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Carla Young Photographic Influences
To date my photographic influence has focused on photographers geared towards portraiture and fashion. I am fascinated by the human form and the striking emotive potential that creative combinations of lighting, location and inspired composition represent through our ability to relate to common visual language.
Deviating from the standard photography of the human form due to his notable disregard for working with posed models I draw from Cartier-Bressons’ application of a philosophical statement popularised by Cardinal de Retz:-
"Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment")
The Decisive Moment
Cartier-Bresson described his work as “stolen moments” encompassing the search for art with real world roots. He was known to abhor traditional portraiture techniques that relied on heavy emphasis of building a strong verbal rapport with the subject and that he avoided sterile studio environments in favour of spontaneity.
After studying his work I have embarked upon a series of images included in my own portfolio under the project title “Spontaneous Portraits” which rely heavily on focused intuition of the correct combination of composition and expression culminating in the perfect moment to hit the shutter. This aside I cannot compare myself technically to Cartier-Bresson; the only similarity lying in my avoidance of flash when chasing candid shots as, like him, I find it impolite. However where he solely concentrated on black and white I am fond of high contrasted colour images akin to a stark cross-processed effect.
Modern development
In terms of photographers whose work inspires me my favour of colourful images more closely matches that of Philip Warner. Technically Philip is remarkable as his lighting setups are similar to traditional shots of 1940’s film stars favoured by classic photographers such as Cecil Beaton relying on tungsten lighting from above and to the side, sometimes with a soft backlighting and a soft effect from the lens to flatter the subject. However his concepts often reminiscent of fetishist imagery bring a modern twist on these plans and the powerful editing tools that are available to a twenty-first century photographer contribute towards a recognisable style that serves to flatter the subject and is in recent years bringing him out of the underground art scene and towards a larger audience keen to emulate his vision.
He differs greatly from Cartier-Bresson and sits virtually on the other end of the scale, renowned for his ability to relax models and produce uninhibited surrealist images. This is strongly linked in with my “Magazine brief” project which taught me that to sufficiently capture a strangers trust in an embarrassing setting thereby creating an appealing subject marks a heightened degree of professionalism in itself.
Professional Aspiration
The aforementioned Cecil Beaton gained notoriety for his limited technical ability in comparison to his professional peers. He simultaneously acquired widespread celebration and admiration of his achievement when a fascination with intelligent networking served to catapult him to the upper echelons of society with his career at the very forefront.
Although studious of the advantages and importance of photographic technology I feel it is important to keep in mind that professional conduct can have the final say in success and balance is essential. In an industry saturated with hopefuls Cecil Beaton represents the priority of pushing each and every avenue to achieve professional growth regardless of hours or company. Successful photography is not a day job; rather a lifestyle choice.