In Profile: Carlo Soliven (Part 2)

Part 2 - Behind the lens

I had the privilege and pleasure of having fellow photographer, Carlo Soliven, sit for me in a turning-tables sort of portrait session while he was home a few months back. You can view my post and the pictures from that shoot here.

This post is a feature of the beautiful pictures that Kaloy, as I fondly call him, makes with his camera.

As he is currently working in Singapore, let's start off with his classic shot of the iconic Merlion.

Carlo is currently making his way into fashion photography. He also utilizes an off-camera flash or two when he shoots, but is equally comfortable in natural light. Here are some of my  favorites from his more current fashion-inspired shoots.

I love how he integrates strong elements of composition into his portraits, especially the lines in both images above.

Being a strobist disciple himself, I also admire his restraint when using light. We seem to agree that drama is best created when one doesn't light everything in the frame, which he does superbly in the image above.

However, at the end of the day, when Kaloy would like to take a more deliberate pace. He goes back to shooting landscapes, which I believe he is equally good at. A zen-like exercise that I can definitely relate to.

The above shot is an HDR image of a bridge at the Punggol Promenade. To be honest, I'm not really a fan of HDR, but I definitely like the way he processes this image, still showing restraint without going overboard on all that dynamic range goodness.

Whether shooting landscapes or models, Carlo seems to have both skills in the bag.

*All pictures in this post are copyrighted to Carlo Soliven and used with his expressed written permission.

In Profile: Carlo Soliven (Part 1)

Part 1 - In front of the lens

There is always a ton of some trepidation when one is asked to make a portrait of another photographer. It isn't just because one runs the risk of looking like a complete idiot in front of someone who could very well know what you're trying to achieve and realizes, before you do, that you're failing miserably. It's also because most photographers are a lot more comfortable behind the lens rather than in front of it. As such, there's a lot of fidgeting and wrangling before you finally get one to relax long enough just so you can shoot a picture of them blinking.

I had such a challenge an opportunity when I had my cousin, Carlo, sit for me. We started out with a standard head-shot-type image. Three lights in total --- one key, two rims --- with the subject on a black background.

You might think that Mr. Soliven doesn't smile all that much, but we actually went through a LOT of shots just to get to this one, since we were laughing most of the time. In fact, we were laughing so much that we actually had to shoot one in profile just so we wouldn't have to make eye contact, which always led to us chuckling in a second or two.

It was unexpectedly one of my favorites from the set. Plus, I actually managed to get a sharp enough picture as I actually stopped suppressing a laugh long enough to press the shutter.

I was pleased with the shots I got so far, but I also wanted to throw in a picture that told the viewer that he is looking at a photographer. I wanted to achieve this without bringing in the oft-used camera into the frame because that has been done by nearly every photographer who has ever shot a photographer. I decided to bring in a ring flash adapter into the picture to not just add an interesting element into the frame, but also to show that this is someone who shoots using off-camera flash.

Carlo actually bought and liked this idea and the resulting image. However, I thought that the ring flash adapter might compete for attention with the subject since it was the brightest element in the picture, so I decided to shoot one where I could exploit the aforementioned quality by using it as a framing device.

I rendered the resulting image in black and white, which in my opinion made it a lot more interesting. However, it doesn't really matter what I think looks interesting because at the end of the session it's all up to the subject to decide whether I made the whole awkward experience pay off.

I hope I did.

Note: 'Part 2 - Behind the lens' will feature Carlo's more recent work and will be posted soon.

Sasha — Bohemian at Busay

Carlo and I got to shoot Sasha again the last time he was home from Singapore. We initially planned for a hippie/Bohemian-themed shoot, but decided to deviate from that eventually to make use of what the location had to offer since it was quite a long way from the city. It was a warm and windy day, which did not only feel odd, but left us parched at the end. We were holding on to our lighting equipment the whole time because there was no picking it up from the foot of the mountain on the other side. All in all, it was a typical sojourn into a faraway place just to make pictures.

*You can view and comment on each picture in this set by viewing the album here.

Jade - Maternity Portraits

Jade, the lovely woman in the pictures that follow, is a very good friend of my wife, Susan. We conceptualized and planned a maternity portrait session as a gift to her last March, as she was expecting her first child then. She has since given birth to a healthy and beautiful baby boy. However, please allow me to share a few hand-picked pictures that I especially liked from that session here.

The pictures in the collage above can be viewed individually (and larger) after the jump.

