A mother cries in anguish as she sees the lifeless body of his son who was seen walking aimlessly in the dark alleys of Tondo until he dropped dead in a gutter.Witnesses say an unidentified assailant shot him several times in the body.
Dateline Manila: September 2016. A few months back, before Rodrigo Duterte had even assumed office as President of the Republic, lifeless bodies started appearing daily like clockwork signalling the start of the anti drug-war in the country. I detached myself from reliving my days of ambulance-chasing and felt numbed from the outgoing and the new leadership’s promises, so I temporarily restrained myself from chronicling the events.
In the early days of my career as a news photographer, I was almost a fulltime resident in Manila’s police headquarters. I spent days and nights covering the police beat as a stringer for a newspaper.I slept in a couch at the press office behind the reception desk of the then Western police headquarters. Documenting daily ocurrences of human misdeeds and tragedy can creep in your system and it wasn’t too long before all kinds of quirky things started happening as I walk the streets of the metro, a habit that was special to me because I loved documenting daily life on the streets in my free time. In one of my walks, a group of men started fighting and stabbing each other with forks and spoons…one time as I sit calmly in a bus, the engine would burst in flames in front of me. One night as I went home past midnight while I was distraught with some office problems, I accidentally boarded a jeepney which was about to be held up. My instincts signaled me that something was wrong but it didn’t sink in enough as my mind was deeply preoccupied. luckily, the hold-up men were professionals and I was able to put across that I was from the ‘PRESS’ and my gear didn’t belong to me so they let me go…but not without giving them my watch. The cameras ,two-way radio were all spared from their crime as I jumped out of the jeepney when they made a detour into ome of the dimly-lit side streets in Espana in Manila.
Manila, 2016: It finally dawned on me that the killings related to the Duterte’s drugwars is a significant point in history that I could not miss specially when the only thing I know well (photojournalism) is being questioned or branded as destabilizing the country. So I dusted off my beaten camera gear and started hanging out with the other journalists maintaining their nightly vigil at the Manila Police Department Press office.
There is a saying about photojournalists when I was just starting out that goes “We don’t take sides, we only take pictures”. Maybe that is partly true because ‘news’ is supposed to be based on truth and facts. Things have changed and in my journey as a photojournalist and a documentary photographer, I knew and felt from deep inside my heart that images should be compelling, provocative and to somehow spark changes in our lives. Every photograph is a reflection of the person who captured it. there will never be identical images from every photographer even if they were all herded together in one spot looking at one subject. Working on my own and without commisioned assignments, I am more free to post images with just simple captions or datelines…It is difficult to verbalize every image that I capture because not all of them are literal…sometimes my images are just abstractions of what is happening before me.
I try to go and cover whatever unfolds for the night and shoot it and approach it clearing any biases I have . No image is ever objective but on this personal project, I am being careful not to add or remove anything from the visual landscape and let who ever views them to complete the equation on their own. The narratives will unfold with the passage of each night.
Since Street Photography has evolved from the classic to the contemporary form as it is now known, it is then safe to say that the genre is in flux.
The traditional SP that we have come to recognize as leaning on the edge of Art and Documentary is now undergoing a gradual process of transformation. I for one have slowly veered towards injecting my own sensibilities and beliefs into the genre (I call it a genre but is a debatable term). I myself have failed to come up with a definition for Street Photography so whenever I discuss it among my students in the” Wide Open Streets Workshop” or “Wide Open Workshops in Street Photography” I always explain it to them in 1001 different ways evry time.
I started out as a photojournalist shooting general and spot news in the early 80’s and in between these assignments, we fill the gaps by engaging myself in long walks around the city and shoot what was popularly called as ” Human Interest”. An old term for a category that is now known as “Daily Life”. which is a lighter a lighter, feature type of photography showcasing facets of life in the streets. As we know, humans can display a wide variety of notable activity and the photographer has the power to capture them in equally limitless ways. The photographs then become documents of history, social change, and or personal expressions without any public ambitions .
At this point, it is important to also mention that Street Photography has also given birth to different schools of thought and styles…personally, I believe that SP need not be just derivatives of the old and classic images…everyday we must strive to find new imagery and directions. The unbelievable and dizzying surge in digital technology and the real time postings on social media have given birth to the photographers in all of us. We are all photographers now. When we were just starting out, you can even count the practitioners by hand.
Enough with these random ramblings for now..what I am really trying to say is that in my next workshop on August 27-28 2016, I would be trying to discuss how to repurpose Street Photography and veer in different directions.
SP as a tool to record:
Changes in social conditions
an expression of Defianceand orResistance (political or ideological)
Intellectual and pure artistic expression
Critique of society
I am not trying to revolutionize Street Photography but will try to make it more relevant to the change that has been promised by our leaders.
