Making your own flowers: Heirblooms by Sandra Dans
Sandra Dans has cracked the code to coping with millennial misery and anxiety: buying flowers is not enough, you have to make your own.
I wonder what was going on in the mind of the very first human who saw flowers and thought, "You know what, that would make for an awesome gift for a celebration!"These organic creations became symbols of life, love, and mortality. We gave praises to flowers and turned them into symbolism in art, music, and literature. This is one of the ways a human can appreciate beauty. For Sandra Dans, flora is used as a method of establishing one’s self. However, not in the sigma male or girl-boss kind of way. This work is a recognition of who she is and how she came to be.
You see, the Dans family has a lasting relationship with the arts. She has a cousin in video production, an aunt who is an illustrator, a husband who is a designer, and of course, the national artist Aracelli Dans. There’s also another grandmother who works closely with plants. All of their work manifests itself in Heirblooms. One has to wonder if there is immense pressure in the Dans family to engage in a creative pursuit. But it seems their relationship with art and creation is not of pain or rigor. It is not about executing with discipline and strict adherence to the rules of a chosen medium. How their family does art is closer to how Aristotle views leisure, a wise use of time.
These images are Sandra Dans' contribution to their family's relationship with flora. The execution is of the [Millennial] generation's use of color, aesthetics, and fascination with abstraction. Especially the need to have something abstract but made with realism. Perhaps the generation trying to grasp whatever it can since it was deprived of what it needs to have. A generation that will be forever burdened to prove itself. Despite data disproving the myth of laziness, wage stagnation, and lack of housing, it will never be accepted as truth. Sandra Dans engages with this millennial fixation by grasping what is real: The fluidity of life, flowers, and family. This isn’t an attempt to establish dominance but to be in union with what really matters. It is photography as a means to participate.
The approach of each image is simple: Dried flowers (or shells), through the liquid, are photographed with intense color. There is a playfulness with the execution. The process wasn’t as surgical as a commercial shoot or as candid as documentary photography. All this playfulness can’t help but underly what it means to be branded as a millennial: Too young to own wealth, too old to harness the internet, but skillful enough to make it on our own. So what is left to do is to own what we have. Giving praise to those who gave us all the opportunities despite history not being favorable. And so we make our own flowers. The sensations of looking at these images parallel recognizing what it means to have our minds wander. A desire to look at the aesthetics for pleasure and not a pursuit. It’s as if there is a need to be still and stare rather than concentrate on impending labor. However, we swirl through and float on.
The thing is, making flowers is our balm for millennial misery. Looking at the rhythm, the colors, and the biology of Sandra’s images has a therapeutic effect. It’s as if we can forget our woes by remembering who we are, where we came from, and what we can make. Sure, Miley Cyrus can buy herself flowers, but it’s better to make it. Let Sandra Dans’ Heirbooms serve as a blueprint that by making work recognizing our family, you can find your footing. Maybe through that, we can work our way out of our own miseries.
Title: Heirblooms
Photographer: Sandra Dans
Design: Exhibition, Parola UP Fine Arts Gallery, Quezon City
About: (Excerpt) Heirblooms is my attempt to engage with this transgenerational floral fixation on my own terms. In this series of photographs, I take fresh orchids, decaying flowers, and delicate seashells and drench them in vibrant chromatic, physical, and photographic distortions as a way to locate a vertex that resonates with me, a filthy millennial. The sparkling colors are abstracted forms rendered on shimmering paper and are a visual bridge, a rainbow connection if you will, knitting these age-old natural forms with the digital age's penchant for reimagining reality. They stand as an invitation not only to witness the collision of the organic and the abstract but also to ponder the transformative power of heritage.
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Written by A.g. De Mesa
(With help by James Lontoc)
Post Script
“We’re going to have an artist talk in our next class, please prepare your questions if you have any. Attendance is a must”. I wasn’t as conscious or as engaged in photography let alone art. This is probably one of the first times in my youth that I will have an encounter with an artist. I looked up her work and admired the realism and skill to put up her flowers and handkerchiefs.
So the day came, I don’t have an estimate of Aracelli Dans’ age (Not that it matters) but all I know is she wasn’t what I was expecting her to be. No scarves or berets or a cane. I don’t remember what she was specifically wearing but I can vividly remember her aura: It was full of candor. She was straightforward in talking about her work. She wasn’t telling us about the darkness of the human condition or some concept popular amongst the post-modernists. She was talking about her desire to work on her paintings. An urgent need to let it to the world if you will. I wanted to know for sure: So I asked a question. “Ma’m I’d like to know if you have any meaning behind your work, why did you choose to make your work in that manner?” She gave a wry smile and said “Because I wanted to and I can so why not?”
The entire auditorium chuckled. I have a smile from ear to ear as I nod and return to my seat. I got an A+ in the course.
I write my thoughts and formulate my ideas while I go through a book/zine/exhibition by establishing why I like what I see and I build from there. It’s basic criticism: what is the relationship I, as a viewer, form with a specific work and why should you see it too.
For some reason, almost a year since its release and after countless viewings of the book, I have the greatest difficulty concretizing my thoughts on PAK by Brian Sergio.
Problematic
The problem with PAK is categorizing the work as Filipino. Anyone with a lick of visual literacy will know that Kinbaku (Japanese Rope Binding) images, Godzilla figures, nudity with innocent eyes, and the “Provoke style” has more in common with Japanese photography than with Filipino photography. Perhaps the furniture or what little elements familiar to a Filipino household that we see in the pictures suffice? Or the fact that Sergio photographs Filipinos? However, to answer these questions is to answer what Filipino is in the first place — which is in itself a confusing subject to tackle (and probably not worth answering) at another time.
PAK is the type of book that will say a lot more about the person reading it than the author who made it. It is a rejection of conservatism instead of a challenge to it. The book is provocative; it wears its hedonism in its covers. That being said, the work misses a certain depth. By tackling identity without a solid foundation, the work is lacking in some regards.
Perhaps this scrutiny is what the subjects in the book are moving away from. They are more comfortable to be citizens of Sergio’s black and white world than of actual reality – full of judgement and criticism. They rebel against conservatism but are knee deep in it. Sergio photographs his people in a way that shows their comfort; yet jars the viewer, prompting questions about the circumstances in each image.
Perplexing
This is my point of confusion. I can go on and on about the flaws of the work, but I love that it exists. It presents questions and challenges. You can laud it as courageous material or dismiss it as pornographic. It can be subversive, divisive, or just plain dismissive. It reminds Philippine photoland of where we look — with high regard — for the influences of our photography. In my time surveying the Philippine photography scene, I’ve never encountered anyone who is inspired by another Filipino when they study photography. The usual names that come up are those of your classic Magnum photographers, NatGeo, and the Dusseldorf School, etc. It just shows that there is a lack of visual history in our very own photography.
As the case for this book, Sergio — who is heavily inspired by provoke — attempts to make it his own. If Japanese provoke was a rebellion against the prevailing Japanese idea of prosperity during the 70’s, Sergio embraces Provoke as a rejection of conservatism. He invites the reader to challenge their own views and compare them with his images. The book is his grand homage to Japanese photography aesthetics, but it embraces a Filipino contemporary issue: the deterioration of the country’s conservative values despite being the biggest catholic country in the world.
PAK!!!
PAK is meant to explode in your face and leave pieces here and there for you to decipher. When you do, you'll wish to see more from Sergio. Whether it’s to see how he embraces the aesthetic or the simple satisfaction from the visuals, much can be theorized. My biggest fear is that Pak has a simple intended meaning, but as the wheels of history turn and our point of view of the world is challenged, the book can easily be twisted to have an unintended meaning. Will this work have the same punch in the gut in a few years, or will it be seen as an example of something to be proven wrong?
Either way, the existence of this work will serve as a document of the moral challenge we have today. How we respond to the book or this turning point in our history will no doubt change the way we view the work. As for Sergio, may he keep on making me uncomfortable with his photography.
Title: Pak!
Photographer: Brian Sergio
Design: Calin Kruse/FLUUT Grafik-Design
Medium: Photo book, 1st Edition, 200 copies (128 pages, 120mmx260mm. RISO print. Book with open binding in a slip case) Published in 2017 by Dienacht Publishing
About: PAK! Pak! Is an onomatopeia which imitates the sound of impact. Inside these pages are the portraits of people I encounter everyday. What fascinates me about the is their collective rebellion against inhibitions and acceptable behaviour in what is largely a conservative Catholic Society. Some of the mare friends, some of them I had an intimate relationship with, and some are strangers, but I can identify with them within my environment. Just as the act of taking these photos have subjected me to the same criticisms that most of them have encountered.
In a way, it is an attempt to expose the world behind the facade that most Filipinos aspire to. - Brian Sergio
For the first time, the Philippine Artfair dedicates an entire section and a day of talks to Photography. It is an excellent showcase of the young and the old from contemporary to conceptual, and journalistic to artistic. Placed on the spot for the first time in recent memory, it has the daunting task of defending its place in the Philippines where in some circles, Photography is still being questioned as an art. It’s sad that it still has to do such, but for it to grow, it needs to prove itself. It does justify its existence here in the Artfair, but there is so much more to be done.
The Exhibitions
We start with the International Center of Photography’s photographs by Arthur Fellig a.k.a. Weegee — the 1920’s photographer who hunted the night streets of New York. He was on the lookout for the next newsworthy photograph.
His subjects ranged from crime scenes, celebrities, and even the people inside cinemas. The use of flash is usually frowned upon in modern photojournalism but Weegee was from an era where those practices were not entrenched. Without any hesitation, he blasted his flash on anything that he deemed worth photographing.
You will weave around the pillars where the frames are displayed as if emulating Weegee’s movements while photographing the night. The light of his flash was harsh and unforgiving, but he embraced it. This was a blunt, possibly reckless approach, but Weegee knew what he needed to do to get the pictures he wanted.
Next is Neil Oshima’s Kin. From a distance, you will see the distinct black and white portraits of the Austronesian tribes of Southern Mindanao, most notably those of the B’laan people. I admit that I had no idea that the B’laan exist, but that’s the thing about photography, especially in the heyday of Life Magazine and National Geographic: it can (and to an extent still does), transport a person to another place. The standout pieces for me are the portraits shot against a dark background — a motif that we will revisit later.
Steidl Verlag’s booth is on the opposite side. They brought in a few photo books from the region. The highlight is Jake Verzosa’s The Last Tattooed Women of Kalinga. I already wrote my reflections on that work (together with Geloy Concepcion’s Reyna Delas Flores: Manila’s Golden Gays) over here.
What’s notable for me is that the exhibition also has the Steidl edition of his photobook of the same name. It provided audiences a contrast on the scale and majesty of a print lit up by a wall and the intimacy of a photobook. Seeing audiences looking over the wall and then looking at the book in their hands with fresh eyes is already a treat for me.
Silverlens as always pulls through. The gallery has a long time dedication to photography and it shows.
It’s always nice to see one of my favorites, Johann Espiritu. Part of his collection, Cy Pres, his multi-exposed/layered photographs of Japanese Vending machines, elevate the supposedly mundane to an extraordinary object. Frank Callaghan’s Search/Night is also there. Photographs of the coast lit by a lighthouse not present in the frame. The beam of light divides the sea and sky. Wawi Navarozza’s Medusa is present as well. Photographs of the Marble and how this rock and its dust envelopes the land and the people dwelling there. These three works show the capabilities of the camera; Espiritu’s manipulation of the image, Callaghan’s dance with the light, or Navarroza’s capturing of a space.