BPI Science Awardee Shoot: Shedding Light on Excellence

I have known Denniell Ann (simply Denden to people in the department) since she fortuitously found her way into the B.S. Chemistry program about four years ago. Ever shy and self-effacing, I asked to shoot her for an article that I wrote for the USC Department of Chemistry's blog (which you can read here). I did this, not only to celebrate her many notable achievements, but I hoped to infuse her with a you're-only-limited-by-your-imagination kind of confidence before she headed out into the matrix real world.

As I have come to learn, it is always good to get your standard 'crowd-pleasing' keepers done before you experiment with something... less conventional. So, I went for an evenly lit, high-key-type look for the pictures below.

 

Even Steven

Three lights were used to create the look. Due to mixed light sources in the room, I decided to kill off ambient contribution completely. I used a flash set at about 1/16 power, above and behind me as on-axis fill. This allows me to build upon how the shadows in my image will look like before I bring in additional lights. A second flash in a Westcott Apollo soft box at about 1/4 power was placed above (pointing down) and to the right of the subject at an angle of about 45°. A third flash was shot through a LumiQuest SoftBox III and placed on a short stand behind the subject pointed up at the white projection screen. A few test shots, tweaks and adjustments in her pose gave me the pictures below.

The first was shot with a 70-200 mm lens.

A wider angle lens (17-50 mm) was used to make the picture below.

The white background with her white bolero (Yes, I know what that is!) made the wording on her plaque readable in the second image, so that in itself was a bonus.

Time to loosen the straightjacket.

Just Human

I shot the above picture for a multimedia essay project undertaken by a number of volunteers for the Women's Resource Center of Cebu last year. The project involved conversing with women from all walks of life from the city and retelling their tales at an exhibit for International Women's Month in Kortrijk, Belgium this year.

As of this writing, some of the pictures that I made during the two interviews that I covered are being shown more than halfway across the globe. I got to participate in the process of making their stories heard. It's an awesome feeling just to be a part of it. The volunteer I worked with promised to send me pictures of the exhibit, and I will be sharing them with you, together with the other pictures I made in a more substantial post.

More to come...

Grid-lock

I have contemplated permanently attaching a grid to one of my flashes a number of times now (and that's during one of my saner days). I might just do it one of these days as the grid is one of the most used  light modifiers  in my bag (and probably my favorite). I have always loved how it restricts light, which makes it a great way to isolate (or selectively light) my subject. And plus it weighs next to nothing and requires only a Velcro strap (or a rubber band in a pinch) to attach to a hot shoe flash.

It is this very portability that allows me to bring it with me even on family trips because you'll never know when you'll need a 'kiss' of light to capture a moment like the one below.

My brother and his son were standing near the pool light, which created a warm yellow orange glow around them. However, the light was not powerful enough to illuminate their faces, so I simply popped a flash in the frame. I warmed the light up a bit with a 1/4 CTO gel to more or less match the color coming from the pool light. After making a couple of test shots, it was all a matter of waiting for my nephew to flash his endearing 'cute face'. :-D#

_________

For those who are interested in the technical details, here are my settings:

Camera - f/4.0, 1/25s, ISO 200, WB Cloudy | Off-camera flash (triggered via Cactus V4) - at 1/32 power, +1/4 CTO gel, through 1/8" grid

The Diwata's Gifts

This post will deal less with the technical aspect of the diwata-themed pictures that I shot recently, but will instead focus more on the lessons that I learned as I went through the process of conceptualizing, planning and executing the shoot. I have already expressed how much I want to do more with my photography here, so I decided that investing in a personal project to build my portfolio was a step in the right direction.

The diwata's gifts will be revealed after the jump.

Let Sleeping Flashes Lie

I haven't had the luxury of being able to sit down and work on a proper post. There are a number of possible topics floating around in my head, but I haven't been able to nail them down just yet. I am hoping that the coming long weekend will afford me the time to write something more substantial. However, I don't want the long pause in between posts to become a recurring thing; so, I'm squeaking this one out and hoping it will build enough momentum to carry me through the end of the week.

I will be writing at greater length about the diwata-themed shoot that I did as part of building my portfolio. For now, let me just share a happy accident that occurred at that time. I had Jing up on the tree and while we were adjusting her pose, checking her hair, fixing her dress, and waiting for the early morning sun to shine consistently (C'mon, buddy. Make up your mind!) the hot-shoe flash fell asleep entered power-saving mode. Now, I usually test fire the flash before I make the shot, but apparently my brain also fell asleep.

So, the shutter clicks and Queenie reports that the flash didn't fire. I checked the image on the back of my camera and confirmed that very fact. This is what I saw on my LCD screen.

