a Playboy idea, but everyone can't
photograph for Playboy.”
This year, Pynes shot 450 feet of 35-millimeter film for the
three months in which he photographed 23 University candidates
for the “Oregon Women 1984” calendar. Though the calendar is
on the market, Pynes regrets that selling points often took
precedence over art.
Part of the attraction of fashion shooting for Pynes is the ar
tistic control he has over an assignment. Ideally, he has the power
to set up a shot, manipulate the elements and decide the location.
But, if the shot's a dud, he says, the fault lies with the
photographer. Even with the stringent technical controls that the
photographer in charge can impose, models are not always the
most obliging breed.
"The best kind of model is someone who has had little ex
perience but enjoys the idea of being photographed," Pynes says.
"The most dangerous is someone who has had a little experience.
They try to manipulate the photographer."
Manipulation on the set, most fashion photographers will
agree, should be left up to them. Off the set, they may say the
same.
Angela Allen Morgan
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