Most interesting in Silverlen’s booth are the photographs of the “Father of Philippine Photojournalism”, Teodulo Protomartir. The discovery of Rosauro “Direk Uro” Dela Cruz of Protomartir’s photographs is one of the most important finds in tracing photography’s history in the Philippines. Protomartir’s images of post-war rubble of Manila are not by any means life changing in today’s eyes, but the importance of the work is that it proves what is fundamental in any photograph: A camera in hand, a photographer willing to witness and/or see, and the formation of an object as a result of those actions.
Eduardo Masferre’s work is showcased as well. He is one of the names in Philippine Photography that one needs to know to understand it in full. His photographs of the Kankanay-ey are playful with the smiles present, their curiosity with a camera, and even being up close to the people give credence that the tribe has allowed the camera to be present in their lives.
There were rumors that on the first day of the fair all his photographs were sold to a collector. On one hand, it is unfortunate if these prints dwell in someone’s private collection, locked up and hidden. But, it is also a good sign that there is interest in the market. I can’t seem to make a conclusion for now. Either way, its presence in this important showcase was crucial.
Next up is in my opinion, the most powerful exhibition in the Artfair, Everyday Impunity’s Ang Mga Walang Pangalan (Translates to “Those with no names”). Curated by Erwin Romulo, the exhibit shows Carlo Gabuco’s coverage of the drug war. An entire wall is filled with the nearly desaturated images of the dead, the wailing, and the artifacts left behind.
It is an extensive look at the damage of this war. By being desaturated, these images have a respectful view of the people and situation while not forgetting the craft and authorship needed in photography. This then brings a conflict to me as a viewer. “How can these beautiful images be derived from something so devastating?”
The addition of Juan Miguel Sobrepeña’s haunting music, Mark Laccay’s interrogation room style lighting design, and the voice of young Christine, retelling the story about her father died to the drug war all add to the atmosphere of the space.
The centerpiece of this hall is A blue armchair with a bullet hole. The very same armchair where Christine’s father was shot and killed. As you sit on the chair, a faint projection will be in front of you and a red laser pointer will be directed to your chest, tracing the trajectory of the bullet. On the wall behind the chair, in an unassuming ziplock pack, a bullet casing from the scene. As you exit the space, you will be left with the image of the couch. An object so common and so simple but the site of an unimaginable tragedy.
The photographs are strong but the message was further augmented by the addition of other elements by collaboration. This exhibition is not meant to scare, but to remind the audiences of what all of this death is causing and what the populace seem to forget: The human cost of the war on drugs.
Provocations curated by Neil Oshima and Angela Shaw deserves a post of its own. It presents the relationship and tradition of the Philippines with Documentary Photography. The diversity of works and their experience level can be easily seen. Tommy Hafalla’s ethnographic photographs of the Cordillera from decades past. Alex Baluyut’s visual reflections of Mindanao taken almost decades apart. Kat Palasi’s documentation of her Ibaloy roots. Boy Yniguez’s chronicling of the changing face of Baguio. Jose Enrique Soriano’s photographs of Mandaluyong Mental Hospital. Nana Buxani’s photographs of inside the city jail.
There’s also the young- to the mid-career photographers. Geloy Concepcion’s portraits of Metro Manila’s Golden Gays. Francisco Guerrero’s portraits of the people he meets in his travels around the country. RJ Fernandez and her ethereal photographs of mining sites. Jes Aznar’s frontline photographs of the war in Mindanao. Veejay Villafranca’s images of the impact of environmental disasters (also from his book Signos).
Finally, the quirky and the curious with Kawayan De Guia’s experimental approach to personal documentary and Marta Lovina’s documentation of a photo story using only objects.
What makes Provocations are the little details here and there that resulted in an engaged audience. Framing Geloy Concepcion’s photographs similar to that a polaroid picture adds nostalgia as if to remind us of something we had in the past. Nana Buxani’s exhibition notes are handwritten. Kat Palasi’s photographs have handwritten exhibition notes on them. RJ Fernandez has a Dusseldorf School/Becher approach making the destructive beautiful. Veejay Villafranca’s use of contrasty black and white emphasize the damage of the storms. The most common is the use of the black background from Neil Oshima, Tommy Hafalla, and Francisco Guerrero.
The recurrence of this motif is due to the simple “rule” of documentary photography, it’s not about the photographer, it’s about the person/event/objects being photographed. By removing all semblance of color and/or brightness, all focus is on the subject. One can make a reading that this is about the colony looking for what was lost due to the colonizer and other academic ideas. It’s thoughts such as these that make the audience look further and deeper into the works displayed.
I can’t help but like the selection of the title Provocations. The root word Provoke is already a signature to fans of Japanese photography and tradition. Daido and company stirred up the status quo,, while Oshima and Shaw are inciting audiences to move forward and urging viewers to look deeper into the pictures and the issues.
Last but not the least, The Julius Baer collection. The Swiss-based gallery comes full circle from their talk last year. Here they showed off some of the pieces from their collection. Most notable for me is Juliann Charriere’s XXI (Please, I beg you to look this photo up). A double exposure shot of nuclear wasteland exposed to thermonuclear strata on baryta paper. A visually arresting image that perfectly marries message and execution.
Sadly, this was mostly used as a “selfie” background. A testament to the visually arresting look of the photograph. I hope the humor of a photograph of a toxic waste as selfie background is not lost to those who took them.
The placement of the Julius Baer Collection as the last exhibition presents to me a future of where we can head to in terms of the photographers and the sensibilities in approaching photography. I can confidently say we are at par with our own work here (as manifested by acclaim our very own photographers get) but all that idea, execution, and beautiful would be for nothing if we can’t take the audience with it.
The Talks
The day starts with ICP collections head James Kopp discussing their collection and philosophy while Raffy Lerma and Ezra Acayan’s shared stories of the Night Shift photographers. A group of journalists documenting the war on drugs happening in the evenings.
Lerma gained notoriety from the “Pieta” photo which circulated online and reached the ire of the president. Ezra is one of the youngest and most talented photographers in the night shift. It was a heavy and emotional talk. The audience was shedding tears and yearning for solutions. I already follow the work constantly, but seeing all the violence, death, and lack of humanity in a two-hour period leaves one empty and feeling hopeless. I had to lie down in the roof-top parking lot for a moment to look at the sky and just breathe.
This presents the challenge of looking at these works. How do you get to be critical of a subject matter so heavy that it has the workers putting an emotional and physical burden upon themselves? It already compromised the capacities of those present who are supposed to be conscious about photography. What more an audience we are trying to educate about the medium and this topic on a deeper level? That conversation needs to happen as these images are not just about the war on drugs but as Lerma puts it, this represents the frontline of the war for the Filipino morality.
We can see that the old ways of presenting work are not working as it was before. The distrust with the digital platform and the discrediting of news media are taking its toll. Maybe a new approach is needed. Maybe the pictures and those who create and curate them must believe that their work can help change the world. Perhaps it’s as simple as having that uncomfortable conversation with your family or friends and sharing these pictures as a straight proof that no matter what the context is, that people are dying, justice is not being served, and this is cause for the greatest concern.
The next two talks that are in the form of conversations with the artists from the exhibits (Provocations photographers and Neil Oshima, and Carlo Gabuco) wrap everything together. As the photographers discuss their work and share their concerns, the audience pokes and prods about the process and the message. This is one of the most beautiful things I have seen as I closely follow the scene: Philippine photography is finally confronting itself.
All the problems are bursting at the seams. It was the first time I’m aware of that everybody who was involved or had major contributions in photography gathered in a single room. Gallerists asked about the economics and marketability of all of this. The academe questioned our lack of photographic identity. This led photographers outside of Manila to ask how we can properly represent indigenous cultures and works outside the capital, which lead to another discussion of how the photography community can be summed into cliques as the “art folks”, “photojourns”, and etc..
An audience member inquired as to where we can find photographic archives of those who are in “Philippine Photography’s Pantheon”. There were also thoughts on how this lack of identity and archive also shows why young photographers turn to Instagram influencers with millions of followers rather than what the art establishment puts on a higher standard. This now opened the question of how to engage an ever-distracted audience.
All this prompted me to ask a simple question: Given all these, what comes next? Or more importantly, what do we need to do?
How I wish it could have gone longer. How I wish more people were there. How I wish that those who have something negative to say about the Artfair were present to prod further and issue their criticisms of the fair. How I wish your typical hobbyist or aspiring young photographer who wants to make it big on Instagram was there. How I wish the marketing departments of camera companies here in the Philippines were there.
There are many questions I wanted to be asked and many more I want to be answered. Everything ranging from the money trail of the purchase of the pieces or where the buyers will store their artworks, or the human capital involved in being part of Philippine photography’s infrastructure, to something as simple as how marketing departments of camera companies are shaping impressions about photography.
Yet, like any other discussion about saving the world, you can’t do it in one sitting. Although the discussions that were had were a good start.
As talk moderator Angela Velasco Shaw puts it, “Ask yourself now, what can you do to contribute to photography?”
To no one’s surprise, it all boils down to doing the work. Learn from the names we look up to by helping them with their archives. Start your series with a critical approach. Publish your book. Write that piece on that work. Start on your research. Make that letter to the gallery. Start that uncomfortable conversation with your family or friends about EJK and other issues. Curate your show. Demand more from your gallery. Demand more from your audience. Execute and be critical of your own work and that of others. It’s a simple enough solution but what else can we do but put in the work.
Reflections
What comes next from this art fair is what the Philippine Photography community will add in the coming months. It shows how broken the Philippines is not just in photography, but on a societal level. After all, the most basic of photography is a recorded observation of what was present.
It’s not going to be a single event that will fix everything. It seems like a daunting feat but as Filipinos, we do it in our way; get our hands dirty and put in the muscle. Maybe when we do the work we’ll just wake up and see something different. Who knows. What’s important is this confrontation together with a selection of works showing us where we are. As long as we put out our message and contributions, maybe next time it’s not going to be a confrontation but a celebration of Philippine Photography and how it is making its mark on a global stage.
With the way things are, we’re not there yet but we’ll get there. I know we’ll get there.
- A.g.
Post Script
Miscellaneous things I don’t want to leave out but should be of note:
Look closely at the scene and you’ll notice that all the people holding up Philippine photography’s infrastructure are women. Badass.
Although one can argue that Mark Salvatus is an artist working with photography rather than a photographer, I really don’t want to care about definitions, I’m just happy his work is present.
Micaela Benedicto is underrated in her use of photography. Hopefully, it changes in the future.
Hardworking Goodlooking Hoholteca pirate library is a fantastic slight against the supposed over-commercialization of the fair.
There are still plenty of selfies with the artworks. As much as I don’t want that to happen, I’m happy to see them actually look at the work afterward. Either way, if that is how they experience art and photography, good on them (Written about that from last year’s fair here).
The term “Philippine Civilization” is thrown around, I can’t help but smile at that thought.
I still can’t believe that of all places, it is the Artfair that presents us with Philippine Photography’s past and present rather than a major institution. A platform concerned with the commerce of art has more sympathy than those who want to preserve it. I do hope it will change soon or that I will unearth research that will show it was different in the past.
How The Face of a Marcos Apologist used subtlety, context, and photography to take over a botched revisionism campaign
Perhaps one of the hardest things to achieve in Photography is subtlety. All the viewer has is what’s inside the frame which the photographer chose to show. This is where context comes in. Context fills in the gaps of what can’t be shown in the frame. For photojournalism, it is usually in the caption or the event surrounding the photograph. For other genres, it is the "About the work" and the conditions that came in that compelled the creator to make the work. In Mac Andre Arboleda's "The face of a Marcos Apologist", the context of his thought and the subtlety of his execution comes in the form of a PR campaign gone awry.
