by Regina Abuyuan+ | 2007
Fig. 1. "5 Photographers Part 3: A Tribute to 5 Pioneering Masters of Philippine Photojournalism." 2007. https://aaa.org.hk/en/collections/search/library/5-photographers-part-3-a-tribute-to-5-pioneering-masters-of-philippine-photojournalism
The first one man show which featured photography as art was by Romy Vitug. That was in my gallery then, in Indigo, in 1967. There were a lot of photographers who used to visit—Dick Baldovino, Frankie Patriarcha, Emil Davocol. We tried to encourage photography as art. Even Mike Parsons had a one-man show of his photographs and underground films. The ‘60s was an exciting time. Indigo was like a companion to Indios Bravos, a café where artists and writers used to hang out. It was Betsy Romualdez Francia and Virgie Moreno who wanted to establish a gallery next to Indios Bravos. Indios Bravos is now (the old) Hobbit House; Indigo is now The Oarhouse. After that, I said, why not have a group exhibit? That’s how the first 5 Photographers exhibit came about. It was repeated in 1973. Parang reunion.
At Sunday Times magazine, I was the layout artist, along with Nonoy Marcelo. I was always interested in photography. I always went out. I did my printing Romy while in the office, and with Ed at nighttime, when his kids were asleep. Gabi hanggang umaga, we’d be printing in his bathroom. His wife would cook sinigang for our midnight snack.
During that time, you got exposed to Henri Cartier Bresson, and I wanted a local counterpart. I saw the same qualities as Cartier Bresson in the five. Ed has a very sensitive eye with patterns, which is really art already. Romy meanwhile, is very concerned about composition, even if the subject is human interest. I learned a lot from them, because when I would do the layout, they showed me the photographs. Of course there were times when we used to argue. Uso ang cropping noon e. My stand was, well, if it helps the story, why not? But they didn’t want their photographs to be touched. Kaya nauso pati yung edge ng negative, sinasama. We were exposing each other to our respective worlds. With Romy, he always asked questions about composition. So it was always an exchange. They taught me the right opening of the camera. They taught me darkroom techniques. It actually helped me a lot because when I was in London, that was my sideline, printing for others. It was an exciting time—it’s always exciting when you’re in the learning process.
Exposure to other artists or forms of art is very important. Actually Romy’s influences come from film, Kurosawa. Si Ed naman, painting ang approach niya. The fine arts. So you’ll see there’s a link between art and photography. What’s also important is that you have a personal touch. Aside from what you see, your interpretation of it matters. It shows your mark as an artist. Your signature. This will set you apart even when others try to copy you. You also don’t have to have an expensive camera. Maski maliit yon, as long as you’re there at the right place at the right time, and you don’t hesitate to click that shutter when you see something.
Reinvention is also important. Romy evolved from a photographer to a cinematographer. Si Ed naman, from a painter to a photographer. What’s missing now in magazines are photojournalism stories, like the five used to do. The type wherein a photographer will go to a place and create a story, like a portfolio or a book. Actually, what they were doing wasn’t photojournalism. It’s beyond photojournalism. It wasn’t just telling a story. Each photograph can stand on its own. A good photograph is designed to stand on its own, it doesn’t need a narrative. Sabi nga ni Romy, “I’m working as a photojournalist, pero kung walang news, anong gagawin ko?” So he shoots what he wants. That’s what I’m trying to say. Theirs is a personal approach to photography; that’s what makes these five stand out. Their works were so different; they were like paintings.
Their contributions and approach to photography are still present today, even with the younger photographers. When you look at the photographs now, in spite of being digitally enhanced, you have the same elements in composition, in lighting, in subject, in originality. That is, if the photograph was good in the first place. If the image is not good, whatever you do with it—Photoshop it or enhance it—pangit pa rin. But theirs will remain classics. Classic photography isn’t dated. Like the way you can still admire the works of Cartier Besson, Ansell Adams, Diane Arbus, you can still admire theirs. A good photograph can stand the test of time. It’s timeless.
This text is a transcription of an interview by Regina Abuyuan with National Artist, Benedicto Cabrera. This article is published with the permission of Jose Enrique Soriano.
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