Rob Culpepper: Tell me who you are, where you’re from, and what kind of work you do.

Carla Blumenkrantz: So, I’m a lifestyle photographer based in Los Angeles, but I was born and raised in Venezuela to Peruvian parents. I moved here as a teenager to study English and pursue a career as a cartoonist, actually. Drawing was always my thing growing up, and it just runs in my family.

But I was also always drawn to photography. When I was around 12, I had a little film camera that I carried everywhere to document my friends.

Carla: After moving here, I studied Graphic Design and Fine Art, and eventually took photography classes and joined the college newspaper. I loved it! I graduated with a degree in photojournalism and interned at a local newspaper, but then (laughing) I realized that I didn’t really want to work for a newspaper.

So instead, I started photographing families and events and doing work for small businesses and non-profits. It wasn’t until about four years ago that I decided to explore commercial advertising, so I still feel fairly new to this world. People in the industry are often surprised when I tell them I’ve only been doing it for about four years.

It has definitely been a learning experience, but I’ve also loved becoming part of this creative community. Before that, I always felt like that was something missing from my life.

Rob: What do you call this project you sent me?

Carla: It’s called Side B. I would describe it as both a personal project and a proof-of-concept. I came up with the idea last summer, but I was so busy that I didn’t really start exploring it until the beginning of this year.

Rob: I saw the motion piece first, and it made me nostalgic for the ’90s. It reminded me of the movie Empire Records. Where did you get this idea?

Carla: Well, I knew the final season of Stranger Things was coming out, and then one day I happened to listen to Queen’s “Radio Ga Ga.” I know this might sound funny, but somehow those two things came together in my head, along with my great love for the ’80s.

The idea was never to recreate the ’80s literally. I wanted to capture a feeling and create a world inspired by that time. And I love that it made you feel nostalgic and reminded you of growing up in the ’90s!

Rob: How did you move from idea to production? What was your process?

Carla: At the beginning of this year, I finally decided, okay, I’m really going to do this. The first thing I did was create an entire moodboard/treatment explaining everything, from the concept and narrative to the mood and atmosphere.

I knew I wanted to work with teens ages 14 and 15 because I think that is such an interesting and important age. They are becoming more aware of their identities and exploring who they are, but there is still a certain innocence there.

Carla: I presented the moodboard/treatment to my DP, Suzaine, who I had worked with before, and I was so excited when she said she was in. (laughing) It isn’t always easy to get a great DP to collaborate with you on an unpaid personal project.

Then I reached out to Todd, the production designer, because I had wanted to work with him for a while and I’m such a big fan of his work. We brought in a fantastic wardrobe stylist and makeup artist, and Donna Grossman Casting, who had collaborated with me before, joined the project too. Little by little, we formed this magical creative team. Then the next big challenge was finding one date that worked for everyone!

Rob: Is that how you normally plan and execute a shoot?

Carla: For me, the moodboard/treatment is incredibly important. I can have an idea in my head, but I need to write it down, see it and organize it. It helps me, but it’s also a clear guide for everyone collaborating with me.

Then it’s about bringing the creative team together, finding a date and choosing the right talent to bring the idea to life. Luckily, we found such a wonderful group of teens, and they formed a real connection on set. We worked a 12-hour day, and they were phenomenal until the very last minute.

And yes, this is how I approach every shoot, even the smallest ones. The moodboard/treatment doesn’t always translate exactly into the final images, but that’s okay. It’s a guide, not a rule. You have to leave room for unexpected things because sometimes those moments are even better than what you planned.

Rob: Tell me about what you learned from the experience. What do you hope comes from it?

Carla: The biggest lesson was to be as prepared as possible, but also expect things to change because they will. That’s just life, and that’s definitely production!

The day actually started with one of the talents mixing up the dates, but they showed up, and everything worked out just fine. I also imagined our outdoor scenes in beautiful late-afternoon golden light, but the day was overcast, and it even rained on us a little bit. We simply had to work with what we had.

Carla: The experience also reminded me how important every person on the crew is. The shoot wouldn’t have been the same without our Key Grip and Gaffer, Dave, or our makeup artist, Donna. They brought my Euphoria-inspired lighting and makeup references to life. I’ve never actually watched the show, but I loved the imagery! El, our wardrobe stylist, also did a fantastic job bringing in a touch of the ’80s without going over the top.

It’s incredibly important to me that everyone feels comfortable, appreciated and valued. Maybe that’s the Libra in me (laughing), but I need things to feel fair and balanced. A great crew doesn’t just execute your idea. They bring something of themselves to it and make it better.

Carla: And what do I hope comes from it? The honest answer is that I hope brands and creatives see it and hire us! I also want everyone involved to have great new work for their portfolios.

Even between paid projects, I believe it’s important to keep creating. That’s your chance to follow your own instincts and creative direction. I honestly don’t feel like myself when I’m not being creative.

Most of all, I hope people watch the film and genuinely enjoy it. I hope it brings up memories and makes them feel something. That’s what I want from all of my work. I want people to simply feel.

I’m incredibly proud of this project and of everyone who helped me create it.

Rob: My last question is always the same: what’s exciting to you about photography right now?

Carla: For me, the things I find exciting about photography are probably never going to change. I collect photography books, and I love looking through the work of Sally Mann, Irving Penn, Richard Avedon and many others.

I also find a lot of inspiration in my favorite film director, Wes Anderson. I own a couple of books about his work, and I can watch his movies more than once and always notice something new. I especially love his humor. A good sense of humor is very important to me, even when I’m working.

I love visiting museums and art exhibitions too. I recently attended an exhibition with a Western theme that combined painting and photography, and I found both the work and the artist’s process so inspiring. I also find inspiration in nature, especially skies. For some reason, I’m obsessed with skies!

I’m a little old-fashioned in the way I work. I know the tools I use well, my camera, Photoshop and Lightroom, because I retouch all of my own images. But I’m much more comfortable working with natural, available light than in a studio. Maybe that comes from my photojournalism background.

I also write down my process by hand. I have several notebooks filled with Photoshop and Lightroom “recipes” that I create for many of the photographs I’ve retouched. Even in college, while everyone else typed their papers on the computer, I needed to write my first drafts by hand. It’s my way of preserving something from the past while still working with new technology.

Carla: I like fusing the past with the present. Take AI, for example. I see many photographers feeling fearful or hesitant about it, but I don’t feel that way. Photography itself once faced resistance too. Technology is part of our evolution, and I think it’s important to adapt while maintaining a balance. It should support our creativity without replacing the human part of it.

And last but definitely not least, young people, especially kids and teens. They are so beautiful and authentic, and that is why I enjoy photographing them so much. They can be dirty, messy or completely mismatched. Their emotions can be intense, whether they’re happy, mad or somewhere in between, but they are still completely themselves. That is the authenticity I want to portray in their portraits.

They are probably my favorite subjects to photograph.

Rob: Thank you for your time!

See more of Carla's work:
https://carlablumenkrantz.com
https://daybreakdirectory.com/photographers/carla-blumenkrantz