The Great Divide is published on issue 25 of Blur Magazine | Tetra.

BLUR is a quarterly published interactive magazine dedicated for creative photography.
TETRA | is a section dedicated to a specific type of photography: black and white, square-format images that are recognizable for their minimalism and high aesthetic value, often making use of long exposures. The section name comes from the Greek word for the number four, which symbolizes the four equal sides of the format.

The Great Divide
Blur Magazine | March 2012 | English | Source Link

Please tell us something about you, where are you come from.
My name is ReD Ognita, Filipino. I grew up in the streets of Manila, currently based in Beijing.

How did you get interested in photography?
I got involved in capturing images of my own when I started working overseas. My family was not with me, and photographs were the only way I can link to their past. Of course there telephone and emails, but photographs are much better. I made sure that I take photos whenever I come home. The photographs became time machines. It was also the same time that it became a hobby. Whenever time permits, I go out, walk around and take photos of things that appeals to me. Later on, I started creating images in my mind even before I hold the camera. More and more, I started hunting for images rather than looking for something interesting. It became not only a tool to document but also a tool to create.

Did some artist-photographer inspired your art?
Undeniably, Michael Kenna and Hiroshi Sugimoto in photography. In painting, it’s Mark Rothko
I find their aethetic values in-line with what I would like to achieve. Beethoven in music as his tenacity and life biography makes me want to do more and makes me realize that there are no excuses.

Yours work is mainly in square format, and with long exposure-why is that, any special reason?
There’s something in long exposure that I find appealing. One, is that you can essentially capture what is not immediately visible. I find placing a length of time into a single frame very attractive. It is there, but not there. Very interesting. The square format almost came immediate together with my practice of long exposures. I find the square format compliments the feel/effect I was trying to get with long exposures.

In a shorter answer, the techniques (long exposure and square format) was chosen as a way to achieve a vision.

Can you tell us something about your style of photography and post processing?
I always aim for a good print. Having this in the back of my head basically dictates the way I take my shots and post-process. Almost 95% of my work are made with a cable release and a tripod. Shots are all in RAW format to allow maximum flexibility. I contain almost all image adjustments in Camera RAW before going to Photoshop.
Just a few months back I printed a file and it was a mess. I had to redo the entire process from the ground up. I got carried away and processed the file to look good in the monitor without print consideration. Bad move.

Do you print your work by yourself ?
I used to, or should I say I still do but only pigments in smaller sizes. My platinum palladium prints are created in collaboration with a Chinese master printer trained in Japan. He and I goes through several weeks nailing down a single print. I am happy to say that I am fortunate to find someone that helps me realize my vision. Art and artist cannot exist in a vacuum and collaboration does not dillute one’s work in anyway. A mozart is a mozart though played by an entire orchestra.

You take pictures on many wonderful places,is there some place where you want to go?
If the Gods would allow, I would head out for Huangshan next year (Yellow Mountain)
It has been an inspiration of many Chinese paintings for many years and also the inspiration for the movie Avatar. Yes, it’s the cloud covered mountains that shake hands with the sky. Iceland is also a dream destination. I have seen countless images that place – all impressive. I would really like to see them with my own eyes.

Are you a member of some photo group?
I am currently a member of POP Beijing. It’s a group of Filipinos based in Beijing that shares the same passion. I’m open to be a member of other groups, even local, but my grasp of the Chinese language is vey minimal.

You spend hours on the Great wall , which we won’t to show in this presentation, can you tell as something abouth that experience. And maybe some memorable moments you will not forget from that trip.
The following photos are from 3 years of studying the wall from different sections and varying weather. It shows the different faces of the wall from the early light of summer to the biting cold of winter. Every visit is a different and memorable experience. There was a time that I have spent an entire day without clicking a shutter. There was also one summer that I spent overnight without a sleeping bag. My back hurt so much that I found myself wandering on the wall at 2AM. But I guess the most memorable experience is when friends and I climbed the wall during the first snow of 2010. The path was filled with snow that you cannot see where you’ll be landing your feet. There were also no railings to hold onto for assistance. You could skid down the entire wall if you make a mistake. We spent more time crawling than walking. Amazing.

As somebody who just can imagine how magnificient it is, can you tell as something about the wall?
As one stands up above and sees how the wall snakes the landscape, embracing the most forbidding terrain and slowly dissappear in the mist, it becomes undeniably clear – The Great Wall is truly great.

The wall has attracted artists of different mediums and characters, from the experimental, poetic to the subversive. It has been the topic of many books and the fascination of those who have yet to see it. It lends itself to anyone and everyone. It does not dictate meaning. It can be a manifestation of cultural conservatism or the triumph of humankind in achieving the seemingly impossible. It does not judge and welcomes every soul who wants to walk through it.

It gives inspiration to those who are in need – something that it never fails to give me.

What future plans you have with photography(any exhibition,books…)
I started out photography in 2006 but only decided to share my work 2010. Next year, I plan to continue just the same – to share what I see to the world. Though sometimes I feel small amidst all the great talents out there, I will make an effort not to hide. I also plan to give photography more of my time as I find it enjoyable and very rewarding.

I feel that planning small things leads to big things. One step at a time.

It was an honor being invited to the Western Academy of Beijing’s Career Fair. Speaking in behalf of photography, I was with professionals in Journalism, Film and Media. Reluctant at first but I decided to go. I figured that it’d be great to have the chance to inspire others in photography – as I was inspired by many. 

- Donald Durfee – Journalist, China Bureau Chief at Thomson Reuters
- Erica Chen – Editor at Ringier Asia
- ReD Ognita – Fine Art Photographer
- David Lee – International Film Producer, Director, Writer – Chair
- Liam Bates – TV Host and Film Maker

The main goal of the Career Fair is to broaden the students’ horizon as they reach a time in their school life where they have to decide on courses, university selections and life after high school. We also hope to deepen their understanding of a variety of professions and to inspire them on career possibilities – WAB

WAB Career Fair

Classroom Question and Answer

Reuters Beijing Bureau Chief

*** images are copyright of  Geraldine Cuason ***

Sharing an audio interview with the Filipino Broadcast of China Radio International.
The interview was fully conducted in Tagalog by a Chinese reporter who speaks my native language. Click more for the full interview.

