“I find that in this age of storytelling, visual language is very important. I notice how people nowadays tend to rely on visuals and quite less on actually reading what’s written about the photograph.”

My Visual Story

Terminal

Larry Monserate Piojo

We’ve seen it all before. The Metro Manila traffic may be reckoned one of the worse in the world and it is remaining as it is. With an approximated population of more than 12.88 million with a land area of 42.88 km², it dwarfs the city of Paris with a land area of 105.4 km² composed of a population of 2,241,346. While the government pushes for practical answers to solve this problem, Manila still remains as a major stronghold of resources of jobs and opportunities to many Filipinos-one major reasons why, despite its “hell-like” environment, it stays as an attractive bastion of many opportunities.

Photographer Larry Monserate Piojo takes us to this problem through his series of photographs entitled “Terminal”. In the series, Larry documented the over-crowding of a bus terminal in Cubao in the eve of a holiday where people catch trips going to their respective provinces.

Introduce yourself: How did you become a photographer?

I’m Larry Monserate Piojo, I’m a street, travel, and documentary photographer. I love rain and I find solace in photographing the rain. My work focuses mainly on human interests and relevant social issues and I also do freelance work for corporate and commercial related projects. I became a photographer after realizing how a single photograph can touch people’s lives and inspire them to do something to make a change. I initially took pictures of anything around me when I started. From insects to petals, to beautiful models but eventually found myself in love with the spontaneity of street photography. Street photography has become a breathing ground for me since then. Later on, I felt having such responsibility to document everything about life, good or bad. To help create awareness and inspire others through photographs.

In the set, you photographed the specific bus terminal in Cubao, Philippines. Was this a project you have been doing or it’s just coincidental?

It is no secret that we have one of the worst traffic issues in the world. In Manila particularly, I notice that there’s not a much visual story about it other than the daily or regular primetime news. And so I have been working on a personal project that focuses on the ordeal of ordinary commuters. From photographing them on daily basis of commuting and even during a heavy downpour.

So photographing and documenting terminals was something I’ve always planned. Araneta Bus Terminal in Cubao is known for being the largest and most crowded especially during holidays, and it’s the first I have been so far in regard to this project.

What made you decide to photograph the situation? Are you also a commuter?

Oh yes. I would rather commute in the Metro and drive the long drives. Commuting gives me a glimpse of realities around us. I would ride the train and buses when I could. When I first worked in Ortigas, I used to commute from Fairview and back, every single day. So I’ve had my fair share of experiencing that long, agonizing daily commute that I still see all the time.

How helpful are these photos in addressing this kind of problem in the Philippines?

Honestly, I won’t be able to tell. I am just another photographer who has the tool and the opportunity to document this event and to send messages across. But I find that in this age of storytelling, visual language is very important. I notice how people nowadays tend to rely on visuals and quite less on actually reading what’s written about the photograph. So, I do hope that these photographs in any ways possible would be able to help in addressing the issue. Photographs don’t make changes in a snap, people should work on it and the photos may only serve as a proof, sort of a guide, or a lesson to make those people who are responsible take action and allow changes to happen.

What do you think is the best way to teach photography?

Through practical teachings and experiences. Aspiring photographers should go out there and not get stuck on theories and technicalities. They should be able to understand the different environments and all the hustle and bustle of the real world. There’s no better way of teaching the craft for me but doing it in the true setting where they choose to stand.

“With the advent of smartphones, more and more people are getting introduced to serious photography. It is exhilarating to see the number of talents in photography explode.”

International Photography Awards

Carlos Esguerra

1st Place, Night Photography, International Photography Awards, 2011

Carlos Esguerra, one of the first few Filipinos who was a consistent winner of International Photography Awards main shares his experience on how he started in photography and how he saw the changes of photography from analog to digital.

He was in the computer field for 36 years, starting as a programmer analyst for IBM Corporation in White Plains, NY, and later as founder and president of CLÉ Systèmes, Inc. for 12 years.

He studied Business and Economics at the University of the Philippines, and obtained his MBA from The George Washington University in Washington, DC.

How did you get into photography?

I have been interested in photography since my college days. I was a member of the U.P. Photo Society when I was in UP, but I did not become really serious about my photography until by chance I walked into a photo gallery in Santa Fe, New Mexico in October 1998. Those mural-size images of Bryce Canyon, Grand Tetons, Yellowstone, and many other national parks in the US really had a great impact on me. It was an epiphany for me. I decided I wanted to do landscape photography. It turned out the owner of the gallery also leads photography expeditions to those places. So I signed up for the very next one to Death Valley in February 1999.