The idea behind the photo zine came in when PR firm, Publicity Asia, made a Twitter hashtag campaign for the grandchild of the late dictator Ferdinand Marcos, Sandro Marcos. Send your selfie and you might win a date with the Marcos grandson. And so the #WinADateWithSandro became a trending topic with different types of people of almost all the gender identities participating for a chance to win the date. With the hashtag gaining traction, it caught the attention of activists and the general public voicing out their opinion on the inappropriate PR campaign. It was bombarded with Memes, one-liner, and other blatant forms of protest. Arboleda, on the other hand, responded in a different manner. He ran the profile photos of those who participated in the contest in a software to come up with an averaged face. The result is the photo zine The face of a Marcos Apologist.
The Zine is subtle in its presentation. The design is straightforward and the profile pictures are neatly shown. Some have accompanying tweets which express their desire to win. It all concludes with the Average face. The zine neither makes grand proclamations nor it shames those who joined the contest. It didn't hurl insults, malice, or a litany of facts. There is no emotion or anger in the work. The subtlety is within the execution of the context. It puts forward the absurdity of the entire situation: Thousands, with Sandro Marcos included, choosing to turn a blind eye to the atrocities of the Marcos dictatorship for the sake of a publicity stunt disguised as a date.
All of this is accomplished without Arboleda holding up a camera to his face. Perhaps a contention for a purist to consider it as a true photo zine. He did not seek out and photograph these people on his own to get an accurate average. However, to do that for this work is to dismiss the gravity of the event. This work is not about getting an accurate average face but wielding the context like a bludgeon to those who do not understand. This subversion from pure photography comes in not only in the absence of a camera but in the claims of critics and artists that have no idea with what to do with the stream of images flowing around the internet. Arboleda's response to that crisis is to find the proper context and twist the material into a personal archive. That way, it resonates and impacts the audiences with no need to stand on a soapbox.
This is why I believe that in photography, context is king. For this case, context doesn't just provide the background for the work. It also gave it the right moment to thrive. To achieve subtlety in this context is the what makes this work well. If there wasn’t a failed PR stunt, the work would simply be a witty protest. Arboleda’s hijacking of the campaign and making sense of the images elevated the work into visual art. I would go on to say that it isn't about the result of the average face. Despite the various discussions I have heard that it looks like Sandro’s Aunt, Imee Marcos, or any other public figure which will undoubtedly add more to the work. It doesn’t matter who it looks like but rather what this average represents. The usage of that term is special here. To me, it is a double usage of the word average: the numerical mean and the ordinary. These are Average Joes and Janes disconnected from facts and history. The meaning of the word and The resulting face symbolizes that despite the time has passed since the Marcos reign, there is a lot that needs to be done to change the average understanding of what those events were and why people are accepting of it.
Photography can be sly, simple, and comedic but it is always painful as a reminder. The face of a Marcos apologist shows us that there is so much more is needed to be done.
(The copy used for this analysis is the original 1st edition Zine. If you want to have a copy for yourself, you may check a colored edition published by Hard Working Good Looking. Part of the Zines of Production book available here.)
Title: The Face of a Marcos Apologist
Photographer/Creator/Practitioner: Mac Andre Arboleda
Medium: Photography Zine. A4 Bond Paper. Saddle Stitched.Photocopied (8.5 x 5.5in)
Lecture Notes: Photography in the South East Asia: A survey. Presentations by Zhuang Wubin
Disclaimer: These are my personal notes from Zhuang Wubin’s lectures in the College of St. Benilde for Photo España and in the Adenauer Center for Journalism at the Ateneo de Manila University regarding his book, Photography in the South East Asia: A Survey published by NUS Press. (Available Locally over at Artbooks.ph)These notes are not a substitute for the talk and most especially the contents of the book but rather a simple primer in understanding the approach in doing the research and rationale in the process of the books. The wording on some of these notes are not necessarily the exact words of Wubin but at least reflect the idea. Those enclosed in brackets are my personal opinions/questions regarding the topic specified and does not reflect Wubin’s opinions.
Photography in the South East Asia
A Medium Centric Approach of the Survey.
Spanning from Colonial Era to the contemporary. [Mostly based on primary sources/interviews.]
Tracks the evolution of photography in the region (across all the genres).
What is South East Asia?
A Confusing question with many scopes and problems. There are lots of stereotypes floating around SEA.
There are so many imaginations of South East Asia from our neighboring regions and our perceptions.
In some maps, even Australia and India are included at times.
The 2nd World War made it troublesome to define Southeast Asia.
To put it in simple terms, it is an externally imposed thought. [Southeast Asia exists because the residents deemed it so. ex. Association of Southeast Asian Nations agreed to exist and thus, it exists]
What is photography?
It is now many things and not just the act of using a camera: Selfies, Street view, Drone Photography, etc. [I’d add CCTV stills footage, screen captures, and anything visually captured. Opposed to sculpture or painting which is visually made
A malleable medium that lends itself to different even contrasting political and cultural projects.
It is a documentation but often times becomes an extension of the practitioner. An extension of violence or perhaps an extension of one’s image like the king. ( Ex. Buddhadasa - He was a conceptual photographer even before conceptual photography was a thing.)
Is Photography Art?
[Sadly, this is still a question asked in the Philippines. Not just by the masses but by the academe and art establishment as well. Thankfully there are many practitioners locally that answers this question by challenging the possibilities of Photography as an art. “It is” not “Is it?”]
Photography vs. Art
Straight Photographers vs Artists Who Use Photography
There are 2 classifications explored in the book:
Photography Embeddedness
Practitioners embedded in the milieus that they operate, shaped by ideas and visuals that circulate locally and globally, and marked by personal desires and creative decisions. [Ex. Certain types of Photojournalism, Street Photography, Instagram’s Aesthetic and Hypebeast Culture, Salon/Photoclub Photography]
Photography Embodiment
Documenting as a method. Photography opens up a Performative space for the sitters and photographer. There is a negotiation between subject and shooter. They project their desires to each other. [Ex. Certain approaches to Documentary Photography, Performative Photography, Diaristic, Fine Art approach]
Every photograph is already constructed. [And yet this doesn’t stop practitioners from doing/using photography]
It is tricky to write photography as a nation. There are universal concepts between nations. [Each nation has different experiences and concepts that formed their relationship with photography.]
Traditionally, Photo knowledge was passed down through:
Auto didactic (Reading Magazines)
Learning under a master in a photo club (Salon photography ecology)
Apprenticeship (Maybe in a photo studio)
The conservatism of salon photography results in the lack of preservation but looking at it that way is a disservice to photography as a documentary medium. [Salon Photography is pretty much
Example: K. F. Wong - Pagan Innocence and Borneo Scene -- Started as a Salon photographer but his work became a historical document
Reimagining Photography
Reimagine the work. Not all Salon is bad. Look and try to recontextualize the work.
A work may be crap now but some might become interesting especially if recontextualized in the view of art. [I still wonder how this happens and when the time for a work to be recontextualized is ideal. Maybe the context of time and experiences change the perception of audiences regarding the work? An Extreme example. Your family’s photo album now is crap but when the time comes when the notion of family is destroyed or perhaps looked down upon, your family’s photo album provides quaint evidence of the notion of family. Another extreme example: World Trade Center photos are now valuable after the 9/11 attacks because the building shows something that doesn’t exist. Either way, it reinforces my belief that all works have a way of having the ideal time of existence]
A Sampling of works featured in the book:
Vandy Rattana - Bomb Ponds
Rong WongSawan - Bridge Photos
Pornsak Sakdaenprai - Studio Portraits
Vietnam in Flames (Photo book)
Norman Song - PANA Collection
Dick Baldovino
Nap Jamir
Butch Perez
Kim Gooi
Pramuan Burusphat
Kamin Lerthchaiprasaret
Ismail Zain
Erik Prasetya - Banal Aesthetics
Mohamad Iqbal - Portraits of Aceh
Dow Wasiksiri - Bangkok Street fashion
Adrian Mulya
I'm glad that every year, the presence of photography in the Artfair Philippines is increasing. Perhaps the biggest sign of this growing presence is that Artfair's series of talks started with Directions of Contemporary Art in Contemporary photography. It was an excellent primer in understanding photographs and collecting photographs. With any talk that I find insightful, I came out with more questions than answers.
As much as I want the Man Ray, Eikoh Hosoe, Daido Moriyama, and Araki prints, or Kiri Dalena's erased slogans series, or Wawi Navarroza's latest work unveiled by Silverlens to be the biggest talking point related to photography in this year's art fair, it isn't. It is not even this talk. The biggest talking point is the great number of attendees taking selfies in front of the artworks or taking pictures of it. This happens not just in the Artfair Philippines but a visit to Pinto Gallery, or the latest exhibition in Vargas Museum, and I’m pretty sure this will also happen in the coming art in the park. This has become an activity in different art venues. It leads me question: When you can get anything from the internet for free or just take a picture of it, why should one collect artwork?
I appreciate what Ms. Ran Xu and Ms. Barbara Staubli said when they shared their philosophy in collecting for themselves and their organizations. Ms. Xu expressed her fascination with history and the preservation of the old processes. It reflects in the Xu Art Space collection which ranges from Man Ray to glass plate of flowers by an unknown photographer. It has some sort of nobility in their cause and making these alternative processes accessible to collectors. Ms. Barbara Staubli for the Julius Baer collection by the Julius Baer Bank in Switzerland aims to collect works from young Swedish photographers of different genres who they see have an amazing potential. This way, it serves not only as a great collection of emerging swiss artists but the purchases provide the support to keep the artist going. The interesting thing about the Baer collection is that aside from the public, the biggest audience are the bank employees. It can be seen in cubicles, work areas, and lobbies of the bank. As Ms. Satubli notes, "the photographs become confrontational". It's not just for display but to be encountered while working.
The thing is, does the Philippines value images in the same level as these organizations? Despite the public disdain to the selfie takers, I'd like to say yes.
The act of photographing with or of the artwork is the ultimate collection. Equal parts experience, ownership, and proof of experience. It serves all the characteristics of photographs: Communication, Evidence, and Object. The trouble is what is being done with the photographs. I assume it just becomes part of the stream (for Instagram's case, the feed.) A hive mind of images that works because it is a randomly generated part of a whole. Will it be looked at later? Probably not. Perhaps it is for others to consume as part of the performance that is Instagram. There are many possibilities: It is for the followers who admire the feed, the admirer who scroll down thousands of pictures to understand the person they are following, Does it matter if the photographs should be revisited?
And so the printed object becomes redundant as it cannot beat the convenience and immediacy of digital platforms. Let’s admit that books and prints are an outdated form of experiencing images. That's not to say it has no value but in the Philippines, a place where there is no defined universal visual culture, the absence of said culture adds to what is and what is not historical or important. Add to that the challenges to move the market to buy prints and photobooks in a developing country. The cost is just unreachable for some. What then becomes a quick and easy solution is to just take a picture. If I can't own it on my shelf or I can’t display it on my walls at least it exists on my feed.
That act of collecting then becomes an insane act. Each driven by individual taste or as Ms. Xu noted, a philosophy in collecting. It doesn’t need to be a complicated philosophy as what Ms. Xu and Ms. Staubli has. My personal approach to collecting works is those who made works from a deeply rooted personal observation about the world or themselves. In short, works that really just interest me.
All of these “philosophies” come from the understanding that a good set of images can stir the emotions like a painting, brilliant book design can interact like a videogame or a single still image stick to the mind like a beautiful song. To put is simply, it is a work of art. Good works invoke emotions. As such, it requires understanding when what others only see as insanity. This insanity is seen a waste of effort or energy since it has no immediate material or financial gain. Only an individual connection that can not be easily explained.