Walang kulay pero puno ng buhay
China Radio International | February 2012 | Tagalog | Source Link

Sa palatuntunan ngayong gabi, makikilala natin ang kwento ng isang Pinoy na umusbong ang talento sa pagkuha ng mga larawan dito sa Tsina. Ibabahagi namin sa inyo ang kuwento ng award winning, fine art photographer, na si Red Ognita

Si Ginoong Red Ognita ay mahigit 10 taon nang naninirahan sa Beijing. Nagtra-trabaho siya sa isang embahada dito sa Beijing, at hilig nya ang pagkuha ng mga litrato. At ilan sa kanyang mga larawan ay nagwagi ng mga gantimpala sa Tsina, at maging sa ibang bansa.

Ayon kay Ognita, sa simula walang siyang anumang intensyon pasukin ang larangang ito. Bumili siya ng kamera para lang magkaroon ng litrato na ipapakita pag umuwi sa Pilipinas.

Noong taong 2011, inanyayahan si Ginoong Red Ognita sa 2011 Lishui International Photography Festival, bilang kinatawan ng isang gallery. Sabi niyang “kahit saan naman, kailangan muna ng konting kompiyansa, kasi lahat naman nagsimula sa konting kompiyansa.”

Sticks on running water - Wall Art, Marina Bay Sands Hotel, Singapore 2011

Sharing a recent interview with Andrew. Andrew is freelance writer that contributes to EOS Magazine, Arts & Crafts, Peachpit press and other photography magazines. We took a glimpse of my work, what’s going in my head and some personal truths. It took more the 4 weeks for this interview to be completed (well the holidays kicked-in) but it is truly worth it. Click more for the full interview

Featured Photographer
andrewsgibson.com | January 2012 | English | Source Link

How would you describe your photographic vision? What kind of look or feel do you try and create in your photos?

I haven’t really thought about it. I create what appeals to me. Though I have to admit, it is the simple compositions that I am most attracted to – landscape or architecture. When the weather permits, I love to play with the fog and snow. That’s why I choose shooting early morning. Not as much because of the light but the mood it creates. I find it interesting that when there almost nothing to see but just a tad of a hint, the mind creates the rest for us. When we are unsure of what we are seeing, the imagination comes to play.

Your work is very creative. Where do you get your ideas and inspiration from?

I believe that we are influenced by everything. The things that we see, the experiences we’ve had and the environment we live in. It shapes not only our personality but also how we approach everyday life. And these things spills out to the things we create.

I notice that ideas and inspiration can come in from almost anywhere. I can be doing some non-creative activity and have an idea for a photographic project. But most of the time, it is stories of greatness that gets my inner self going. It may be about a thorny path a creative person took or about someone’s perseverance that celebrates the human spirit.

Name three photographers or artists you like and why.

There are many artist I’d like to mention, but if I have to choose only three, I’d say, Hiroshi Sugimoto, Ludwig Beethoven and Mark Rothko. Sugimoto and the later works of Rothko almost has the same aesthetics – minimal. While for Beethoven, well, who doesn’t love a Beethoven. Aside from his musical genius, his rise against adversity is very inspiring.

When did you start taking photos? What made you decide to explore photography as a means of artistic expression?

I started taking photos only in 2006. I am based here in Beijing and I wanted to document family events everytime I come home. I did not decide on anything initially but having more time to myself, I started to go out and take some photos. Being used to taking photos of my family and events, I found it weird in the beginning; taking photos where the subjects are the landscape and city architecture. I feel that it happened naturally. I enjoyed what I’m doing and just continued doing so. The next thing I remember is that I am creating images rather than just documenting events.

What effect has living in China had on your photography? What’s the best (and the worse) part about taking photos in China?

I think I would not have stumbled in photography had I not been based here in China. Appreciation sometimes happens when you detach yourself from something. When you are almost away with your family, time becomes more precious. Hence, the reason behind the purchase of my first camera. Language is a big challenge. It is not enough that you know Mandarin but as you move to provinces, dialects begins to play. As you would imagine, logistics can be a nightmare. Travel is also relatively more expensive than in my home country. I want to be there but not go there. A constant dilemma. Culture can also be something to look out for; things that you expect to be acceptable might not be. Though, I think, culture can be easily compensated by a smile and constant awareness that you are in a different place.

But China is China. One of the dream destinations of many. Being one of the oldest civilization and being closed to outside world for many years, it offers the most interesting places and people. You just have to be there to experience it.

What does the landscape mean to you? Why do you choose to photograph the landscape in black and white?

I am attracted by simplicity, and it seems that the vastness of a landscape lends itself perfectly. When there is almost nothing in the horizon, that is when my mind is relaxed and the time that I can listen to my muse. I guess, you could also say that it is a form of escape from the man made world of steel and stone. The black and white processing came naturally. Black and white conversions helps eliminate distractions and helps to highlight the things that initially caught my attention. Although, sometimes, I’d see simple patterns within the city. I realize that it is not actually where we are but what we really see.

 You crop most of your photos to the square format. Why do you do this and how does it affect the composition? How important is aspect ratio for you?

The way I present my images was brought about by the way I see things. I tend to focus only on certain parts of a scene. It is challenging for me to see like an Alan Ross or a John Sexton – where elements of a grand vista sings altogether. My photos are much simpler, and require a different approach in presentation. I could say that the format is almost as important as the image as it is the vehicle that helps the content to get across. It is important to use methods to suit our vision, and not the other way around.

There is a strong design element in your compositions – an awareness of geometry, graphic design and negative space. Do you agree? How would you sum up your approach to composition?

Thank you for noticing. Yes, these are the things that attracts me and the same things that I want to be evident in print. When there is nothing left to take away and the image stands on it’s basic element(s), then I am done. I think they call it minimalism and I agree.

You take a lot of landscapes using long exposures. What is the attraction of this – and how does it affect your approach to other aspects of the photo like composition and lighting?

I think it’s the overall appeal of a landscape that attracts me. It’s always there and there no need to talk to have a conversation. I like it when there’s a sense of simplicity and calm in my images. The technique of long exposure helps me to achieve what I set out to. It is an interesting technique wherein you would cut available light whereas in other techniques – more light, the better. It is difficult to expose when the sun is up, and that why I tend to shoot either early morning or near dusk. I also have a density filter to help out in cutting out the light at midday exposures. When using a filter, you might find composition a challenge. The way to go around this is to frame your shot before placing the filter. Make sure that you have read the metering without the filter, then it’s just a matter of math. Remember to flip the focus switch to manual when you have the framing done. Composition remains the same but you have to envision the final crop – a square crop.

Long exposure and a square crop will definitely add preparation time in your shot. It is not the way we are used in seeing, and our tools can also help so much. Every shot is made with every intention of creating it.