It’s been quite a while since I have revisited typhoon devastated Tacloban City. I was hoping on documenting it’s rise from devastation.
A couple of weeks back, just before the 6 month after typhoon Haiyan (locally known as Yolanda) struck and destroyed a large swath of the area, I was commissioned to do some video work for the UN’s Farm and Agriculture Organization. Below is the finished short.
Typhoon Haiyan (locally known as Yolanda) hit the central Philippines on 8 November 2013, destroying some 600 000 hectares of farmland and leaving tens of thousands of farmers without a source of income, severely threatening their food security.
Thanks to an immediate response by the international community, the Department of Agriculture and FAO were able to assist tens of thousands of rice farmers quickly restore and replant their devastated fields in the wake of the disaster, working closely with the national government at all levels. Within weeks of the disaster, FAO, the Department of Agriculture and their partners, began distributing certified rice seeds and urea fertilizer to severely affected farmers, reaching 80 000 families in time for the December/January planting season.
Some have already gathered their crops, others will be doing so over the coming weeks and into early June, giving farmers hope for the future and kick-starting their recovery.
– See more at: http://www.fao.org/emergencies/resources/videos/video-detail/en/c/231219/#sthash.LGvOepTX.dpuf
I started using my M-mount lenses on the Xpro-1 so I had my 35mm Nokton Classic cleaned and calibrated so I can use it for poor lighting conditions as a normal lens owing to the 1.5 crop on the XPro-1’s APS-C sized sensor.
Whenever I go out hunting for images on the street, I don’t really have a planned theme…Street photography for me is supposed to be spontaneous or unplanned..the fun of it is when moments or a unique vignette of a scene pops out from your visual landscape. Themes and projects are for the photojournalistic side of my brain. Street photography allows me to wear a different hat. to have the luxury of being able to shoot freely and without pressure from paid assignments.
Most of the time, you lose your touch …and that is the main reason why photography has to be a passion, a lifestyle…It is and should be a part of my daily life, otherwise I suffer from a “visual block”.
Today I started out by visiting The San Sebastian church, where i sat down, absorbed the tranquility and began to meditate, to thank God for pulling me out of evry predicament I thought I could not handle. Then I became aware of the surroundings and began to shoot.
One time, I received a tip that there was going to be a demolition of informal settler’s shanties in San Juan… I had my X100 with me and since time was of great importance ,I did not go back home to get my DSLR cameras.
At first I got so nervous since all my colleagues were clicking away with their high end equipment and all i had was a compact camera with a 35mm prime lens. I held my ground because I knew that if only I could focus accurately, my X100 would carry me through the whole violent coverage..I want to share a slideshow of that fateful day.
Rollover your mouse around the icons for navigation controls and click on the lower right for viewing the slideshow in fullscreen…
In the Philippines, gold deposits are can be found in many areas. Smallscale gold mining is thus widespread, employing perhaps as many a 500,000 people across the country. There are essentially two types of small-scale mining in the Philippines: “indigenous”, which is carried out by communities or tribes for collective benefit and somewhat self-regulated by social norms and ritual, and “gold rush mining” which attracts poor migrants an others who work a site until it is considered empty and then move on. Most child labour is found in the latter. Children working in small-scale mines generally work alongside older family members in different steps of the processing and provide support services. The typical child gold miner is a boy between the ages of 15 – 17 years old who is a school dropout and who contributes about 30 per cent of the overall family income. Girls are sometimes involved, particularly in panning, but generally are exploited in other ways – by having to forego education to look after younger siblings are perform household chores, or worse by getting pulled into prostitution or domestic labour for third parties. In the Philippines, children participate in a particularly dangerous gold mining practice called compressor mining. Here child miners dive into and open, muddy well perhaps two metres wide and up to seven metres deep. They extract soil in a murky environment with zero visibility wearing crude eye masks and breathing oxygen from a tube with the help of a compressor. The miner works in a squatting position, anchoring himself with elbows or knees pressed against the walls while shovelling mud into sacks. He usually stays down anywhere from three to five hours before taking a break.
“Paracale is a gold-rich municipality, 27km northwest of the provincial capital of Camarines Norte. In Paracale, compressor miners usually operated through offshore makeshift mining houses. The provincial government in January of this year allegedly cancelled the permits of all small-scale mining operations in Camarines Norte, one of the areas in the country that have sizeable minerals, especially gold deposits.”
Rollover the cursor at the bottom of the interface to play, pause or stop the slideshow and the audio background. For full screen display…click on the lower right corner icon