Then again, It is the insane that seeks deeper levels of appreciation of what is in front of them. It is the insane that asks for the highest levels of accountability, integrity, and beauty in the works of the photojournalist. It is the insane that demands more from the government and its institutions. It is the insane that pushes themselves to the limits of what they can make and learn. If such is the case, then call me insane. Maybe I can find others who label themselves as such and we can spread the insanity around. Maybe it just boils down to the cliche that selfie with art is a self-centered practice. We may think it is insane but at least they had that connection with the piece and did something with it. Now if only we can move them to the next level and buy books or prints.
How appropriate it was that the music that was blasting when I entered a Christmas party organized by photographers was the 70’s disco classic, Sumayaw Sumunod by Boyfriends (Literally translated, the title means Dance Follow). The title was a great way to describe the events of the world in 2016. You either dance to your own beat or follow suit. Although as much as 2016 was a dreadful year in human history, I feel that this was a great year for Philippine photography. A year full of growth for the medium not just in the practices of the photographer but also full of historical events in which photography responded.
And so as the song goes, my thoughts raced at what happened in 2016 for Philippine Photography:
Zines. Zines Everywhere.
There was an unprecedented number released in 2016. I assume that the drivers for the growth are the groups cultivating creative expression in universities and independent small press organizations. There's also the opportunities for work to be seen such as in the different Zine festivals.
As usual, it came in different forms and messages. I’d like to point out that there is an increase in what I would like to now call photobooklets (I should write about this on its own). Not as large scale in narrative or production as a full photo book but also not as inexpensively made and aesthetically liberal as a zine. I'm not sure if this made up classification is unique to the Philippines (or developing countries for that matter) but it is interesting developments in the production methods of artists.
Activated and Adapted Spaces for photography
Another proof of growth is the opening of spaces to photography, from new galleries exclusive to photography to spaces that can be adapted for exhibitions. I've seen bars, drinking places, empty warehouses, and places where photography is least expected. Other galleries were also keen to show photographic works and talks.
This can indicate that the art establishment and public is slowly showing interest in the potential of photography as a viable medium. It is also possible that Photographers are getting more and more resourceful in finding ways to show their work. Either way, this is a great trend that I hope will continue for 2017.
Photographic Exhibitions Increased
There was a weekend that I had to visit 4 exhibitions in a day. It was exhausting but it is a good proof that the scene is bustling. Even major institutions such as the Ayala Museum, hosted great shows, most notably, Yee I Lann’s work which touches on our Filipino sensibilities and even showed us a lesson for our own history. Another notable exhibition. Jippy Pascua and Dennese Victoria’s Myth is groundbreaking in its execution and process.
It may have been difficult to go and see all of these shows but I’d prefer it than nothing. Here’s to hoping for more.
Strong Presence in fairs and institutions overseas
It felt like every month, there was news of somebody getting international exposure either from a festival, respected institution, or notable publication. Art Dubai had a great show on artist-run spaces that featured THOUSANDFOLD and bringing with them the work of Czar Kristoff (His "Photobooklet" Configurations is one of the best of 2016) and Gino Javier. Then, Gian Cruz’s You as me made the rounds in various festivals and was also in the spotlight with Geloy Concepcion’s Reyna De las Flores for the Pride Photo Awards. I’ve also lost track of the number of times I saw Lawrence Sumulong get recognition this year (My favorite is The Last of Us which got him the Allard Prize For International Integrity). Noel Cellis also bagged the Varenne Foundation Photo Award and landing his photo as one of TIME’s best of 2016. I’ve also been fortunate to be part of this trend with my presentation in the Museum of Photography - Seoul about my ongoing research on Philippine Photozines.
PH Gender Representation
There was a click-bait listicle last year that named the cutest female photographers. In response to that, I made my own list of PH photographers that you must see but I didn’t indicate their that all the names I placed there were all women both emerging and established in various genres of photography.
I’ve come to realize that the PH has a good gender representation when it comes to photographers. There’s always a presence of women in exhibits, contests, and other opportunities for work. I guess it helps that we have TALA Collective and other women active in the top of the industry. Now the question is that representation recognized? Nope. I feel the general mood is still that women photographers are still looked down upon.
However, I don’t have the numbers to support this realization. Here’s to hoping somebody makes the study and come up with the concrete number. Hopefully, it will result in making the industry better for all.
Photojournalism as always
As always. Photojournalism has always been the PH’s bread and butter. What I do admire from our working Pj's are the conditions they are now operating. Not just the environmental conditions but the societal conditions. The post-truth era has come to question the role of journalism and made it difficult for anyone working in the news. Thankfully, our photojournalists are stepping up and defending not just their craft but the stories and issues they are trying to tell.
As usual, TOKWA collective and TALA photo collective are leading the charge setting a good framework for how collectives can work. Although there are a lot hungry and hardworking freelancers are also pushing it.
The infrastructure for good photography is growing
We now have libraries dedicated to photobooks and zines, galleries like Vetro, which exclusive to photography have appeared, print labs have also sprouted that understand the needs of photographers, book designers (Most notably Karl Castro) have emerged that know understood the visual medium, and Mapa books launching Tommy Hafalla’s book while Veejay Villafranca’s much awaited Signos will follow in 2017.
The structure that can support good photography is slowly growing. Perhaps the best thing that happened in 2016.
Wishlist
I think it really was an up year for photography but that doesn’t mean there are things that needed to be worked on or improved. Here are some of my personal thoughts on how the scene can be improved.
No room for mediocrity
I still see a lot of works that are just going through the motions. A project for project’s sake. It came to a full head for me when I realize I’m committing the same mediocre practice. In these times when we can use art to open eyes and educate, the slightest hint of pretentiousness or personal indulgence should not be tolerated. There should be no more room for mediocrity. You can either have something that is well planned with all the sincerity you can muster or make it something that fluidly mixes with your life and your sensibilities. Hans Aarsman’s observations about photography should be in full effect.
For the international Media to recognize our local photojournalists
We have a lot of great talent here working on stories with immersing themselves in the thick of it. Yet western media insists on bringing their people in. I wonder why they don’t trust the boots on the ground. I do know that there is a small number who are already correspondents and shooting wires for international agencies and I hope it increases. Then again, I don’t have solid figures to see if this is an actual trend. I’m basing it off from my observations especially the coverage of the war on drugs.
Maybe the problem is the other way around, maybe we need to reach out there more and demand that we can tell our own stories in our own manner. Leverage our command of the English language to insist that we can cater to a western audience. Well, this is why it is a wish list Hopefully western media wakes up from their colonial eyes and build connections here. Those that already did, good on you.
Inclusivity is the key
I want the scene to be more inclusive of the talents outside of Metro Manila. My favorite works this year came from Cebu (Patricia Zosa’s Taste of Summer) and Laguna respectively (Asshulz’s The Face of a Marcos Apologist). Uniting the 7,107 islands has always been a challenge ever since not just for art. The internet is a great equalizer but it can only do so much. I think platforms should make an effort to have a presence in the different regions of the country. Not just in highlighting the work but finding ways for work to be consumed in those areas.
And speaking of platforms…
Platforms for a mass audience
What we have so far is photographers looking at other photographers works. I think the initiatives for 2017 should be to develop programs that would be great for a mass audience not critical of photography. I’ve always had that dream of making a person understand the consequences and beauty of the mundane practice of uploading a photo. The masses doesn’t need to know Barthes or Szarkowski but just to have a grasp on what a photograph is and what can it do.
The film industry has been successful in its attempt this year with MMFF. I think we can do the same. We can start doing the little things by dropping the academic or art speak. More importantly, better writing. This brings me to my next wish...
More about the work and less about the self
I’d love for the platforms to be about the work. Showcase them in a manner that the platform is merely a vessel of delivery. Branding does play a part in the success of platforms but it shouldn’t be what the audience would remember. For a platform to stand out, it has to show not just good works but an avenue for critical discourse. If you are not offering insight, perhaps I should just visit the work on their portfolios and see it there.
As for photographers, what are you trying to say and why are you saying it? This is why Authorship is important. Your work should be remembered, not you. Even if you argue that the work is about the commodification of yourself, what the audience should take away is how good, memorable, or impactful your work was. I don’t want to see works with “This is my personal view of the city” or any iteration of it in an artist statement.
This is why critical discourse on the work is important. If the audience is educated and demanding of good work then the artists have to step up and demand of themselves great work. A creative economy that sustains itself.
Sustainability
I will not undermine the importance of financial support for the further growth of the infrastructure. A challenge for platforms is to build that audience and find ways to be economically viable as a career. It is a problem that I also experience for this platform. As much as I want to focus my time chronicling works and opening them for critical discourse, I need to prioritize paying the bills and finding ways to have money for food. That is a problem that is all too common in the scene from artists, photojournalists, and platforms.
Hopefully, growth means opportunities that create a demand for good work. There’s always grants to apply for, investors to entice, and books/zines to sell but the key is finding a way without compromising the work.
In Closing
As I take a few more swigs of my beer from the Christmas party, I can’t help but be afraid of 2017. Will the trends of 2016 continue? Will all my heroes die and the enemies of good rise to power? Are we really going to be ok? Will my cynical brain just shut up?
Before I even finished my thoughts, they passed me the mic to sing some songs. That’s what we have to do really, we simply step up and continue. If photography can grow in what can be considered a down year, I think we’re going to be ok.
Just like the line in the Boyfriends’ Sumayaw Sumond says:
Awiting Bago, Naghihintay para isayaw mo
(the new songs are there waiting for you to dance to them.)
Happy new year everyone.
Keep on dancing.
--
I’d like to take the time to offer my sincere condolences to one of the kindest gentlemen I’ve had the pleasure of meeting, Manuel “Noli” Yamsuan Jr. who passed away in late 2016. He was an amazing photographer. A kind man and is a role model for those practicing photography. He is an important figure in the roman catholic community as well with his signature work is covering the popes that visit the country. Tokwa Collective made a great video about “Ka Noli” for ucanews and I had the wonderful opportunity to interview him about his work for Rappler. I would deeply appreciate for you to take the time and look at his work.
Quick Notes- Reel 1: Rough Cuts from the Philippines and Singapore over at Vetro Gallery
Cross-cultural exchanges through photography is never a bad thing. Seeing two countries with differing experiences will lead to different pictures. Precisely what happened for Reel 1.
The dominant theme of the work from Singapore is the is the individual experiences of day to day. Parenthood/Progenitor, by Tan Kwang Liang, that is simple in concept in execution but the charm and heartfelt warmth is there without looking like a commercial album. My hiding place, by Samantha Ann Francis, highlights escapism from the already busy and densely packed Singapore. The lighting and the calmness of the images lends itself to the theme. I did question myself with this work though because I feel like it is affirming a stereotype of how I view Singaporeans. Maybe I have to do further research and visit sSingapore on my own again. Any work making you question your beliefs is a good. Moving forward with Francis’ work, I think it would be interesting to see different types of characters and personalities and how they view their own “Hiding Place”. Although my personal favorite from the Singaporean selection is Chee Jen Ho’s Mass Rapid Transit. Although not necessarily a photo slideshow, the set of video clips doesn’t use camera movements, the camera just sits on a flat plane and movement is provided by the people who are moving orderly from one point of the frame to another because of urban architecture. All of this supported by ambient sound. It’s depressing to see the monotony and sterility of the movement in the low saturated clips. However, I feel that this orderliness is necessary for the flow of life. Perhaps that is my inner Filipino craving for order in a disorganized city that is Manila but that’s another discussion [Coincidentally, tackled by the Filipino selection]. The thing is, the clips are dreadful to look at but it shows a beauty that can only be seen from precise organization of elements.