What equipment do you use for your long exposures and what advice would you give someone who wants to try this technique out?

In doing long-exposures, it is paramount that the camera stays still when exposing. In this regard, anything that would help you achieve this is important. To make creation easier and flexible, I have invested in a cable release, neutral density filters and a tripod. It’s not really expensive relative to its use and the benefits it will serve you. Of course, you can use the built-in camera timer in exchange to a cable release and any sturdy platform as your tripod. Photography can only be as expensive as we want it to be.

Patience will be another indispensable tool that you should have. Long exposures are exactly that – long exposures. You will spend time not only looking for a good subject but also in exposing itself. And although there are calculations available as to the length of time vs. ISO and aperture, these are only base calculations. A sudden change in light would affect your image. Be prepared to make mistakes and fail. Welcome them as a learning experience.

You sell fine art prints of your work. Do you make the prints yourself or do you have a printer to do it? Why the relatively small size? (10×10 inches).

My gallery helps me to do that. I sometimes find it difficult to be on the business end of photography. But true enough, I am getting a better grasp on it.

As it is in presenting my work in a square format, the small prints are also how I would like my work to be presented. I consider the print as the final stage of the creative process and, in my opinion, it should reflect the vision almost to perfection. I work in collaboration with a master printer in creating my platinum/palladium prints. Needless to say, partnership with someone with years of experience in printing breathes life to my work and helps me realize my vision. I print my own pigment prints, but if needed, I have a trusted gallery printer of over three years to help me out. In my earlier days, I shied away from any collaboration. I exposed, post processed, printed and framed all my work. I felt that getting some help somehow dilutes my creative process. Today, I realise that a symphony is made by an orchestra.

While I acknowledge the impact big prints gives to the viewer, I also know that my content calls for a more intimate experience. A smaller print would request a viewer to step in closer. I believe that images of simplicity, calm and serenity would be better presented in a smaller print. I’d say that the images dictates the print.

May ngiti kong masasabi na naging mabuti sa’kin ang nagdaang taon. Nanatiling malusog ang mga mahal ko sa buhay at nakasama ko ang aking pamilya ng higit sa pangkaraniwan. Nadagdagan ako ng mga kaibigan at napagtibay ang samahan ng mga dati. Nabigyan ako ng mga pagkakataon makapag bahagi, bagaman ng konti, ng saya sa iba. Napag yaman ko ang sarili at nakapaglagay ng ngiti sa ilan.

At bagaman, may mga bagay din akong ginusto na hindi nangyari, hindi ito sapat para hindi magpasalamat. Datapwat, dapat pa ngang isipin na ito’y mga bagong pagsubok. Mga bagay na aabutin sa pagsalubong sa taon ng Dragon.

Angkinin natin ang bagong taon, at sa pag angkin sana ay sumobra – nang tayo naman ang maging biyaya sa iba.

Ikaw, nakapag pasalamat ka na ba?

Published on the second issue of One Frame Magazine, I was able to share images and insights on some of my work.
ReD On One Frame Magazine: [pdf]

Li Jiang
20″ x 20″
Pigment on Cotton

An in-depth interview from 121clicks.com about my work and some stuff about myself. Click more for the full interview:

Featured Photographer
121 Clicks.com | December 2011 | English | Source Link

A small Introduction about you
I am ReD Ognita. Born in Manila. Pinoy based in Beijing. Adviser of POP-Beijing.

What is your approach towards photography?

We all have different ways in approaching photography. For me it’s a simple and calm dialogue. It may take a while but I find it more effective. As it is in portraiture, the more you know of a person, the more the landscape reveals itself to you. I do not aim to make a copy of the real world. The virtue of the camera does not only rest on its ability to exactly copy what’s in front of it. While there’s no denying that a camera can do as such, I also understand that it is a tool; like a brush to a painter or a chisel to a sculptor. If we regard photography as a form of art, then it should share some of the basic characteristics of the other arts – inside more than the outside.

Formal/ Informal Photo Education?
I never had the chance to learn formally. My photography was basically born here in China. I do not know of any institution that teaches photography during that time. Also, I think it will be hard since I do not know the language. I started out by constantly reading online. A big chunk of it comes from discussion boards. I spent countless hours reading and trying out what I read – from camera manuals to post processing tutorials. Later on, I found a friend with a similar passion and later on, we formed a group. Giving back to the community, we sometimes organize a workshop for fellow Filipinos who have the same passion. I am also part of Beijing Center of Photography, a small school for expatriates that wishes to learn photography – in English language. I am fortunate enough to personally shake the hands of my forum friends whenever I come home. We talked about photography and life and somehow, learn from each other.

When did you realize your connection towards photography?
As far back as I can remember, I hated being photographed. There’s something in the camera that makes me uneasy. I would use all possible excuses not to be in a photograph. As you would imagine, this is very difficult especially when you’re young and in a culture that loves photographs. I have one photo of myself that I really like though – age of 6, I guess, wearing a Robin costume – with a mask. Bad connection, but a connection nonetheless.

Why photography?
I spend almost all the days of the year away from my family. I work overseas. Photography started out as a means for me to connect with the past. Whenever I go home for a vacation, I make sure that I document every family event. I call them “time machines.” But since I spent most of my time alone, it was also then that it became a hobby.

Why do I like photography? I am not really sure… As a knee-jerk answer, I’d say it’s the small achievements and recognition here and there and how important it makes me feel. But in reality, these honors and awards are only the results of loving what we do. They were not the motivations that lead me to go out in the snow, nor the reason why I wake up early morning to catch the sunrise. Nobody knew that my work will be recognised. I myself is surprised sometimes. But if I am to give an answer, maybe because I like the experience – a quiet time from the real world and an opportunity to create. And that, is very satisfying.

What genre do your photos belong to?
I am not really a fan of “tagging” I think there’s an inherent danger in placing one’s work in a box of definition. The same can be said in the other arts such as writing and film. If a writer is known for horror stories, he’ll have a hard time selling romance though it is well written. I just do what I like and leave the tagging to the viewers. I am just happy that the tag that they gave my work matches my creative process – Fine-Art Black and White.

Why Square and Black and White?
The Black and White format almost came naturally. I find that Black and White images resonates more closely to me than color. The square came later on as progressed, seeing that my composition is strongest on its format.