After the trip to Death Valley, I selected two images and I had one enlarged and printed to 20×30 inches and the other to 20×20 inches. My framer in New York decided to hang the images in his shop while waiting for me to pick them up. However, after only two days, my framer called to tell me that a couple from Colorado wanted to buy the 20×30 photograph. Would I be willing to sell it. I said yes immediately. Two months later, the other one was also sold. By then, I was hooked. So every year I joined one or two photography expeditions with this same group. I then started entering local and national photo competitions, and I was lucky enough to win several Best of Show prizes. Then I was really hooked.

What made you join photo contest?

I began to enter photo competitions to see how my work stacked up against other people’s works.

Is it the first time to join IPA Philippines?

I joined the last two years of IPA Philippines, but have joined IPA Main for several years before.

What can you say about the entries on IPA Main and IPA PI?

The caliber of entries to IPA Main and IPA Philippines are very high. Seeing the works of photographers from all over the world inspires me to do better. They are the catalysts that keep me striving to do better in photography.

How do you define Philippine photography in terms of these entries coming from around the world?

Filipino photographers can certainly compete against the best of the world. I would like to see more photographers from the Philippines competing in international competitions. We are well behind other countries in this regard. I am very happy for the launch of IPA Philippines because it opened the door for many more Filipino photographers to join international competitions. It is a great chance to showcase the talent of Filipino photographers.

Did joining IPA add some new things on your perceptions about photography?

IPA and other international photography competitions keep me abreast with the techniques and inspiration of the best photographers from all over the world.

What is your best experience in attending the IPA in New York?

It was my first time to attend the IPA Lucie Awards in Carnegie Hall last year, although I had attended the IPA exhibition in New York in 2011 when I won First and Second prizes in Night Photography and Architecture Bridges respectively in the Non-Professional category. It is always exciting to meet in person the pillars of photography in these gatherings. I have met and sat on the same table with Jerry Uelsman and his wife Maggie Taylor in Linz, Austria during the 2004 Hasselblad Austrian Circuit. I met and sat next to Steve McCurry last year in Berlin for the 4th Berlin Foto Biennale, and I met again in Carnegie Hall last year some of the Lucy Award winners whom I also met at the Berlin Foto Biennale. These are inspiring events for me.

IPA, as what its founders Hossein Farmani and Susan Baraz advocate is not really about awards and honors but a reminder of what photography really is, citing the processes and learning what the masters have gone through years of experience where the new generations should be concerned with, what can you say about the contemporary photography these days?

The quality and the diversity of photography these days are way beyond those of previous years of the analog era. If any of the old masters of photography of years gone by were to compete against today’s photographers, they may have some difficulty getting the same recognition they now enjoy. With the advent of smartphones, more and more people are getting introduced to serious photography. It is exhilarating to see the number of talents in photography explode.

“Everytime I shoot either in a remote location or any place I am not familiar with, I always ask questions about the things that I do not know. It’s a sign of respect to the people you just met in that place. It’s also a way to educate the self.”

My Visual Story

The Sacrilege in Faith

Jet Rabe

Pampanga, Philippines is a place where, during the Holy Week, you see flagellants walking along the street, whipping their blood-soaked body under the warmth of the sun.  Despite Catholic church’s rejection of this idea, people who practice the acts believe that this is a form of salvation and expression of faith in God.

The Sacrilege in Faith is a visual story based on the personal experience of emerging Manila-based photographer Jet Rabe, who spent a couple of days in the barrio of Sta. Cruz in Porac, Pampanga where a group of men who call themselves kunsilyu observe the Holy Week through an act called pamagsalibatbat (flagellation). One of these, a resident named Rolly Catacutan, who is the leader of the group shares his story of healing and redemption as a magdarame (flagellant) for 14 years and serves as the “Nazareno”. Wearing a burgundy-colored vestment with his face covered,  he leads the group at dawn in Pulung Maba where hundreds prepare their body for self-mutilation while they chant their prayers before pamagparaya (slashing the back to open up the wound when whipped). Jet Rabe was a witness to this.

What is your overall experience with the Magdarame ritual?