For the Filipino selection, it tends to look for the external. It had more to do with how the environment is affecting the individual. You can make a drinking game as to the number of times “this is my personal experience of the city” or other related phrases were used. I do appreciate the intimacy of the venue and the ambient noise of the passers-by and general atmosphere of being in Manila. It actually lent itself well for some of the work. Being true to tradition of Filipino photography, the standouts came from photojournalistic work: Happyland, by Sidney Snoeck, shows the garbage dump near the old smokey mountain in a classical journalistic manner, Lakbayani by Pau Villanueva, takes you to the life encountered by the displaced Filipino Indigenous Peoples the issues they are fighting for here in Manila, and Police Beat by Eli Sepe shows his police beat images of the extrajudicial killings with the additional context that Eli is a rookie photojournalist. I do appreciate the variation of work especially Rose Colored Spectacles by Leatrice Larut that shows urban Manila that is oftentimes depicted as dark and gritty, is in full blown hyper-real glitch style. Although my personal favorite from the selection is Oasis by Chino De Vera. It depicts the brightly lit places such as convenience stores, pedestrian crossings, or other bright sources of light that becomes a huddling place of refuge by different city dwellers away from the dark spots of the city. It is a brilliant work with a huge potential that can be further contextualized in today’s times.
Overall, I think the aim of showcases like these, no matter how inevitable, is to not compare work. These should be opportunities to look at different sensibilities and approaches to work to elevate one’s personal visual literacy and understanding conditions the photographers are going through. An opportunity to look at a different place from a personal perspective. Perhaps I would suggest tighter edits in some of the work from the Filipinos or a deeper exploration of the story but then again, it has “Rough Cuts” on the title. it will come in time as the photographers pursue the story further. Nonetheless, it was a successful night of slideshows and it would be interesting to see a Reel 2 or more importantly, a Final Cut.
I’ve always considered the 70-80’s era of the Philippines as the golden age of art in the Philippines. It is in this era that the greatest movies and directors came out from that decade, hymns and songs from around the country flourished, the rise of our national painters with their signature style, the reception and quality of literature in both fiction and prose was top notch, and for our purposes here, it marked the golden age of Philippine photography. I’ve always wondered what is in that era that marked such an output from the artists. I think that they responded to the crises of their time by being responsive. Either to the government and what it stands for or to use art as vehicles to show their political affiliations.
I feel that we are at the cusp of another era such as the 70’s-80’s. The conditions are there: The lawlessness, economic uncertainty caused by a never ending threat, the degradation of human value, and the latest one, entering the post truth world. The tide of history is currently shifting and photography’s history is also tied to these shifts. We’ve seen it first hand how a mother’s wailing was heard around the world and yet there are those who question the tried and tested power of the still image made by the hands of skilled photojournalists. Those who question the power of the image are trying to shape their narrative by debunking the truths that a photograph contains.With all of this happening, how do we move forward?
We’ve seen it first hand how a mother’s wailing was heard around the world and yet there are those who question the tried and tested power of the still image made by the hands of skilled photojournalists.
In one way or another, artists in my so called “golden age of art” found a method to thrive and work in these conditions. They did not let the suppression of freedoms or even lack of resources stifle their drive. I’ve heard accounts from photojournalists finding ways to get their shots published or how artists gather resources for their work with little to no state support. The current generation on the other hand, is blessed with the internet where one push of the button gets your work accessible to millions and a repository of the world’s knowledge. It is arguably a double edged sword but methods of getting things made and getting the word out has never been easier.
It is at these times that we must uphold our humanity and oppose those who continue to degrade it. Don’t think this is the role of photojournalists alone. Artist photographers, personal documentarists, or conceptual artists must also not forget that we are not just in front of a subject but a human being. It is during these times that we must push ourselves to be at work and finding ways of telling these stories.
There is no excuse to not make work in this era but the difficulty is not in producing work but having work that will be appreciated by the public. This is the perfect time to go back and embrace the classical notions of beauty. Ground your work in established realities that was made with skill and creativity with huge helpings sincerity instead of platitudes and flowery words. Show realities and present them side by side with empirical data to counter hearsays and claims. Avoid crafting other worldly conditions but rather show how beautiful this one is or how it can be improved. Be better than cheap context and easy pictures. Apply the values of liberal arts and the humanities rather than adhere to a fear based reality. Hopefully this will push you towards putting value in your work. Most importantly, remember that there is no end to history. It is a constant fight that can be won with not losing our individual humanity that will fuel good works and good deeds.
If the shift goes full on, there might be a time when you or your work will be put into the test. Said test has one simple question: are you going to stand up or are you going to stay in line? Your work will provide the answer.
Judging a generation by their photos - Chio Gonzalez’s Nights Like These
I do not understand this generation. I hardly understand music that they listen to. I don't understand the new language they speak (What the hell does fleek, lit, and come thru fam actually mean?) With photographic thought and interest in mind, I don't even know how they think or more importantly, how they view themselves. Fortunately Photography has always been a great way of making us understand things. The image gives us an opportunity of seeing how others live their world. So to better understand this generation the pundits call “Generation Z”, as always, I turn to photography and look at Chio Gonzalez’s ongoing project, Nights like these.
This is probably a way of understanding who they are via a visual diary, Gonzalez's motivation is to try and photograph his peers and how they spend their nights. The individual images follow the aesthetic that is coming from independent magazines and urban brands (for those unfamiliar, please look up the following brands/instagram accounts: Hypebeast, Supreme, Highsnobiety, Street Dreams Mag). The color palette is reminiscent of old film cameras and the ambient light is always present. Even if there is a subtle hint of flash, you can see a sense of the overall environment where they move in. In addition, there is a way with how the subjects interact with the camera. The deadpan “contemporary art” stare is present in some of the images. The people are fully aware of the presence of the camera but they don’t see the camera as an intruder and as such, the people come across the image free from the performance known to be put up when we know somebody is looking. However, there are select images where the cameras presences is acknowledged blatantly. Friends flipping the bird, women striking the pose, and even as simple pointing back at the photographer.
That is the conflict that I find in this work. This is a generation that knows the power of visual imagery and they know how an image can represent who you are and a certain level of status. So do the subjects of Gonzalez’s photographs actually live like this or the photographer just knows how to pick his right spots? The mix of candid images as well as subtle hints that the subject posed in front of the camera can be a clue for the answer. I assume these photographs happened because Gonzalez saw a moment that feels appropriate for preservation for either a good laugh or just a dope photo that can be used as a profile pic for social media use.
I’d also like to point out the use of text juxtapositions and still life. It creates a stark contrast to faces and adds a visual representation of this generation's thoughts: Often empty and anxious but still going to make things work out.
What I do appreciate with Nights like these it's where this slideshow premiered: he showed it in a bar where the patrons are his peers and of his generation. It was interesting to see his friends and his contemporaries stare at the images with their faces lit by the monitors see what they are. There were smiles and chugs of beers in between and some images even start the conversations reminiscing the moment of the night the photo was taken. Usually, bar venues don’t work as a space for art but for something that celebrates good vibes and enjoyable moments, Gonzalez chose a perfect venue.
Upon personal reflection, I'd like to think every generation has that moment where they try to understand and sense what they are trying to be. I think Gonzalez's generation is at that point. To be honest, I do not see anything unique with each generation and their moment. Perhaps a change of face, clothes or place but there’s a common emotion that everyone would understand and make them think back to how careless and free they were. What I don’t want this to be is a reinforcement of a marketing pundit’s stereotype of youth. Although i’m also thinking is what will they think when they look at these images 10 years from now? At least I am assured that Gonzalez is still continuing the project and this is the first phase that provides a glimpse and what type of generation this is.
What excites me is the fact that as Gonzalez grows, this project will grow. At least I am assured that Gonzalez is still continuing the project and this is the first phase that provides a glimpse and what type of generation currently is: Young, care-free, but absolutely know how to work. I have sense of where he want to take this work and it would be best if he could explore other facets of his generation probably about love, responsibility, and other themes. It can be pulled to different directions and he has the luxury of focusing on what he wants but for now, we can be content in seeing how they spent their nights.
Nights Like These: Slideshow from Chio Gonzalez on Vimeo.
Title: Nights Like These
Photographer: Chio Gonzalez
Medium: Slideshow
Status: Ongoing
About: Some nights are spent with friends, others with strangers. Some nights are planned, others are spontaneous. Some nights are fresh memories, others have faded. There’s just something about the night that brings out one’s most genuine side. When the sun sets, the mask comes off, the facade disappears, and people begin to see you for who you really are.
This project is a recording of this period of time - a time of youthfulness, exploration, transition, change, and coming-of-age. It is a reflection of mindless acts and random events. It is an escape from responsibilities and the idea of growing up. And while it might also be a representation of misguided freedom, there’s this undeniable reassurance that comes with it. There’ll come a time when life bogs you down with adulthood, but nights like these will live forever.
Oral Communication Visualized: Myth exhibition over at CCP
I’ve always thought of photo exhibitions as loud conversations between the artist and the viewers. A joint or social experience with viewers. It doesn’t have the same narrative structures as a photo book (a topic which an entire study can be dedicated to) but an exchange between artist and viewer via the use of space. What an exhibition lacks in intimacy, it makes up with physicality.
Photographers Jippy Pascua and Dennese Victoria made something special with how they used their images to converse and to extend the physicality of their work beyond the confines of the exhibit hall: I think they managed to visually represent Oral Communication.
This makes Myth a dead give away for the title of the exhibition. It automatically invokes history or story. Although I think the images are not representative of these themes. It is what the exhibit invites you to do that reflects this. You see, the exhibit asks you to take the images and in exchange, put a name. This act of giving away the images and transformation of the space creates the ongoing narrative until you don't have the original story that the artists originally intended, what’s left are traces of it.
I think purists might be disappointed as the star of the exhibition is not so much the images but what these images represent in spreading and creating “myths”. These images are mostly drawn for personal works of Jippy Pascua and Dennesse Victoria that weaves of their experiences and emotion from calm landscapes, intimate portraits and lonely found objects. I'm curious as to how the audience processed their selection of which. Everyone will have a personal attachment to a specific picture. Another interesting point is that some of viewers didn't trade a picture with a name. They put in an illustration, anecdote, or their own story on the wall.
What makes me admire this is exhibition is the multiple layers it touches. It tackles the photograph as an object, the exhibition space as it changes, the interaction between audience and art work, turning the exhibition as a liminal space of object and experience of and many others. Each one of them interesting. It does what a conversation does: It can spark, inspire, spread, compound, and change. The mere fact that I’m writing my understanding of the exhibition means I am spreading the myth as I understood it. It may different from another interpretation or even the creators but that is what happens with Oral communication. Like a good gossip, it evolves and changes.
What makes me sad is that there is no way of seeing the exhibition as it was originally shown and no way of seeing different iterations of the exhibition as the pictures come and go. It will be lost in time which is true to its name as Myth. Origins unknown but hopefully lives a life beyond what the creators intended it to have.
In the grand scheme of things, the country needs to have more shows such as this. A showcase not of greatest hits or throwback to the classics but of critical discourse revealing inner worlds and how the medium can represent it. Sure there are points of improvement but I like that it keeps it broad and the creators are trying to understand their own myth. It wonderfully presents a question and the works try to present multiple open ended answers that lets the viewers mind run rampant. A solid idea with a wonderful execution and an unusual collection of images that makes the audience want more.