Can you please share your workflow and which equipment do you use?
I almost always shoot with a print in mind. Having this goal as an end-result, pretty much dictates my workflow. I shoot in RAW format most of the time and do my edits on ACR. As much as I can, I contain the image on ACR and the final tweaking on Photoshop CS5. I maintain a PSD master file with all layers intact and then from there, I edit further for the target media. I use a Canon Full Frame camera, a tripod, filters and a cable release.

Looking back at your work, which of your pictures make the strongest impression on you?
Like any new photographer when starting out, I dabbled on all things photography. I did HDR, Infrared and other techniques. I also tried portraiture and other genres. It is a meandering path to say the least. But somehow, I always go back to simpler images. Landscapes.

You’ve received great honors in your career. What would you say has been the most honorable reward you have received?
Hard to say. I have been represented and won several international competitions. My works has been shown in places even I have never been, but when you really think about it, these achievements are for the outside. I am happy for my work to be recognized in the international stage but my great honor is the trust that people gave me. The people that helped me out in this path – my mentors. They appreciate my work and unselfishly shared their time, knowledge and blessings.

What is your most memorable moment in photography?
Well, you know what they say – every first is the most memorable. I had the privilege of having many first and I hope that there’s many to come, but I believe that the most memorable ones are the firsts that you learn something out of.

I am a part of POP Beijing. It’s a photography club of Beijing based Filipinos. Being a member, we travel for photography. Most of my memorable experience in photography is with friends. It’s hard to say what is the most since every outing is a different experience. I got scratched by thorns while submerged knee-deep in murky waters in Inner Mongolia, climbed up a fence with a huge Chinese sign that probably says trespassers will be shot in Miyun County and wandered around the Great Wall of China at 3 AM with an aching back during an overnight stay. Different experiences, different lessons – all memorable.

What does ReD do when not behind the lens?
I have a full time job working for the government. Though it might not be as creative as I want it to be, it frees me of other worries, allowing myself to do creative things with my free time. Whenever I’m not working or doing photography related tasks, I spend my time watching films.

Which photographers have inspired you?
There’s a lot of inspiring photographers out there, but if I am to choose, I’d name:

* Jerry Uelsman for his dreams on paper
* Michael Kenna for his general aesthetics and
* Hiroshi Sugimoto for uniqueness and vision.

Can you please share some tips and inputs for 121 Clicks users?
With a limited experience, I am honored to be asked for tips. All I can share are those that I find that works for me, anyway here’s some.

Set a Goal
Set short-ones first. Like this week you will do such and such. Or set a time that you will dedicate for photography within week. Once you are reaching your goals, maybe you can do a long term. I find that I am more productive when I have a target.

Set the stage
Allocate time for your photography. Sit down in front of your pc, go out there and shoot or just arrange your photo album. It does not have to be creative. Doing non-creative things can lead to creative projects. We must set the stage for the ideas to come in.

Share
Share as much as you can. You will find that the more you give, the more you will receive.
Thanks again for providing 121 Clicks with this opportunity to interview you. Any final thoughts for our readers?
The reward of photography should be the satisfaction that we feel whenever we are doing it. Everything else is just an add-on.

Thank you 121 Clicks for this opportunity for this great interview and an opportunity to share.

In collaboration with Grand Image Art Ltd., I am happy to announce that some selected works are now be available by demand across the United States and Canada. Click more on the full collaboration.

The Beauty in Black & White
grandimageart.com | November 2011 | English | Source Link

The most recent release of Grand Image’s Print on Demand (POD) line welcomes ReD Ognita to the stable. ReD Ognita is an award-winning photographer, born in Philippines and currently living and working in Beijing, China. Ognita’s images have a distinctive aesthetic inspired by the architecture of his environment in China–similar to Hiroshi Sugimoto’s ‘Seascapes’ and the quite contemplative nature of a Mark Rothko painting.

Motivation & Process

In 2006, Ognita began photographing his new surroundings as the expansive landscape of China became his new muse. Spending most of his time overseas, photography became a conduit for Ognita to experience joy in the nostalgia.

“Photography started out as a way for me to connect to the past. I work overseas most of the year, and the photo is the only way I can time travel. Photographs became time machines. Even before, I knew that photography can be something more.”

Ognita employs a two-phase process where he captures the images using a long-exposure or long-duration shutter speed and then edits them digitally with special post processing techniques.

“Whenever I can, I subscribe to the technique of long exposures and to the idea of less is more. The ability to gather time and put them in a single frame amazes me.”

His subject matter focuses on solitary landscapes, hidden architectural creations, and never seen seascapes in a consistent square format. Ognita has won many awards for his artwork including the International Photography Awards; Prix de la Photographie, Paris; and the Beijing International Photo Contest. Grand Image is his US publisher, however Ognita is represented by the following fine art galleries in China: Tai Ji Xuan Gallery (Beijing) and Ioahin Gallery (Macau).

A recently concluded interview from a Singaporean based blogger of Art and Technology.
Click more for the full interview:

Monochrome Wiz
Ipinoylike.com |   October 31, 2011 | English | Source Link

Some people with an untrained eye find beauty in colours. To them, without colour, everything is dull. But to some, overly excesses of colour sometimes lead to distraction, disorder, chaos. Black and white, on the other hand, or colour in both extreme end, suggests balance and harmony. That is why oftentimes, black and white visual art is referred to as minimalism because the art itself is stripped down to it’s simplest form.

While doing my personal project ‘The 100 Manual Settings’, I stumbled upon the blog of David Lee Tong, a fellow blogger who featured Fine Art Photographer Red Ognita- a master of monochrome images. I was immediately mesmerized. His black and white images presents something mystical that makes me want to dive into the canvas, Is it because his images are ‘less, but more’?

IPL: What is Fine Art Photography?
ReD Ognita: The ‘web’ has a lot of definitions on what is fine-art photography, and some may differ in their own degree. But in an essence, it is an image made from a camera wherein the focus is more on the idea/beauty. With my limited experience and understanding, I’d say that like any other forms of art, it is about an interpretation of the world or expression of an emotion. Emotion not only on the contemporary sense of joy and sadness.