For the longest time, I have been intrigued by the way how this is happening. In the past, I am only seeing this on television or newspapers. I am a bit shocked and overwhelmed by the experience. And it was a very relevant event for me to shoot and attend because aside from the fact that this was my first time to experience such a ritual, I am seeing myself going back to this place to document their stories.

What are the things that you considered and thought about when you started photographing these people?

In all honest, I am not familiar with the subjects. But every time I shoot either in a remote location or any place I am not familiar with, I always ask questions about the things that I do not know. It’s a sign of respect to the people you just met in that place. It’s also a way to educate the myself.”

What was your focus in the documentary? What did you find out with this?

Rolly Catacutan.  He has been participating in this ritual for the last 14 years.  I found out that the reason why he holds back on doing this is because he had a crippled daughter that he thought was a hopeless case.  Since he commenced doing the annual ritual as the “Nazareno”, her daughter, little by little was able to walk.  Call it faith and miracle, he thinks that his annual devotion to this act resulted in a healing spiritually and physically.

What is the reason why you prefer that look and treatment in showing them in photographs?

I always shoot spontaneously because I trust that there are random moments that cannot be staged or repeated.  In doing my personal documentary, I am constantly aware of when to tell my subject to look at my camera, thus making them conscious as well as when I shoot them like an invisible spectator where they do things unaware of a camera sneaking through.

How important is photography in showing this particular subject?

Photography is a very powerful tool for explaining things to us. If you run out of words to describe what’s happening in a particular moment, showing a photo helps create a visual image, thus, a visual message.

“Photojournalism is not about being a male of a female, it is about how you give justice to your subject and at the end of the day a good photo submitted to your newsdesk.”

Interview with

Joan Bondoc

Photojournalist

How did you become a photographer?

Twenty-three years ago, when I first entered the field of news as woman photojournalist, it was man’s world, I could still remember Mr. Ezekiel Tee, one of the great senior photographers of the industry asking me why I chose to saddle up my camera bag and venture this profession, many of my male colleagues would often push me over testing how far I could and would go to push the boundaries of art and good journalism, I would rush myself to comfort room with tears rushing down my face as I contemplated upon whether or not I was built and cut out for this industry. I was at my breaking point when one of my dearest friends and greatest colleagues told me to hold my ground and continue my battle and look at where I am now, I was assigned to cover the insurgency of the New Peoples Army, calamities unlike anything I’ve seen before of which are the earthquakes in Nueva Ecija and Baguio City, countless anti-government rallies that always seemed to halt with an abrupt dispersal, the oh so tiring police beat, senate, congress, and Malacañang shoot, and many more to tell. I’ve gained the respect of most if not all of my male counterparts, And I will continue to break through prejudice and stereotypes for as long as I hold this camera, within this men dominated the world a woman chose to set her mark.

How do you see Philippine photography as a whole in terms of using it as a language?

I believe that Photography conveys a message beyond what is explained, to a Photojournalist a Master craft may touch you in so many ways, it can make you smile, laugh, can tug on your heartstrings or sometimes even provoke anger.

I think a big part of Photography is not just to show but to let you feel, and to bring you to that very same spot where that photo was taken. It takes you to the different corners of the community, the different lifestyle. It takes you to the city street, the mountains to the palace. Each image that you capture turns into a soul, each with its own story to tell. As a Photojournalist, I promised to share this message with as many audience and readers.

What makes the woman photographer different in terms of the manner of presentation of a subject/object/content in photography as compared to a male photographer? Is there really a difference? What makes a photograph relevant?

Gender has no name in this industry, each news will tell it’s story, your composition will define the gravity of how you tell your story. For me, as soon as I get the assignment I have to get a good brief of the story, my subject and it’s issues. I have been assigned to a lot of different beats already, and never has gender had it’s advantage, not because you are the only female within the group, the men will be kind to you, they will brawl with you and you have to brawl back. Photojournalism is not about being a male of a female, it is about how you give justice to your subject and at the end of the day a good photo submitted to your newsdesk.

You should always be ready to face the day, and each day has it’s own adventure, there are days you need to climb a tree, run fast , slide or glide through. You will do everything to capture that moment, working for a newspaper is very challenging. Like any soldier, you cannot go to war without knowing what lens to use, remember to keep a sharp mind, there will always be a possibility of something happening with your subject.