Nobody builds statutes for a critic and other takeaways from Asia Curators Contact: Seoul
Image courtesy of the Museum of Photography, Seoul
It was a great honor and experience to talk and be in touch with some of Asia’s active and renowned curators and critics last April. I will admit that there was a great pressure for me as I was also representing Filipino artists with my research/survey of contemporary photography zines here in the Philippines. This has been a great boost in my young career as a curator/critic. As such, I took this opportunity to ask for advice to these curators and also take note of the exhibitions we visited and books we were presented with.
I took my time and tested/observed some of them if they apply here in the Philippines. Here are those that applied. If you’re a photographer, I hope it helps in your practice and if you’re a viewer of photographs, I hope it gives you an understanding of what photographers do with the medium.
Here we go:
UPDATE YOUR WEBSITES! Keep it current with latest work and make sure your contact info is there!
There is a huge interest in what is happening in the Philippines, not just in the Fine Art realm but also in Documentary/Photojournalism. Modern curators do not value one for the other. Pictures are the most important.
The biggest interest is in our history, post war to martial law era to be exact.
Another point of interest is the life of the Filipino middle class. Everybody knows the levels of poverty here but not the life of luxury or at least well off families.
The Philippines needs to compile its visual history. An Archive is badly needed.
Never forget that photography it is a democratic medium.
This means that some photographers take time to develop work while others can pull it out in an instant.
Being visually literate helps you not just in your tastes and gives you direction as to where you will place your work in the grand scheme of everybody’s work but as a creator, it also shows you what to avoid.
Ex. Avoid the Are, Bure, Bokeh, made famous by provoke. Unless you absolutely are going to do something different or it lends itself to the work.
The medium should never be an issue, whether you shot it with film or digital is irrelevant.
A curator’s job is to make sense of what the artists are doing and presenting it in the best possible manner.
Have patience when working with artists.
Have patience with the public. They may not get the work immediately but trust that everyone has the capacity to understand beauty.
Photobooks are novels while zines are short stories. Here’s a better metaphor: “A zine is a date while a photobooks is a marriage.”
There is a certain distrust with photography because of digital technology. There might be no way of getting that trust back so you either embrace this distrust with fictive works or put so much sincerity in the way you do your work that the sincerity flows beyond the frame of the image. (Goes without saying but if you are a journalist, do not go the fictive route!)
Inge Morath bonded with a Llama before photographing it. She spent time with the creature to understand how it moves and its moods. The lesson here is immerse yourself.
Trente Parke and Narelle Autio was shooting the “7th wave” book for months... but most of the photos of the book came from that one fine day. Yep, Trente Park had what film photographers strive, a perfect roll. It came because of persistence.
Robert Capa refused to have his D-Day beach photos cropped. Creators can be persistent with their work understand that and learn how to work with them properly.
Even magnum photographers get their fingers accidentally in front of the lens.
If you need help, never hesitate to approach a curator, editor, or your peers. Develop as a community because all we have is ourselves. We don't have gov't support, private grants, and not everybody has the resources to produce work, make shows, or etc. I think that is how Filipino Photography can be defined and fostered.
Don’t ask what photography is rather, what are people doing with photography? (For the photographer, “Why are you doing this with photography”?)
What really is photography’s role? Man has survived prior to photography so it doesn’t serve a purpose to our basic needs so the “Why” is the most important question you have to ask photographers.
Photography is art. Those who think otherwise will more often than not will not be swayed.
Nobody builds statutes for a critic. If you really want to be one, prepare for people to hate you. They will do things to prove you wrong not knowing that by proving you wrong, they get better.
Quick Notes: Czar Kristoff's Configurations and Micaela Benedicto's Documenting Absence over at West Gallery
Czar Kristoff - Configurations
Don't tell Czar, I prefer the exhibit version of Configurations. I'm not saying the book version is bad. It's just there is a difference in seeing his vision of the construction site as a space with beauty in a larger scale as compared to the ones in the book. Also incorporating elements of the construction site in the space connotes a certain hollowness of all the changes we do to spaces. He also used materials and papers not necessarily aligned with photography which puts the space allotted for beauty into an odd place. It is interesting in execution and of course the photos are not straight forward. He also asks you to bring rocks. Why would you bring one? But the question should be do you see value in one?
I'd go to say that configurations is his best work yet. This exhibition deserves to be seen. I'm not surprised the the book is being well received.
Micaela Benedicto - Documenting Absence
Some of the pieces in Documenting Abesence is a great example of photography used as an object. It's not the central star in these sculptures but I was surprised that she felt it was necessary to use the medium. I am thankful that she did. To photograph is to preserve and she tries to preserve nothingness or an unconscious self (which is obvious in one of the pieces not shown here). But these boxes that contains the photographs of objects inside them has that feeling of trying to make sense from something lost. Perhaps a struggle holding on to something? If I'm not mistaken, she had a recent loss of a loved one and perhaps this work is a reflection of that.
Either way, the photographs will make Lazlo Moholy Nagy and Man Ray proud.
Her sculptures deserves to be seen.
Configurations and Documenting Absence together with Gino Bueza's paintings in Systems of Control and Pete Jimenez's sculptures in Shapes of the Heart and Other Shapes are on display until July 16 over at West Gallery
The Fall of McCurry: integrity, context, and the modern challenges facing Photojournalism
Photojournalism will never die.
In a time of Social Media where the greatest currency is the click, the greatest transaction is the "share", and the word of mouse is valued, visual journalism has become a valuable way of consuming news stories. Developing countries like the Philippines with its high social media engagement knows this is a method of delivering the news to the audience critical to the country’s social and economic development.
It can be argued that media organizations have biases or agendas of their own. Nonetheless, the internet has given the audience educate itself with what is happening with the world. Ideally, this information should be for the better formulation on one’s own opinions and issues affecting the public sphere. The challenge of making sure the news is credible and relevant doesn't lie with the organizations serving the news or the public that has gained the ability to investigate on their own. The biggest challenge lies with those who seek and tell the news.
This is why Steve McCurry is rightfully under fire.
The industry is already struggling to survive in the face of the financial difficulties and proclamations from strong man rhetoricians claiming that journalists are targets. With regard to the these problems, the greatest tool of the photo journalist has is integrity. The way I read it, McCurry's problems are twofold: his blatant image manipulation and his obsolete way of working scathingly pointed out by Teju Cole.
Image Manipulation
To counter the claims of image manipulation, the easy answer of McCurry was that he isn't a photojournalist. I do believe him. First and formost, the photojournalist tells news stories. I don't think he hasn't done that in decades. He just travels, takes pictures, send them to book makers and exhibitors to be shown to the public.
However, that reason is simply not enough. He sounds like a photojournalist, moves like a photojournalist, talks like a photojournalist, and shoots like a photojournalist, then he will claim he is not? His claims of not being a photojournalist will not wash him away of the responsibilities of someone photographing a person or a place in a representative manner (such as a travel photographer). His career hinges on the fact that he used to be a photojournalist travelling to exotic locales looking (or arranging if rumors of how he shot here in Manila are to be believed) scenes and people. There is no doubt that craftsmanship and in image making should not go away but in the digital age. A creator must use all the necessary tools to bring the best possible image that will serve the story. The trouble comes with the modern audience’s high distrust of digital photography especially in photojournalism. Integrity is where the photojournalist falls back to.
Obsolete way of working
For the most part, I agree with Teju Cole. For me, McCurry’s work is vanilla. It feels surgical as if one is crossing marks of a checklist. Is it sharp? Is the light soft? Are the colors saturated? Is the person interesting enough? Is my location off the beaten track? If yes to all, then you have a Steve McCurry photograph. A photograph that hobbyists dream of taking. But the conversation shouldn’t be about whether he is good or bad but should he be crucified for the way he works?
Luckily, we live in a time where a simple search on the internet would yield countless other images of a certain race or tribe free from the razor sharp portrait and colors that McCurry’s images. A range of candid to personal images will pop up. Yes, McCurry does not fit into my aesthetic tastes but I will not condemn his method of working. This is where we have to see the context when we look at images. In modern photography whether it is art or journalism, everything will add or diminish the context. We need to look at the conditions that McCurry and the rest of his contemporaries were working with during the time they are actively shooting and understand why they do their that way. We have to look at their work at the context of their time.
This is because hindsight is 50/50 and If we look at how they work by today’s standards, we will see their faults. This is how photojournalism evolves and the younger photographers learn. The white man parachuting into remote locations excoticizing the locals is the old way. We know the misrepresentation and one sided angle that this method brings. This is why it is now called out or even rejected because we strive to get better at documenting and understanding the news. We know that trust and access is paramount. A photojournalist has immerse his/her-self to the community and the people he/she are photographing. To not just instruct people to pose but to know the context of why they need to pose in a certain manner or to present the conditions of their surroundings. A photojournalist’s work is not just to photograph but to understand all the context and approach the story with an open mind and not with a pre-determined agenda. All of this work for the service of the story.
The question now is, are we going to crucify McCurry because of the mistakes we see that are wrong now and not during his time? And more importantly for the public and the the news gatherers, what’s next?
The blurring lines between art and journalism
The biggest challenge is how will you show the news. This is where craft, thought, and integrity mix together and must play balancing act that brings out beautiful images. The exhibit There is Another Sky all of these were seen in full play.
I have seen various news pieces, articles, and photos regarding the plight of the Lumad people, the main subject of the exhibition, but not one of them has manage to arrest my emotions and educate me first hand. To put it in simple terms, they are our version of the Syrian refugee crisis. Displaced by various socioeconomic forces ranging from the lack of action from the government, rebel activity, military intervention, and plenty of others. The exhibition was successful in presenting the plight of the Lumad people in terms other than a news bit or the classic documentary photography approach. The creators utilized various mediums ranging from the photo book, documentary film, and mixed media to communicate to the viewer the plight of the Lumad people. The successful use of art to convey a national issue.
Others believe that the blurring lines between photojournalism and art is dreadful. I believe the opposite. It is a golden opportunity to find new ways for photojournalists to deliver the news in a compelling manner. At the end of the day, if they were able to give justice with their skill, integrity, and sincerity and you were moved to action even plant the story in your head, then it is successful. This fusion is yet another method for photojournalism to deliver news stories to the public. Will it save it given the money the roam the art world? We don’t know yet but the point is to deliver the news properly.
Keeping the conversation going
Internet commentary describes McCurry’s fall from grace as similar to Lance Armstrong. I disagree. Armstrong cheated plain and simple, McCurry did not go to levels of falsifying his stories and information in the same level as Giovanni Troilo’s Dark Heart of Europe. It is more akin to a singer getting caught using a mixer to distort his/her voice or lipsyncing when the agreement should have been a live performance. This shouldn’t affect McCurry’s reputation (as evidenced by the number of apologists he has online) but hopefully this will serve as reminder to photographers and the responsibilities they carry in making images. He will certainly be more hands on with his post processing team and hopefully, his blog will go back online. Even if I’m not a fan of his, I will agree that his work belongs in the canon of visual literacy.
No matter what happens next, the best thing is that we are constantly challenging the responsibility of image makers and the way we understand photography. Both the photojournalist and the audiences have the tools to be involved and produce better things. Photojournalism will constantly be reshaped and will be challenged by the public that they serve. The one thing that will never change is the lifeblood of this visual medium: Having the boots on the ground, pursuing beauty with sincerity, and fueled by integrity, all in the service of the story that will benefit the public. This will make sure that photojournalism will never die.
Post Script and extra readings:
PLEASE PLEASE PLEASE Do go and see There is Another Sky that runs until June 24 at 1335 Mabini Gallery, Manila Philippines. It is one of the best shows that I have seen.
I think a factor why manipulations and lack of integrity happens is the intense competition amongst photographers in a field where budgets are dwindling. Photographers need to eat to.