IPL: Is that the reason why they refer to you as a Fine Art Photographer?
ReD Ognita: We mostly name things on what they do. And though I do not claim myself as one, I am happy for my work to be considered as such.
IPL: Does that mean you spend a lot of time post-processing the images?
ReD Ognita: Time is relative for everyone. I cannot say that I spend a lot of time in post process but I can definitely say that I edit ruthlessly.
IPL: Before you go out for a shoot, do you plan anything in mind?
ReD Ognita: Yes, I always do. But plans are just plans. They’re not reality. They were made taking into account things that might or might not happen. And when you think too much there are just too much variables. I plan for a sunny day but welcomes to be standing in the rain.
IPL: You can be a painter or a musician to express your artistic side, Why Photography?
ReD Ognita: Photography started out as a way for me to connect to the past. I work overseas most of the year, and photos is the only way I can time travel. Photographs became time machines. Even before, I knew that photography can be something more.
IPL: Is it worth it?
ReD Ognita: To have the chance to create, to have a balance of body and soul, to have bigger dreams and an opportunity to fulfill that dream – yes, it’s worth it.
IPL: Why China?
ReD Ognita: I came to China 9 years ago and been here ever since. My photography was basically born in here. I was fortunate enough to find a mentor and a group that shares the same passion. I go back home once or twice a year for family.
IPL: That’s why your Art, or Photography style is imbued with oriental significance?
ReD Ognita: Consciously, I do not really pay much attention to style. I create what pleases me. It was only when my work was reviewed by an art teacher and a gallery owner that I was made to realise that I am following a certain pattern. A style that was obvious to them and a revelation for me. But with that being said, I do not deny that I am influenced by my environment. I believe, our environment has a major influence not only to an artist’s psyche but also sometimes, dictates his aesthetic values.

IPL: Why Black and White?
ReD Ognita: There’s something different in Black and White that it’s hard to explain. It’s an immediate interpretation of the world on it’s very least. I find the emotional content more stronger than with color. Of course, this does not apply in all BW images. It takes more than a mere BW conversion to make things come together. And as with life, we tend to give more time and choose to master what feeds our curiosity.
IPL: Why Square?
ReD Ognita: Composition, being the strongest way of seeing, I believe my images are at their strongest presented in this format.
IPL: What is a normal day shoot for you Red?
ReD Ognita: I need to be in sync with the environment even before I take out my camera. Carrying too much gear tires me, and needless to say, this adds time to my already rather slow process. I carry a sling bag with camera, one lens and a tripod. It is not only my shots I compose, but also myself.
IPL: Kindly please share us your views about:
Colour – correcting an image – It all depends on the purpose of the image. The purpose will dictate the need (or lack of) correcting an image. News agencies has a set of rules in this regard, and I personally agree to them. I do not want my news to be filled with interpretations other than myself. But if the image is aimed to communicate your thoughts, or your vision – then please let me see what you see.
Post Processing – The creative part of photography sometimes comes here. That being said, post processing is an integral part of the creative process. In the earlier days, this is done via darkroom. Nowadays, most of us do it in front of screen. Different ways. Same goal. Same importance.
Lightroom or Aperture – Photoshop.
HDR and Vertorama – I’m all in for dynamic range but not to the point it looks cartoonish. Again, “cartoonish” is relative.
Street Photography – Challenging. I tried. I think it’s my creative rhythm. We all have one. While I take time in almost every step of the creative process, street photographers recognizes and reacts immediately. I know a beautiful street photo when I see one, but almost blind to street scene.
Canon or Nikon – Canon
Mac or PC – PC

IPL: What / Who inspire you?
ReD Ognita: Stories. I like stories. Especially stories of success. It somehow drives me to do more and fuels the fire within. On the aesthetics, I’d say David Fokos and Michael Kenna. I also want to mention Mark Rothko and Hiroshi Sugimoto. I had the opportunity to personally ask Michael Kenna some questions and it is very enlightening. I believe that inspiration can come not only from face value but also on the values of it’s creator.
IPL: If I am to peep into Red Ognita’s Studio (or office) what will I see?
ReD Ognita: My workstation is as minimal as my gear list. Table, PC, speakers, telephone, a pair of pens.
IPL: 5 simple tips for a better photography.
ReD Ognita: I believe that there are 2 ways to better ourselves in photography, or in any other form of art, for that matter. One is knowing ourselves and the other, the technical aspects. Technical mastery without vision will render work lifeless while vision without solid execution might fail in conveying the message. Both should go hand in hand. I am afraid I cannot offer something that’s not already written and read. But to those who want to hear it from me, here’s some I have come to know.

Read
The single most important thing towards learning that you can do on your own. It will provide you the things you do not know and perhaps, validate the things you know already. It will give you a glimpse behind the images and maybe, if you read enough, an insight to the mind of the person who created it.
Practice
There are things you cannot learn just by reading. You have to go out there and try it out. Develop your muscle memory. You cannot learn swimming by reading.
Practice with purpose
Do not just go out there like a madman. Practice with precision and consistency. The hope is that what you practice becomes second nature.
Share
You were once a beginner. Share your work and knowledge. You just don’t know who you will inspire.
Create time to create
Allocate the time. Close that door. Sit on that chair. Work on it. Inspiration may not come, but it doesn’t mean we should not increase our chances.

In the end, you will notice how you approach photography is also how you would approach life. As I’ve mentioned earlier, photography can be
something more.

ReD Ognita: Thank you, Che for this chance to share. I hope I am able to give something.

Curated by Mr. Lu Xiao, I am privileged to be invited and participate on the 14th Annual Lishui International Photographic Art Exhibition held at Lishui, China. Click more for the exhibition images.
Main site: 2011 Lishui International Photography Festival

Had an amazing interview with the guys over at photographyoffice.com. I tried to answer the questions as much as I can without thinking how long it could be. To the interested, a long read is never long. If you want to know what’s going on behind my images, click more for the full interview.

Listening to the Light
photographyoffice.com | September 2011 | English | Source Link

ReD Ognita is a Filipino award winning photographer, born in Philippines and currently based in Beijing, China. The artist have an original, distinctive and special technique that is marking his black-and-white images. ReD explores solitary landscapes, hidden architectural creations, and never been seen seascapes with a high aesthetic value.

We had the great opportunity to interview this great photographer and to share with you some of the best visual interpretations of this artist. Don’t hesitate to check out below the details and the inspiring images.

Can you make a short introduction to ReD Ognita Photography?

If my photography is a person, it will only be a child. For some, maybe just an infant. I had my first camera and started in photography late 2006. The idea was to document every family activity since I spend most of my time abroad. But having more time being away, it was also then that it became a hobby.

Whenever I can, I subscribe to the technique of long exposures and to the idea of less is more. The ability to gather time and put them in a single frame amazes me. I am interested in the calm and quiet. And minimalism fits the approach. Maybe it’s not photography anymore – I can’t say. But what’s in a name anyway. It’s the connection that matters.