But it is not always like that, there will always be the lifestyle, travel or documentary assignments. There are so many stories to tell, those cancer patients and their stories of finding strength, the rebels and the fight to freedom, the survivors and their stories of hope, even the behind the scenes of your most glamorous shows. Sometimes, assignments like these gives me more time to immerse myself on the real feelings of my subject. At the end of the day, even if I go home tired and dirty. I smile to myself because I was able to partake with my subject.

What do you think the government should do so young generations will have a more critical way of understanding photography as a language?

The youth today are more critical than we think, the photos they see, the exhibits, the social media, everything is within their reach, it has an impact on them more than we are aware. They have the vision, the objectivity and the reasoning on what is happening around them. History will call for change.

Twenty-three years ago, when I first entered the field of news as woman photojournalist, it was man’s world, I could still remember Mr. Ezekiel Tee, one of the great senior photographers of the industry asking me why I chose to saddle up my camera bag and venture this profession, many of my male colleagues would often push me over testing how far I could and would go to push the boundaries of art and good journalism, I would rush myself to comfort room with tears rushing down my face as I contemplated upon whether or not I was built and cut out for this industry. I was at my breaking point when one of my dearest friends and greatest colleagues told me to hold my ground and continue my battle and look at where I am now, I was assigned to cover the insurgency of the New Peoples Army, calamities unlike anything I’ve seen before of which are the earthquakes in Nueva Ecija and Baguio City, countless anti-government rallies that always seemed to halt with an abrupt dispersal, the oh so tiring police beat, senate, congress, and Malacañang shoot, and many more to tell. I’ve gained the respect of most if not all of my male counterparts, And I will continue to break through prejudice and stereotypes for as long as I hold this camera, within this men dominated the world a woman chose to set her mark.

How do you see Philippine photography as a whole in terms of using it as a language?

I believe that Photography conveys a message beyond what is explained, to a Photojournalist a Master craft may touch you in so many ways, it can make you smile, laugh, can tug on your heartstrings or sometimes even provoke anger.

I think a big part of Photography is not just to show but to let you feel, and to bring you to that very same spot where that photo was taken. It takes you to the different corners of the community, the different lifestyle. It takes you to the city street, the mountains to the palace. Each image that you capture turns into a soul, each with its own story to tell. As a Photojournalist, I promised to share this message with as many audience and readers.

What makes the woman photographer different in terms of the manner of presentation of a subject/object/content in photography as compared to a male photographer? Is there really a difference? What makes a photograph relevant?

Gender has no name in this industry, each news will tell it’s story, your composition will define the gravity of how you tell your story. For me, as soon as I get the assignment I have to get a good brief of the story, my subject and it’s issues. I have been assigned to a lot of different beats already, and never has gender had it’s advantage, not because you are the only female within the group, the men will be kind to you, they will brawl with you and you have to brawl back. Photojournalism is not about being a male of a female, it is about how you give justice to your subject and at the end of the day a good photo submitted to your newsdesk.

You should always be ready to face the day, and each day has it’s own adventure, there are days you need to climb a tree, run fast , slide or glide through. You will do everything to capture that moment, working for a newspaper is very challenging. Like any soldier, you cannot go to war without knowing what lens to use, remember to keep a sharp mind, there will always be a possibility of something happening with your subject.

But it is not always like that, there will always be the lifestyle, travel or documentary assignments. There are so many stories to tell, those cancer patients and their stories of finding strength, the rebels and the fight to freedom, the survivors and their stories of hope, even the behind the scenes of your most glamorous shows. Sometimes, assignments like these gives me more time to immerse myself on the real feelings of my subject. At the end of the day, even if I go home tired and dirty. I smile to myself because I was able to partake with my subject.

What do you think the government should do so young generations will have a more critical way of understanding photography as a language?

The youth today are more critical than we think, the photos they see, the exhibits, the social media, everything is within their reach, it has an impact on them more than we are aware. They have the vision, the objectivity and the reasoning on what is happening around them. History will call for change.

“I’ve always thought that starting in kindergarten children should have a visual languages class along with learning their ABCs – it’s a language that we use every day but are very unaware of its mechanics. More so now that the world is evolving this way, becoming more and more visual through digital technologies?

Interview with

Sara Black

Beauty Photographer

How did you become a photographer?