A few years back, I would've found my finger moving towards the trash button, but I found that the image worked despite the flash not firing. I decided to keep the picture because it's not too often that the universe lines everything up just waiting for you to make the 'wrong' move.

Glam Is Just a Four-letter Word

Like most Filipinos, I was born, baptized and welcomed into some form of Christian faith. As a man, a mostly unspoken 'macho' code was passed on to me – Don't cry in public (pretend to yawn). Treat women as you would your mother or your sister (lie to them to get out of something). Don't pluck your eyebrows (say you had a shaving accident). The list goes on and on. In my upbringing, sex and sexuality were not regular dinner table fare. I remember watching 'Ghost' with my Lola and finding myself staring at the ceiling when the film's lead characters were getting creative with pottery.

I thought I had outgrown the awkward elocutionary maneuverings around the... ahem, proverbial bush. But, I was wrong. Having gotten myself into photography, I found myself being drawn towards portraiture. I've spent the past three years in semi-serious pursuit of the craft. I've thankfully gotten to the point where I am confident enough to finally have people book me for sessions.

Admittedly, most of my subjects are women and with that I was introduced to the minefield landscape of glamour photography. The sexual and sensual aspect of glamour intimidated me at first. I found myself being transported to that uncomfortable moment in my childhood when my Lola asked me what I was staring at on the ceiling while Patrick and Demi were making something that sorta looked like a vase. The seven-year old Catholic boy, the happily married man and the artist coming into his own were debating the pros and cons of adding and developing this element into my photographic repertoire.

So, why the internal dispute? What is glamour photography after all? Well, there are far better answers from noted authorities on the subject, but allow me to elaborate on three points that I believe were vital to my understanding of the genre.

• Glamour, although it has been wrongly associated with it, is not porn. We can debate the difference between nude and naked all we want, but it all hinges on intent and context. If the intent is to show the sensuality and allure of the subject, then I say glamour. If the intent is to arouse and trivialize sex, then it is porn.

• From the point of view of feminism, I will to have to quote from an article written on the subject by Carol Dyhouse because I believe she perfectly put things in perspective —

'Does glamour empower women, or turn them into objects? It is important to remember that women practise glamour, they are not simply the object of the male gaze. And, historically, glamorous women were just as likely to be seen as dangerous to men as victims themselves. Glamour can represent self-assertion, sexual confidence, playfulness, pleasure and delight. But in the end, nothing empowers women so much as a good education and a well-paid job.'

• Lastly, if I may offer my own take on glamour it would be this - A glamour photo is first and foremost about the subject. As most subjects are women, the image should not only celebrate beauty, but the sensuality of the woman in the image as well. The subject bares her vision of how it is for her to show the aforementioned qualities and my job is to translate it into an image that measures up to her view. 

 

It was a drawn-out process of deliberation, but I've finally made the decision to pursue it. I gather that most people will misunderstand my intentions and misinterpret my actions. I understand that I have drawn a line in the sand where I now have to openly confront small-minded critique of any work that I'm going to put out there. In the course of undertaking this endeavor, I took the time to talk to the people who matter most to me in my life: my wife, select family members and my closest friends. And I assuredly have their full support, so I couldn't really care less for misguided and uneducated guiltmongering about sexuality (Yes, you don't have to tell me again because I already know that I am going to burn in hell. We can continue the lively discussion there.)

In fact, proof of this support is when my best friend, Maricel, agreed to be one of my subjects in building my glamour portfolio (hers are the pictures that are interspersed throughout this article). She and I developed concepts for the shoot. My wife helped me refine those concepts and supplied makeup and accessories on top of an encouraging smile. My good friend, Queenie, lent some articles of clothing and did the makeup for the shoot. The Baricuatros, Farley, Dia, Cacing and Komodo, welcomed us into their home and did not only offer us a beautiful and versatile location, but a hearty meal as well. And last but not least, a number of friends from work (Ailenn, Jinky and Sharajen) were present during the shoot and did not only provide great company, but helped me carry and move my gear as well.

And before I end this lengthy post, I would like to reiterate that in the end I am a portrait photographer. My mission has always been to create intimate and meaningful pictures of my subjects. If I had to call it anything just for the sake of classification, I wouldn't call it  glamour, but rather intimate portraiture.

As 2012 rolls in, I look forward to not just making more beautiful images, but those that give my subjects a beautiful self-image as well. Happy New Year everyone!

Come as You Are

I have written a piece on how I perceive a portrait to be and the process behind its creation. Most of my insights on portraiture are more of the old school than of the new. This doesn't mean that I don't appreciate the new styles and techniques that have emerged, but let's just say that I am more of a get-it-right-in-camera kind of photographer. If I can achieve the look that I need with the right clothes (or the lack thereof), a little makeup and flattering light, then I am more than happy to call it a day.