In the direct sense, photography is a cross between time and place but for me, it can be more. I find no appeal in photography by definition. Completely copying what’s in front of a camera seems to be a function of a photocopying machine. If we regard photography as a form of art, then it should share some of the basic characteristics of the other arts. Expression more than mere replication.

What’s your creative process like?

At the very root, my creative process is a slow process. Aside from the technique itself, most of the ideas only comes when my frame of mind coincides with the frame of my camera. I need to be connected in my surroundings and attuned with my muse to be able to create. Sometimes, she comes. Sometimes she does not. Though that may be the case, it does not stop me from putting in the time. I notice that the more I do my part, the more my muse reveals herself. Creativity can come on the field or in post. I would like to think that I have a balance of both. With my limited years of shooting, I only have less than 100 images. Needless to say, my shutter count is very low. I go out in the field with a pre-defined goal but always ready to be surprised – or go home empty handed.

What can you tell us about your prints?

During a talk, I was very fortunate to be approached by an art collector and a printer. I was invited to explore the possibilities of my work. My pt/pd prints is a collaboration between a printer who studied and trained as an apprentice in Japan and myself. Together with a gallery owner, we tried for several months to nail down, not only the aesthetics, but also the reason why we should pursue the path. I could say that my prints is a hybrid of old and new techniques and technology.

Where do you find inspiration and why you like photography?

Inspiration can be found in many things. Some even use negativity as a positive driver in creating something beautiful. Personally, I find that inspirational stories drives me best – even if there’s no images involved. Stories of people who paved the way so that ours will be better. Stories that celebrates humanity and uplifts the human spirit. Hard to explain in words but those things that makes one believe and encourages others to follow.

Why do I like photography? I am not really sure… I can tell you bits and pieces of here and there, small achievements and recognitions, but in reality, these are only the side-effects of loving the art. They were not there when it all started and I think I’d still do it even for myself alone. But if I am to give an answer, maybe because I like the experience – a quiet time from the real world and an opprtunity to create. And that, is very satisfying.

What are some tips you could give to people that really like your work?

There’s a lot of talent out there that are untapped. There’s also a sea of tips and advice from the veterans. It humbles me knowing that some follows my work and would like to hear my 2 cents. But if I can pass an advise or two to someone that would be willing to hear to listen, it’ll be the following:

Recognise your creative rhythm

Check your portfolio and assess what were the conditions when you took your best work. What were the weather conditions. Was it raining? after the rain? early morning? late night? How was your state of being? Were you relaxed? Angry? Did you have a deadline? What were the motivations? Some people are morning person, some are not. Knowing our creative rhythm will help us develop an effective creative process that will eventually increase our keepers.

Develop a habit

Where do you place your lens cap? What do you check before pressing the shutter? Where is your cleaning cloth? Have a system that can be turned into a habit by doing them everytime, all the time. These small things will help you to be more effective on the field. The hope is to find consistency. Consistency that can eventually be reflected on your work.

Expose yourself

Connect yourself to other forms of art. Dance, theatre, music, literature – things that you consider beautiful. Participate in them if you have the chance. These might open up new ideas and promote better appreciation. Hopefully, these influences will spill over your personal work. Besides, the world is only as beautiful as we want it to be.

Set the stage

Remember the 10,000 hours rule. Find the time to create, or at least find time to be ready to create. Sorting, tagging, doing non-creative things can lead to a creative project. Ideas can be born when we’re doing something else. We must set the stage. We will be able to hear the whispers of our muse better when we’re ready.

Pass it forward

Share whenever possible. Not only your work but also your knowledge. Give talks, teach or write about it. It will force you to double check your facts and practice. Karma is alive and well.

Can you name some great photographer that inspires you and why?

Everything that surrounds me, influences me. Of course, most of which are personal experiences. I actually think that somehow, a work reflects the personality of it’s creator. I am inspired by the creativity of Michiko Kon and Tokihiro Sato. The work of Jerry Uelsmann also shows me what dreams may look like in paper. It frees me from the limits of what the eyes can only see and from the box of what a photograph should or should not be. For aesthetics, I would say I am a fan of Michael Kenna and David Fokos. As they stood on the shoulders of giants before them, I would like to believe that maybe someday, I’ll reach the same confidence and clarity of vision.

If you have something else to add (a video/book/about your next project/etc.) just tell us.

In collaboration with a U.S. based publishing and licensing company, we are planning to reproduce some of my work for a wider audience. I am also planning of continuing my pigment prints but I am still on the lookout for a printer who shares the same aesthetic values as mine. The idea is not to limit my work only to galleries but to also spread the same joy that my work has given me. The goal is to share.

“For a book is only a compilation of paper and ink until someone actually reads it.”

***

Dear ReD, we are very glad to have you featured on this online magazine, among your splendid black and white photographs. We are sure that your future will bring you more and more opportunities and projects, books and clients for the prints. Good luck with all of them.

Ideas rather than images. Imagination rather than imitation and understanding photography beyond craft

- LensWork Magazine

After 3 days and 2 nights of non-stop walking and shooting the streets of Singapore, I finally finished a gallery of 15 images.

Click here for the Singapore gallery: Singapore

2nd place in Panoramic Category  “ Beidahe study”
Honorable Mention in Nature  Category  “V”
Honorable Mention in Architecture Category  ”17 Arches”
Honorable Mention in Fine Art Category  “Beidahe”

About IPA:

The International Photography Awards is a sister-effort of the Lucie Foundation, where the top three winners are announced at the annual Lucie Awards ceremony. The awards event will be held at the Lincoln Center in New York on October 24, 2011, before returning to Los Angeles in 2012 in celebration of the 10-year anniversary. Over 8,000 submissions from 90 countries were received for the 2011 International Photography Awards with over 70 jurors, the largest to date. The Foundation’s mission is to honor master photographers, discover new and emerging talent, and promote the appreciation of photography. IPA is dedicated to recognizing contemporary photographers’ accomplishments in this specialized and highly visible competition. Visit www.photoawards.com for more details.

View the winning entries here.

At ganun na nga ang nangyari nakaraang Linggo. Sa bisa ng panyaya ng isang gallery na kumakatawan sa aking mga gawa, nagkaroon ako ng pagkakataon personal na makilala ang isang idolo.

Sinimulan ni Michael ang pagsasalita sa isang pasasalamat – sa mga dumalo at pagkakataong naibigay sa kanya ng gallery. Ipinakiusap din nya sa lahat ng dumalo na patuloy na sumuporta sa gallery kung saan sya kasalukuyang nagsasalita. “This is very important” dagdag pa nya.