My interest in photography began when I was quite young, maybe 9 or 10. I received an Instamatic camera as a gift one Christmas and I enjoyed seeing visually interesting subjects and capturing them. I picked it up as a real hobby at university when I got my first SLR. I’ve always been a visual person so at that point the timing was just right for me to develop the skills and feed my passion for it. After graduating it just felt like the perfect fit to pursue it professionally. I did an apprenticeship with a photographer and then went flying solo on my own a year after. I haven’t looked back and have just kept going

What makes the woman photographer different in terms of the manner of presentation of a subject/object/content in photography as compared to a male photographer? Is there really a difference?

Yes, I believe so. Women and men have different natural inclinations, different sets of lenses with which to view the world because we’ve experienced that world in different ways – historically, socially and on a personal level. We’re attracted to different subject matter and as a result are more keen on shooting certain things. Not that one point of view is better than the other, it’s just different. And it’s amazing to celebrate those differences. The way I see it, the more points of view, the better. Then everyone gets exposed to a variety of things and as a result, our minds open up and have fewer limitations.

What do you think are the limitations a woman photographer has in photography. Do you believe that photography is a male-dominated discipline?

Actually, I think it’s an advantage to be a woman photographer. Numerically there are more men doing photography professionally, so the world is saturated with the male point of view. So it’s refreshing to be in contact with the female gaze just because it presents a different reality than one we are more exposed to.

The world is also changing fast and more and more women are gaining momentum in all sorts of different industries, not just photography. So hopefully it gets to the point where there is a greater body of work created by women that are impactful, and not necessarily just important because the work is greater in number.

What makes a photograph relevant?

When it can evoke a feeling or widen a mindset.

How do you see Philippine photography as a whole in terms of using it as a language?

The whole world has some catching up to do with learning visual languages now that the digital era is exploding. I think to some extent developing countries struggle a little bit more with it because they have other immediate (economic) needs they have to attend to, so culture and art tend to get pushed to the background. But people will have no choice but to adapt because more and more we are all communicating in visual terms. We post our photos on FB to tell our stories, Viber or WhatsApp. As the necessity or the use becomes normal, the level of skill and understanding should go up.

What do you think the government should do so young generations will have a more critical way of understanding photography as a language?

I’ve always thought that starting in kindergarten children should have a visual languages class along with learning their ABCs – it’s a language that we use every day but are very unaware of its mechanics. More so now that the world is evolving this way, becoming more and more visual through digital technologies.

“I believe what makes a photograph relevant is if it can strike a chord in someone’s emotions. It doesn’t matter if it is technically perfect or not. Impact to the viewer is always the strongest component to a photograph.”

Interview with

Pilar Trigo Bonnin

Portrait, Wedding and Fine Art Photographer

How did you become a photographer?

I clearly remember the moment I fell in love with photography. My father brought home a Polaroid camera when I was 8 years old. I remember being mesmerized by a moment frozen in time through photography. When I got older and started to travel, I would take photos with my film point and shoot camera. Frustrated by how the photographs never looked as stunning as my eyes captured the moment, I purchased my first Film SLR camera, studied photography under Fine Arts and built my darkroom where I would spend countless of hours in. It was still the film era and there were not too many photographers in the Philippines but my desire and passion to learn were very deep. I built a home studio and initially started with children’s portraits to make some extra cash for my film and darkroom expenses. I, later on, met a friend who asked me to be his back up photographer for weddings and everything else evolved from there.

How do you see Philippine photography as a whole in terms of using it as a language?

Nowadays, people put their stories and lives online through photographs from all walks of life. Whether they post it on social media or simply send it to their loved ones working overseas, it is already a way of communicating. At times, no words are needed, just a powerful photograph to tell the story.

What makes the woman photographer different in terms of the manner of presentation of a subject/object/content in photography as compared to a male photographer? Is there really a difference?

Personally, I don’t think that there is a difference due to gender. Storytelling through photography is genderless. It is all a matter of personal interpretation. If one were to analyze a photograph, you won’t be able to tell if a man or a woman took the photograph.

What do you think are the limitations a woman photographer has in photography. Do you believe that photography is a male-dominated discipline?

I think that the only limitation a woman photographer or ANY photographer has is herself or HIMSELF. There are no limitations except for your mind and your conscience. So depending on your personal beliefs, imagination, and creativity, the sky is the limit. Photography has no gender.

What makes a photograph relevant?

What makes a photograph relevant is if it can strike a chord in someone’s emotions. It doesn’t matter if it is technically perfect or not. The impact to the viewer is always the strongest component to a photograph.

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Interview with

Nana Buxani

Documentary Filmmaker, Photojournalist