I find it funny that Philip Blenkinsop was the only one that raised integrity in all of this. I think it should have been the main reason why McCurry is under fire.
Reading the Pictures had an excellent look at one of the heavily manipulated photos, the Rickshaw.
Why is Magnum quiet in all of this? (Except for Peter Van Agtmael in nicely worded reaction piece). I do hope that at least they have an internal inquiry.
Does the industry have double standards? Check this article Contreras but not McCurry.
If you want another scathing take on McCurry’s work and why it is obsolete and backwards, read Paroma Mukherjee’s A Trip Around McCurry’s Photoshopped World.
Another good read is Lewis Bush’s take on the whole issue. I’m slightly leaning towards journalism should remove the idea of having an objective truth. I think journalism should build their own truth but base it on the immediate reality. I don’t know. I’m probably wrong in that one.
Here’s another article looking through the iconic images of McCurry and investigating the manipulations and staging of the scenes. Those nitpicking his shooting methods might want to take a look at this one.
Earning Respect: Favorite Covers of Edwin Tuyay He shot for Asiaweek
Edwin Tuyay is one of the names that will pop up whenever you ask about who are the best in Philippine Photography. With over 3 decades worth of experience, his skills were carved in the streets but was molded in shooting the news. One such news organization was Asiaweek. With a mission statement saying "To report accurately and fairly the affairs of Asia in all spheres of human activity, to see the world from an Asian perspective, to be Asia's voice in the world.", it was only fitting for them to make Tuyay their eyes on the ground photographing some of the historical events in the country. A Filipino photographer photographing Filipino events.
I sat down with Edwin to get his first hand account shooting for one of Asia’s former leading magazines and how the news tend to be cyclical, in getting the job done, and earning people’s respect.
Headline: Eyewitness Hotspot! Exclusive: Frontline Patrol in the Spratlys
Date: May 13, 1988
This was a significant cover for me. It was my first test assignment before Asiaweek hired me full time. We stayed there for 3 days and I was really excited! I still can’t get over the fact that I was going to be shooting in Spratlys for Asiaweek! At the time, I was a staffer for Manila Chronicle and we was not allowed to get other assignments. What I do is I have two cameras with me, a Nikon F3T and an FM2, the F3T is for color and the FM2 is black and white. I send the color photos to Asiaweek. They saw I was contributing to them weekly wether I get my photos published or not. My first cover with them was actually Cory. It was the break that I needed with them. From then on they gave me this assignment. Tony Lopez asked me if I want to go to the Spratlys, “Well of course!” was my immediate response. I asked the Chronicle for a leave which they gave. And we made my way to Palawan.
At the time, China and Vietnam had a naval skirmish. Notice Asiaweek’s angle was Spratlys was that it was a hotspot. I made the cover and did a photo essay with it. For a bit of history, I think it was Thomas Cloma who discovered Spratlys. When China discovered that it has oil, China went to go for it and tried to establish their 9 dash line.
I was walking looking for human interest and I saw the watchtower and the soldier. I went up, made a few frames. I made silhouettes, so as not to wash out the background. I shot for the highlights. Notice the runway at the back, it is actually made of corals. Every so often, they scrape that runway to make sure the planes can land safely but these days I think you can actually land the bigger planes there.
When shooting for magazines, always think about shooting for the cover! Shoot both in portrait and landscape orientation. The magazines love the Horizontals for spreads but you have to find a subject that will fit the overall story. Also, always aim for the cover. For this, I want to highlight the soldiers who were guarding the Philippine side of the spratlys. I made room in the composition so that the editors can have space in writing the headers and the texts.
I didn’t know that it will be the cover story so I was surprised when I saw the magazine! They sent me a contract, I signed it, and started doing work with them! By August 1988, Asiaweek made me their first staff photographer based in Manila but I can fly anywhere in Asia. This is one of my first photo essays. I always follow eyewitness and the photo essays for Asia week. I felt privileged because I finally got in there.
Headline: The Struggle for the Philippines. War.
Date: December 15, 1989
If you can recall your history, Cory had 7 coups against her with Gringo and other Marcos loyalists. There was a lot of politicking happening and people get involved in all kinds of plans against the government.
It was 5:30am and we were following the movement of the rebel soldiers and I think they were former marines. The rebels and the military forces were already dug in their strategic positions. While the photographers, myself included we were just crisscrossing their areas. We were like flies chasing and anticipating where the action will be. When we heard a bazooka go off, we immediately noticed where the shot came from, there was a man lying down on the ground who got caught in the backfire of the rocket! It was us and a few civilians who helped this man. I found out later that he lived but he suffered major burns in his face and upper body. Notice how the rebels were using uniforms because in all the services, there were people who were involved in the coup. Luckily, there were medics in the area who were neutral and were ready to take care of the wounded.
When I took the shot, it was just adrenaline and everything happened so fast! I noticed later that my clothes had blood in it because I also helped in carrying the injured man. I really wasn’t afraid at the time but there are moments when your human instincts kick in and you drop your camera to help a fellow human being. I used wide angle lens and a flash to fill in because it was still too early in the morning. To diffuse the harshness of the flash, I attached a white sandwich bag using rubber bands to my flash. Diffusers and accessories were not readily available here in Manila. Having the actual gear is actually a big deal. I used a bit of slow shutter and added a little movement to add a little style. This was a color slide! Color negs were grainy and editors don’t like that as much. We didn’t have ISO film back then so you really have to get your technique down. A far cry when I shot the Hong Kong handover in 1998. Fuji gave me ISO 800 film! At that time I was a Fuji ambassador! That’s the perk of being an ambassador!
It was all instinct. It was a swarm of photographers who were there. It was not just me. All of us was there and we were competing for the right shot. Fortunately it was picked as a cover. There was actually no violent reactions from the public with that picture. As a matter of fact, when a coup is happening, people even step out of the house! It was crazy they think it was a show!
It would be difficult to say if a picture like this will still be used as cover ever again. Asiaweek was a courageous magazine and the stories they run is either business or hard news. They go to conflict ranging from the Tamils, Khmer Rouge, and Guerilla groups, India vs. Pakistan where I shot some as well. Thing is, my wife actually just wants to throw those shots away but I managed to convince her otherwise. Photographically, My mindset is that I need to have the best picture because I was working at an international level. There really is a rivalry between different groups competing to be published especially for International Herald Tribune and the New York Times. It was stressful but that’s part of the work.
This picture is probably one of my luckiest photographs I ever made. I was using a Nikon EM with 100mm plastic lens series E! I think my workhorse camera was broken at the time. We waited for her at the airport. A lot of loyalists were there and media! I was just shooting hail mary style and wishing for the best. Then we went to the cultural center and they alloted a space for the photographers at a raised platform on the side of the stage. Imelda was paying attention only at the front of the stage. I tried to be patient and anticipate her movement. I was also taking occasional snaps of the crowd. I was going through the fundamentals of event photojournalism: Have a long shot, medium, and wide. I was getting a lot of safety shouts. We were shouting if she could turn our direction and waved. She suddenly turned and the opportunity was there, I got the timing right and I knew I got the shot!
After that I went straight for the airport. Email was not a thing at that time and we need to send our rolls to Hong Kong. So what you do is go to the airport and see if you can pay someone heading to Hong Kong to “pigeon” your rolls for you. The way you do it is to show your ID, bring magazines as complementary to my “pigeon”, and get my credentials ready. It was risky since those people might think you are scamming them. Bringing copies of your work is really important. I know that Cathay Pacific flight leaves at 5-5:30pm. The HK bureau is already waiting for it at around 7pm! That means, when I get a passenger I immediately call HK about the details of my “pigeon” and pray for the best. Lo and behold, when I saw the magazine, I thank the high heavens and found out that I was right, it was indeed good shot!
Thing is, you are competing not just at an international level but also the local news shooters. The thing about being a professional is that you have to find a way for your peers and the general public to respect you. You have to earn their respect and you do that by consistently show good work. There was a time when I was new and a senior was telling me I was no good and I was just a poser using fake IDs shooting for no name magazines but when I got my portfolio going and I started building my craft, I slowly got their respect. When I was new with the manila chronicle, the older folks were questioning the decision to hire me because I was young and inexperienced. But I paid my dues and shot everything from lifestyle to sports until I made covers and full page spreads! Working is where you pay your dues and earn the respect.
I remember this clearly, a week after Imelda arrived, Ormoc tragedy happened.
Headline: Eyewitness - Tragedy in Leyte
Date: November 22, 1991
Ormoc Tragedy was brought by typhoon Thelma. Illegal logging was the main culprit of the mudslides. It also didn’t help that the logs clogged the waterways creating a “dam” effect. When that “dam” broke, there was massive flash flooding all over ormoc especially the river towns.
When we got the call early morning, we were already in the air force base to be the first to get there. I had a brand new Nikon 801 at the time, it was automatic, autofocus, and a lot of new features. I had a bad lens though. The other were using older mechanical bodies. I was shooting in the rain while the others who tried, their cameras got stuck because of the water getting into the gears and electronics. I was the only one who was able to shoot properly.
I was sleeping in the relief operations area. There was a bad stench and we were only eating sardines. I was with a writer then, Barbara Mae Dacanay and Emer Antonio. It was so morbid. It actually looks like it was shot from the chopper. I was just standing at the top of the breakwater. I was using a 24/2.8 lens and ISO 100 film since it was the early morning. The water was so calm and still. There were so many bodies actually. So I composed it with cover in mind and made sure the Coast guard was at the background. They actually asked for this photo as a reminder of the tough job they did. So yeah, the bodies were already bloated.
The thing is, this has happened before and it is happening again. This was decades ago but it looks like it just came from typhoon Haiyan which also happened in Leyte. There were so many dead bodies in both tragedies.
I can recall when I covered the Baguio earthquake in the 90’s. I went and covered a school that was destroyed in Cabanatuan which had a lot of dead bodies. It was mostly kids and teenagers. I did the police beat before and it was shocking at first but the ones in Baguio and Cabanatuan haunted me. I guess you can call it PTSD. From then on, I told myself to make sure my shots were artistic and humane. Not gory. For this one, it as usual for me, it doesn’t hit at the moment your are shooting but when you are idle and doing nothing. That’s when it flashes to your head.
The funny thing is news, the news is looking cyclical. A big regret for me is that I was not able to shoot in Tacloban. I wanted to see if the cause was still the same, the human stories of tragedy and resiliency was still there. On the brightside, I’m actually very happy with the work the younger photojournalists did there because the images showed a lot of heart.
It’s sad that this happened again. I guess people never learn. All we can do is take the pictures and hope people learn something from them.
Headline: A New Mindanao - Manila Debates an Autonomy Deal
Date: Jan 6, 1989
The conflict in the southern Philippines will probably never see anytime soon as long as there is fighting. It has been there since the spanish period, it was there when I shot that, and even up to now this is one of the biggest issues of the country.
This was the time of Cory. The separatists will surrender in exchange of money and livelihood programs. The funny thing about the situation is that the exact same people are surrendering in these press events! Only different weapons and uniforms. They were surrendering the crappy guns! The same situation also happened when I shot the destruction of Camp Abu Bakar during Erap’s time. It’s still the same. The players change but the stories tend to stay the same.
This was in the camp and I already have a lot of generic shots and photos ideal for spreads. Like I said, I always aim to land the cover shot. For this one, Sandag (the solider pictured) was here. I was using a 24mm so included the bright blue sky that will add a better context to the angle. The story was about the establishment of ARMM (Autonomous Region of Muslim Mindanao) and a new future for mindanao, I think the editors knew it fit the story well.