Sa biglaang dinig, iisipin mong parang isang malaking advertisement para sa gallery. Parang halik sa pwet ng may-ari. Pero sa kabilang banda, isa din itong lehitimong pagtawag ng suporta sa sining. Sining ng potograpiya. Wala naman syang sinabing tangkilikin ang sariling gawa.

Umpisa pa lang, alam ko na – may mapupulot ako dito

Hindi ko na hihimay-himayin ang mga sumunod na nangyari. Ibabahagi ko na lang ang mga bagay na narinig ko ayon sa aking interpretasyon kahalo ng sarili kong pananaw.

* Laging magpasalamat.
* Magtiyaga. Higit sampung taon syang naglingkod sa iba. Taga print.
* Magbalik sa komunidad. Magbigay kung kaya. Pagyamanin ang komunidad kung saan ka nabibilang. Mali siguro isipin na “kalaban” o kompetensya ang kapwa artista. Magtulungan. Isiping katuwang ang kapwa sa pag-angat ng kamalayan. Lalo na sa potograpiya kung saan madami pa ring pagtatalo kung sining o hindi.
* Magbilad sa iba pang porma ng sining. Makinig, manuod, magbasa. Ang mga nakikita, naririnig at nararanasan ay halo-halong humuhulma ng iyong pagkatao na magdidikta ng iyong sining.
* Magbigay ng pagkilala sa mga nauna sa’yo. Ang impluwensya nila ay hindi masusukat.
* Kilalanin ang mga kasabay mo.
* Mas madalas sa minsan, wala sa gamit yan.
* Gumamit ng mga bagay na komportable sa’yo.
* Hindi mo kasing galing ang sarili pagkatapos ng matagal na panahon na di pag gawa. Kakalawangin ka, kahit hindi ka bakal.
* Nasa print ang magic. Kung di mo lubusan maintindihan, tanungin mo ako mamaya. Mahaba kasi ipaliwanang.
* May tsamba.
* Madalas maka tsamba ang mas madalas sumubok.

Sa dulo, napatotohanan ang mga bagay na matagal na nating alam. Ang iba naman na nabanggit ay nag-iimbita ng mas malalim na pagsusuri. Kung ano pa man, naging makabuluhan ang hapon na yon dahil bukod sa tangan kong librong may lagda – kasama din nito ang kaalaman ng isang taong pumitik at patuloy na pumipitik sa loob ng tatlumpo’t limang taon.

Litrato ba kamo? nasa dingding dito

2011 Official Selection in Fine Art Architecture Category ”17 Arches”
2011 Official Selection in Fine Art Architecture Category ”Bashang”

Had the opportunity to be interviewed by one of China’s biggest photography magazine and online discussion boards.  Interview text in full Chinese. Click more for the full interview:

我只追求自己的内心
vision.xitek.com | March 2011 | Chinese | Source Link

菲律宾摄影师ReD Ognita的正式身份是加拿大使馆的文职人员。他利用业余的时间搞起了摄影创作，接触摄影时间并不长的他对于影像颇有心得，并且形成了自我的风格语言——他的作品有一种令人屏住呼吸的宁静感。而“宁静”也正是他2010年12月在泰吉轩画廊做展览时所用的名称。作为一名业余摄影师，那种置身事外的态度反而更能让他轻松而自如的创作着自己的喜爱的形式。在某种程度上说照相机不会说谎，使用者的心态一定会通过呈现的作品传达给观看它的人们。

色影无忌：你平时在大使馆做什么样的工作?
ReD Ognita：做一些整理档案之类的工作

色影无忌：什么契机让你在工作之余拿起相机开始拍照?
ReD Ognita：我想只是因为我喜欢吧。每当我看到自己的照片时我就会很喜欢，当有人夸奖我的作品时我就更喜欢了，当然如果有人说要花钱买我的作品时，我就喜欢到不得了了!哈哈!我对摄影的兴趣就是这样一点点的积累起来的。

色影无忌：那对摄影的兴趣是如何开始的呢?
ReD Ognita：很早之前我去参加一些派对活动但是却没有照相机，于是我就特别想买一台照相机，我对摄影的兴趣始于对相机的需求。

色影无忌：你的第一台相机是什么时候买的呢?
ReD Ognita：是在2006年我买了属于自己的第一台相机。自从有了自己的相机以后，即使不是派对活动我也会出去拍照片。后来我遇到一个同样喜欢摄影的朋友，我们就经常一起出去拍片子。那个家伙真是个狂热的摄影迷，不管刮风下雨都要出去拍照，认识我之前他就已经玩了十年的摄影了。而我还是个菜鸟，于是我向他学习了很多。

色影无忌：你是通过什么方式学习摄影的?就是通过与这个朋友的交流吗?
ReD Ognita：开始是的，但是现在我应该比他有了更大的进步，因为我有更多的时间去读书和学习。

色影无忌：是如何学习呢?你倾向通过哪方面的书来学习?
ReD Ognita：我主要是通过摄影的论坛来学习的。可惜的是中国的摄影论坛都是中文的，我很有兴趣就是完全看不懂。

色影无忌：我们对菲律宾摄影的状况也不是很了解，比如有没有什么好的学院或者是摄影团体、协会之类的吗?
ReD Ognita：我们有国家的艺术家，他们享受政府的津贴，其中有画家、雕塑家但是却没有摄影家。我们没有专门的学校或者机构是只为摄影师开办的，通常都是在一个大的学院下属的摄影专业。

色影无忌：原来在菲律宾时喜欢拍摄什么样子的照片?
ReD Ognita：会拍一些事件、派对之类的，现在一直在拍摄风景了。

色影无忌：目前的摄影风格是从什么时候确定下来的?
ReD Ognita：很难讲，如果从构图形式上来说因为我总在网上看来看去，后来发现了这种正方型构图的画面我非常喜欢，我觉得这种构图方式非常有力，于是就自己尝试着去拍。至于画面的风格我一直都喜欢那种简单而安静的。

色影无忌：那种使用三脚架进行长时间曝光的方式也是一直都在用吗?
ReD Ognita：对的，我总是使用三脚架的。即使阳光明媚的天气我都会使用三脚架。因为我总是用很小的光圈很慢的快门拍摄，没有三脚架片子就会很难看。我总是喜欢水面是纯白的而天空是黑色的，中间只有一条细细的线;或者是纯白的水面中有一个黑色的岩石。我就是喜欢这样简单的事物。

