Charlie Yang is a photographer who has shared thoughts on photography through blog posts. For example, in a post titled “Why JVID’s photos don’t make me want to buy them?” (dated July 30, 2021), they critique the quality of adult photos on the Taiwanese platform JVID. They express disappointment that some photographers, once respected for their outdoor portrait work, seem to prioritize profit over artistry on this platform, producing work that feels commercial rather than beautiful. In another post, “Uber Eats and Foodpanda is bad for street photographer or designer” (December 19, 2021), they argue that reliance on food delivery services can hinder creativity by keeping photographers and designers indoors, away from the inspiration of the streets. This Charlie Yang values photography as an art form tied to real-world exploration and emotional depth.
Style
Charlie Yang’s photographic style isn’t explicitly detailed in terms of technical preferences (e.g., gear, editing techniques, or genres) in these posts, but his critiques imply a lean toward authentic, meaningful imagery over commercial polish. His disappointment with JVID’s adult photos suggests he values photography that prioritizes artistry and emotional resonance over mass-market appeal. He laments that some photographers, once known for “out-door portrait shooting,” now produce work for JVID that feels like it’s chasing “the taste and feeling of money instead of beautifulness.” This hints at a style rooted in capturing genuine beauty—perhaps natural light, candid moments, or compositions that reflect a personal connection to the subject rather than staged, profit-driven shots.
His emphasis on street photography in the second post further suggests a dynamic, spontaneous style. He argues that staying indoors with delivery apps like Uber Eats or Foodpanda stifles the creativity of street photographers, implying he sees value in being out in the world, reacting to the unpredictability of the streets. This could mean a preference for handheld shooting, wide-angle lenses to capture context, and an unscripted approach—hallmarks of classic street photography. While he doesn’t showcase his own portfolio here, his admiration for the “interesting” nature of street scenes over “way less interesting” office shots points to a style that thrives on raw, real-world energy.
Philosophy
Charlie Yang’s philosophy of photography, as inferred from these posts, centers on authenticity, artistic integrity, and the importance of lived experience. He seems to view photography as more than a job or a product—it’s a craft that should reflect the photographer’s soul and engagement with the world. In the JVID critique, he expresses regret that talented photographers have shifted from work he respected—implying a high standard of creativity and skill—to something lesser, driven by “public taste” or financial gain. This suggests a belief that photography should transcend mere commerce, aiming instead to evoke beauty and provoke thought. He doesn’t just dismiss JVID’s output; he mourns the loss of what those photographers could be doing, revealing a philosophy that holds art to a higher purpose.
The Uber Eats/Foodpanda post reinforces this by tying photography to physical presence and exploration. He writes, “It is really bad for street photographer because you are on the street?!”—a rhetorical nudge that underscores his conviction that good photography (at least in this genre) requires immersion in the environment. He extends this to designers too, noting that walking “helps coming up new ideas,” suggesting a broader creative philosophy: inspiration comes from movement, observation, and stepping away from the sedentary. For Charlie, photography isn’t just about the final image—it’s about the process of being present, seeing the world firsthand, and letting that shape what you create.
More About Charlie Yang
Beyond style and philosophy, there’s little personal detail to flesh out who Charlie Yang is from these posts alone. He writes with a casual, opinionated tone—“trust me, it is gonna be way less interesting”—that feels conversational, almost like he’s venting to a friend. This could hint at a personality that’s direct and passionate, unafraid to call out what he sees as wrong in the photography world. His focus on Taiwanese platform JVID and references to Uber Eats/Foodpanda (services prominent in East Asia) might suggest a connection to Taiwan or a similar region, but that’s speculative without more data.
What’s clear is his reverence for the past work of photographers he admired—“I really love their photos when I first saw them in the past”—and his frustration with their current trajectory. This nostalgia could indicate he’s been engaged with photography for some time, perhaps as an enthusiast or practitioner who’s watched the field evolve. He doesn’t explicitly say whether he’s a professional or hobbyist, but his critiques carry the weight of someone who’s thought deeply about the medium’s potential and pitfalls.
Connecting the Dots
If I were to paint a broader picture based on these snippets, Charlie Yang emerges as someone who cherishes photography as a personal, exploratory art form. His style likely favors the unpolished vibrancy of street life or the emotive depth of portraits over slick, commercial outputs. His philosophy elevates the photographer’s role as an artist who should resist commodification and stay connected to the world’s pulse—literally walking its streets rather than retreating behind a screen or a paycheck. He’s critical of trends that dilute this vision, yet his tone suggests hope that photography can still be a space for genuine expression.