Everyone was gathered there. The defense secretary and other officials were there. It was a public display of course. A campaign of good faith for the ARMM to be established, just like what is happening for the Bangsamoro Basic Law. Well that time it didn’t solve the conflict. Let’s see if BBL will be successful this time around.
It’s a continuing struggle. What breaks my heart is the innocent people caught in the middle of this conflict. It is easy for someone away from the conflict to judge from the pictures and stories but if you were actually there, everything is different. At least I’m happy the parties are talking with each other.
I knew it was a publicity but I know I need to photograph it. I didn’t know they would put that in the cover but all well and good that it did.
Headline: Is this the law? - Crime Busting Philippine Vice President Joseph Estrada.
Date: November 20, 1992
This is funny for me because at the time he was nicknamed the crime buster! He was the Anti-crime Czar together with Dante Beroya and Panfilo Lacson, it was the PACC (Presidential Anti Crime Commission) I think. I did a lot of shots for Asia week. Andrew Marshall was a great writer for Times and Forbes, he tagged me along for this one. I actually earned a lot from this shot because a lot of outfits like this one! I generated a lot of sales for this shot!
This was in the Vice President’s office, just in the garage I think. I also have a shot of him with Beroya and Lacson. That uzi was a prop. He was actually the one who had the idea of holding the Uzi that way and striking the pose. He was a very charismatic man and just lets me do my job. This was actually just an illustrative portrait and and not for any assignment but it fits the context. He was fighting a lot of gangs and syndicates and kidnap for ransom groups. He really was a celebrity and knows how to use it. If there is something that a lot of people don’t know about him is that he is very generous and makes sure that everyone is well taken care of and fed.
He actually give me a lot of flack when he sat as president! He even made calls me at my house insisting that I should be his close in Photographer! I didn’t say yes to it because I like my stint for Asiaweek (laughs).
He always gives me access! I photographed him while smoking and in his off moments and he’s ok with it. Gloria and Ramos also gave me access but Erap was just different, I guess because he is a celebrity and really stands up with his persona of being “Man of the people”.
These days, photographers don’t get this much access with personalities unless they work hard for it. Cory has her own photographers and other public figures have them especially these days. Point is you still have to work with them and I guess he knows my work. That is where the respect you work so hard for comes in.
These days, I don’t get to work with him anymore but when he sees me, I’m sure he will remember.
From the Notebook: Malate Literary Folio Art and Photo Camp
(Photo is my opening slide for the Workshop focusing on the Photographic Process)
Last March, I had the great honor of being the photo mentor for the Malate Literary Folio Art and Photo Camp. It was the first time that I ran a workshop where all the participants are college students.
For the workshop, I focused on the Photographic Process. My aim was for the participants to be able to pursue their own tendencies whether it is street photography, documentary, still life, or fashion/commercial work. I believe that for any sort of photography based project, going through that process will lead you to your desired out come.
It was a great three days. As for any workshop I’ve conducted, I also learn from how the students experience and work. I take note of these lessons for future reference since I might be able to use in my own practice as a photographer, a teacher, and as reader of photographs.
Here are the notes:
I made a 20-30min presentation about the photographic process but it can be summed with this phrase: Shoot. Think. Show. Shoot again.
Photography at its core is really about shooting, showing the work, shooting again.
With the knowledge of working with a narrative or theme, you can do anything.
Depth doesn't come instantly. By simply going through the process and doing the story, it will come. It will layer upon layer in itself until you have something complex touching upon different motifs.
You can only go so far with what you have but with what you have, you can already go very far
Everyone will have their own reason for being a photographer but not everyone will have the capacity to stay as a photographer
That is where a group of friends or community comes in, the support system is important when somebody is lagging behind or having though times with their personal lives, your community will push you through
Editing is the most difficult but satisfying part of the process. It is where the story/narrative takes shape
Access (or lack of it) will give you your scope and limitations of what you want to shoot.
Take care not just of your physical self but your emotional self as well. Don't hesitate to drink after a long day of shooting or admit to your friends you are having trouble with your work and will need help.
A theory: How you see things is the sum total of who you are and what you have experienced. Thus, to improve your photography, improve who you are and your experiences.
One of the most satisfying feelings in the world is when students /mentees understood the concepts and lessons you are trying to teach
A non-comprehensive list of Filipino Photographers that deserve your time and attention
First quarter of 2016 Edition. Possibly the first of Many.
Here's a non-comprehensive list of Filipino photographers that deserve your time and attention. As you can see, there are no images of them because this isn't about how they look like, this is about their work and accomplishments. There's also no images of their work because I personally think you owe it to them to visit (and follow) their pages (but really because I didn't have time to ask permission to show their work) honestly, the least you can do is visit their pages, support their work, and keep an eye out for what they are doing. Again, this is by no means a comprehensive list but the names in here are some of my favorites and I think they are doing beautiful work. Some of them I am very happy to call as friends or been lucky enough to make their acquaintance. So in no particular order, genre, or level of achievement here we go:
Shaira Luna - Her first appearance in the public eye was when she was featured as a young scientific genius in a Milk commercial. She may not have went all the way with science but she was able to use said genius by becoming one of the go-to photographers for editorial and fashion photography in the country. Shaira has mastered that vintage look in her images that express that connotes the carefree, floral, and dainty. That style and the good working environment during shoots is some of the reasons brands and magazines seek to work with her.
Website | Instagram | Facebook Page | Flickr
Hannah Reyes - Member of the Cambodia based Ruom Collective, Hannah has traveled all over the world pursuing documentary stories about women, displacement, and other humanitarian issues. She started out as a travel photographer but her biggest break came when she won the first National Geographic young explorers grant. There are so many people that you will hear that wishes to become a NatGeo photographer, she went ahead and did it. That lead her to hone her craft and master documentary photography with a unique approach to the narrative by tackling the issue infusing it with her own set of experiences. A favorite work of hers is the story My Beautiful Friend (about the work is here)
Website | NatGeo Explorer’s Page | Instagram
Kara Chung - Kara is one of the many photographers today whose work appeals to the instagram generation. The urban minimalist style that she naturally pulls off in her images is the reason she has international representation for her fashion and lifestyle work. That lead her to having collaborations with notable instagram groups such as the highly popular streetdreams magazine and other notable fashion labels. Calm, simple, and beautiful, she is on the top of the fashion game and I’m pretty sure there will be more to come.
Website | Instagram
Dennese Victoria - Den's work is about the quiet, calm, and melancholic. It dabbles between memory and mood that makes you feel what she felt in that instance when she pressed the shutter. That ability landed her in Objectifs singapore Women in Film and Photography exhibition and as a participating artist for Chennai Photo Biennale as well as other festivals and exhibitions.
Website | Instagram
Erin Noir - I don't know anyone who has a deep fascination with black and white other than Erin. She has 3 zines in her mono series and 1 group zine she curated all in black and white. Her photographs are mostly diaristic and conceptual based on her current state. She also teaches a black and white developing workshop and she runs her own online magazine Parallel Planets. All of which, and it should be no surprise to you, are black and white.
Website | Instagram
Kiri Dalena - Kiri Dalena is one of the top names when it comes to defending and representing Human Rights through visual art. Wether photography, mixed media, or video, there is a certain weight that it brings the viewer that stays even after you view the work. Her work Erased Slogans comes from a very simple concept of erasing the slogans in the placards of activists, it is simple but from that simplicity comes the message. Perhaps my personal favorite work of her also comes from that place of simplicity is Life Masks (view the work here by going through the past exhibitions titled Imprint) wherein she puts socio-political personalities behind plaster masks. I remember when she was explaining this work during Fotosemana Festival, her voice was cracking and her eyes were starting to water. That is immense passion and dedication not just to her craft but to the people she photographs.
Artist Profile by 1335 Mabini |
Little Wing Luna - An exceptional street photographer and a budding documentary photographer, she can be seen with a camera around her neck and constantly on the look out for images showing grit and a strong attitude. There's that energy in her street work that has that seems to have a controlled chaos. The frames are busy but they all fall into place. Another one in this list that you should be on the look out for.
Flickr Page |
Wawi Navarroza - A woman of many talents. She locally known for providing the lead vocals for The Late Isabel, a working photographer having exhibited world wide, and the founder of Thousandfold, an artist run photobook library, studio, and community space. She does A LOT of work. She's also a mainstay in Obscura festival of photography in Malaysia doing workshops and presentations to photographers there. To her, it's not enough to show up, you have to do the work and do it beautifully and properly. Something photographers, have to practice more often.
Website | Facebook Page | Instagram
(Full Disclosure: The writer for reading photographs, A.g. De Mesa, is also the special projects coordinator for Thousandfold)
Christine Chung - "Emerging photographer" is probably the best description you can give Christine. She is a scholar in the IPA mentorship program, finished Alex Baluyut's Masterclass in Documentary Photography, and got into the Angkor Photo Festival on her first try. All well and good right? Yeah but she did all thatl in a span of one year. She's currently finishing her thesis photographing her life and that of her friends as she goes through bi-polar disorder titled, A portrait of us. She is definitely one to watch.
Website |
Tammy David - Tammy is a working photographer for magazines and other publications but she also that has a razor sharp wit and a knack for noticing the mundane. Her documentary work, For Crown and Country highlights the Filipino Obsession with beauty pageants while her viral hit, Pope shirts shows the typologies of what the Filipino faithful wore during Pope Francis' visit. All of this is because she follows what piques her interest. Not necessarily deep or highfaluting but simply put, the best photographs are when you are curious and photographing.
Website | Tumblr | Instagram
MM Yu - MM is a master of vernacular photography. She made a career out of photographing the banal, unnoticed, and Philippine pop culture on a street level. One of the things I love about her style is how she chooses to display her work. It ranges from self publishing a small photo book (almost 1 inch x .5inch in size) to postcards in a specialty box. An unassuming personality and a highly creative photographer, she has amassed a very long portfolio of exhibitions and achievements.
Website | Flickr | Instagram | Artist Profile by 1335 Mabini
Kat Palasi - Started photography when she was 15 and went about photographing her Ibaloy clan. From then on, she was able to get a grant to study at ICP, another grant for the Santa Fe Center of Photography. Her studies reinforced her skills that lead to many opportunities work for book projects and organizations. One of her works that you need to check out is the last Pine Tree tackling the overdevelopment of the mountain province. She works with a lot of heart and a lot of art and that is why she is one of the most respected names in Philippine Photography.
Website |
Xyza Cruz Bacani - Her name needs no introduction. The OFW maid turned photographer is hard at work. After becoming a viral success story, she continues to pursue photography focusing on sharing stories about human trafficking and labor issues. She is leveraging her training and the acclaim she got to help others. I think she is slowly growing out of being that viral hit and building herself up to be a great documentary photographer. The proof is in her work for Quartz magazine, The Secret World of Maids in New York’s Richest Neighborhoods.
Website | Instagram
Nana Buxani - A pioneer of photography here in the country. Nope, not just for women, for everyone. Think of what photographers encounter in the field and she has quite possibly done it. But what is most inspiring about Nana is not just her body of work but that positive energy she gives off to everyone she encounters. Wether you are a young photographer starting out, a person she is about to photograph, or an esteemed name in the photography industry, she treats everyone with warmth and respect. That positive outlook and attitude in life is truly an inspiration for those seeking to have a life well lived, a photographer or otherwise.
Website | Instagram
Special Mention:
Tala Photo Collective - Some of the names here are actually part of the Philippines' all women photography collective. Heck members of the group deserve to have more than their own article. They are organized, talented, and driven to deliver visual images based on their advocacies. Their styles vary from calm and meditative street work to in depth investigative journalism. Regardless of style, they do best what photo collectives are supposed to be doing: Push each other and working together.