色影无忌：据我所知你在使用数码相机，但是如何获得这种方形构图呢，后期裁剪吗?
ReD Ognita：对的，我没有4*4或是6*6的相机，它们通常都很贵。但是好的作品和相机的贵贱没有直接的关系。

色影无忌：你为何总在作品中寻找这种宁静?
ReD Ognita：我很难讲，只是追寻自己的内心吧。有人喜欢那种繁复的画面，但是我觉得看到那种照片会觉得眼睛在画面上乱跑，不知道该看哪。我觉得摄影作品是应该给人以感情上的反馈的，如果是那种“哦，这照片挺好看的”就走过去了，那就没有什么意思了。如果我的作品能给你带来宁静的感觉那就很好。我有个菲律宾的朋友最近正在参加一个摄影比赛，他需要拉一些人来为他投票，但是我真的非常反感为摄影投票这种事情。这样好像不是艺术的事情了，而是比人气，你比别人有更多的朋友你就赢了，这个很没有意思。我更喜欢那种有一些批评家或者理论家出席的评比现场，会有人对你的作品做出评价，我觉得那样才有提高自己的机会。

色影无忌：你的作品中的那种方正和居中特别有中国传统哲学的味道，你在这方面有一定的研究吗?
ReD Ognita：哈哈，完全没有。

色影无忌：但是你的作品看起来非常的中国。
ReD Ognita：我只是非常喜欢这种风格。我对那些经典风格的老照片真的是情有独衷。

色影无忌：在中国的这么多年有什么文化或者景观给你带来感触?有没有会影响到你的创作的?
ReD Ognita：我中国的师父乔小兵老师影响我很大，在遇到他之前很少有人和我探讨摄影的深层含义，但是当我遇到师父时，他会问我很多问题，也会和我探讨许多。他不是告诉我应该怎么样而是引发我自己的思考。所以他是我在中国期间对我影响最大的人

色影无忌：你用数码相机拍摄的照片为何使用古典的铂钯工艺来做后期输出?
ReD Ognita：因为我的摄影风格也是非常经典的方式，所以希望能有相适合的古典工艺来呈现它，我读了很多关于古典工艺的书，后来通过师父(乔小兵)的介绍，我了解了更多关于铂钯工艺的知识。

色影无忌：你自己可以做这种古典工艺吗?
ReD Ognita：我不行，现在都是由古典工艺制作人葛霈老师来帮我实现这些工艺，我自己只会处理数码照片，原来学过色彩空间、色彩管理之类的知识。但是古典工艺就不行了。

ReD Ognita简介

业余摄影师，现任职于加拿大驻华使馆。

“basta ako tol, pag tatlong araw na, wala pa ring tao – pack up mo na ko”

Tandang tanda ko pa ang biruan namin ni RJ sa lamay ng bunso kong kapatid. Nagbiro kami dahil sa dami ng pumunta sa lamay ni Richter. Mga taong hindi ko kilala. Mula sa mga skater hanggang sa mga propesor. Mula sa nakahubad ng pang itaas hanggang sa naka barong. Pati ang mga taong nakabanggaan nya ng opinyon, nandun.

Nagbabalik na naman ang mga alala ni Richter. Sunod sunod na naman akong nakakatanggap ng liham sa mga dati nyang kaibigan. Hinahanap kung saan sya nagpapahinga. Yung iba kaibigan sa highschool. Yung iba, nung kolehiyo. Yung iba, hindi nabalitaan. Lahat nagsasabi na naging malaking impluwensya si Richter sa buhay nila. Yung isa, sa musika. Yung isa, sa relihiyon. Yung isa, kursong kukuhain sa kolehiyo.

Lahat sila si Richter ang hanap.

Siguro, nagsasabi lang sila ng mabuti kasi umalis na ang kapatid ko. Ganyan naman talaga – alam ko. Pero andami? hindi nga?

Nakakahiya na nakapang hihinayang. Lumalabas na di ko kilala ang kapatid ko. Nag dududa ako sa mga papuri sa kanya. Pero kung iisipin, yung iba, buhay pa pero nakakalimutan na. Yung iba pa nga – malakas pa, pilit naman kinakalimutan.

Yung kapatid ko, paglipas ng limang taon, buhay pa rin.

“What we do in life, echoes in eternity.”

Ikaw, gusto mong mabuhay sa panghabang panahon?

Malabo pero dahil POP-Beijing – laban yan!

Si Renen ang nag plano ng overnight sa Bataan. Pupunta daw kami sa may parola na nakita nya sa isang magazine. Galing lang kami sa pagkasawi sa Batangas – plano naman yun ni PR. Alas dos ng madaling araw umalis, naligaw, nagtanong tanong sa mga lokal ng alas kwatro, inikot ang buong Batanggas – nauwi sa Mcdonalds Lipa ng alas sais ng umaga. Magandang kwento pero ibang kwento na yun. Balik tayo sa Sisiman

Kaya ganun na lang siguro ang gigil para makapag shoot. Nag research, nag google at nagbasa basa naman si Renen kung saan at paano kaya game na ‘to kahit wala pang isa samin ang nakakarating sa lugar.

Umaga nang January 3, sa may POEA Ortigas kami nagkita kita. Kaka-atras ko lang sa pagkuha ng OEC dahil sa mala ahas na haba ng pila. Pagtawid ko sa tulay papuntang Robinson’s Galleria, nakita ko na agad si Owen. Sinisipat ang shrine – umaanggulo. 9:00 na ng umaga.

At duon na nga kami nag assemble. Dumating sila Dom, PR, Don Don (na galing pa ng Bicol) at Renen (kakalapag lang galing Beijing)

Larga na.

Ayos naman ang byahe. Yun nga lang, nasa likod kami ni Owen ng sasakyan. Masikip at mainit.  Sarsa na lang ang kulang sardinas na – ika nga ng matatanda.  Naging sampayan din ng twalya ang likod ng sasakyan – pangontra init.  Mas pinili na lang namin na ‘wag mainitan kesa tumanaw ng magandang tanawin.

Pag dating sa Sisiman, may lumusong, may nag pausok ng mahiwaga, may nainis sa ingay at meron ding nagkwento na akala mo e limang taon gulang lang kami.

“Ang lakas ng sumpa, ang kailangan ko’y …” - ang kwento ni Manong drayber na di ko malaman kung saang barber shop nya nakuha.

Overnight sa Mariveles Bataan. Tatlong litrato. Karanasang panalo. Salamat kay Renen