Shooting Friends

Social networking services have severely diluted the word friend. Personally, I do not only find it grammatically uncouth to use it as a verb, but I am also mildly disturbed as to how it is thrown into the same stew of words as acquaintance and associate.

DPP 0811, Day 29 – Megs

Beneath that handsome exterior lies a quiet confidence, which allows Megs to both blend into a crowd and stand out at the same time.

In this shot, I didn’t want to downplay his looks, but also didn’t want it to be the only quality of his that I wanted to feature. I wanted to evoke his contemplative side, but also wanted to hint at the playful nature beneath it. The strong lines in the chosen setting were used to elicit a sense of masculinity because I wanted the ‘handsome meter’ to point towards rugged and as far away from K-pop-boy-band pretty as possible.

A simple one-light portrait, which is currently my favorite from the ones that I’ve shot for this project so far.

DPP 0811, Day 28 – Khristian

In the Philippines, the macho culture is still very much prevalent (thanks in part to beer and liquor commercials). ‘Real’ men do not cry, dance, or know that mauve is actually a shade of purple (and not the same color). I have been in earshot of too many machismo-fueled conversations between male students walking the halls of the university to know that things will not change soon. But, I have faith that the future will be different.

I dream that one day men can both be strong and vulnerable, powerful and graceful, and decisive and intuitive. And from what I know of Khristian, there’s hope for men yet.

DPP 0811, Day 27 – Mjane

Lately, I’ve been debating with myself over whether to stay true to a working style that I had developed or to trade it in for other trendier alternatives. It took me a while to end the debate (it was with myself after all), but at its conclusion I decided to continue to abide by the process that I had nurtured over the years —

At it’s very core, a portrait should primarily be about its subject. The location, composition and lighting come in second.

I hope that it will not only earn me some form of commercial success (enough to quit my day job), but that it will allow me to draw inspiration and fulfillment from it for the years to come.

The Return of the Outtakes

I have never been one to do extensive editing (especially retouching) in post. Sure, I process all my pictures as I shoot in a RAW format; but I realized that if I retouched most of the pictures (especially portraits) on top of my usual workflow, then I’d be stuck in front of the computer for days at a time. And I have always stood by my personal tenet to  never retouch a person’s portrait to the point where even her own mother wouldn’t be able to recognize her.

My rule has always been simple —

If the picture presents the person in the best possible way that they could be in real life (ex. a little less acne, a little more blush) and provided that any changes I make will only enhance the picture, then why not.

Well I didn’t really have a LOT of time on my hands, but I wanted to exercise my post-processing skills a bit lest they atrophy.

DPP 0811, Day 26 – Chat

I try not to put too much stock in first impressions. I only got to know some of the most fascinating people in my life upon closer inspection. Being introverted, I could’ve easily shied away from a tornado of vivacity like Chat. And yet working with her on a number of occasions has allowed me to see other facets of her person; I especially admire the grace with which she handles her duties. Where it takes perseverance to make it through a long (and bad) day at work, it requires a rare optimism to make it to the end of the day with a smile on one’s face.

DPP 0811, Day 25 – Leif

In my experience in shooting people, no matter how practiced or (on the other end of the spectrum) unskilled the subject is at posing in front of the camera, at some point they’ll ask you the question —

What do you want me to do?

In Leif’s case, he was assisting me while I shot Aying (in the previous post), so the answer ‘Light yourself!’ was not only as good as any, but quite apt for that particular moment in time.

The Outtakes Strike Back

As my DPP 0811 nearly comes to a close, I am once again presenting a number of pictures that I was able to make along the way. Once again, these images are not necessarily flawed for them not to make the cut, but often one has to weigh a number of factors in selecting picks.

If you’re a music buff, just think of these as B-sides. :-)#

Rachel

DPP 0811, Day 24 – Aying

Aying to me initially was the young lady with the infectious grin. I rarely see a picture of her not up to her goofball antics. And yet during the exhibit, I saw a different side to her when Ms. Ising put her on crowd control — mostly adamant (Not on the list? Walk through!) and towards the end a bit subdued (sitting quietly in contemplation).

Where it is true that I may not know Aying as well as her family and friends do, I do have a ‘gift’ for catching glimpses of sides of people that they often conceal from the rest of the world. She could’ve been just tired from a day of directing traffic ushering people, but I am quite glad to have made a picture of her that showed her quiet side nonetheless.